2021

Cybele Tom . Restauradoras con Glitter . Emma Schmitt . Julia M Brennan . Jacquelyn Peterson-Grace . Kristal Hale . Saiful Bakhri . Sandra Sardjono . Léa Voisin . Hector Manuel Meneses Lozano . Allison McCloskey . Christina Margariti . Katerina Efthimiou . Christina Prili . Panagiotis Kostaloupis . Amani-Christiana Saint . Vasiliki Dritsa, Maria Koui . Yoonjo Lee . Karl Knauer . David Krop . María Ysabel Medina Castro . Verónica García Blanco . Erin E. Murphy . Nicole Passerotti . Stephanie E. Hornbeck . Gabriela Lúcio de Sousa . Márcia Pinheiro Ferreira . Maria Fusco . Esther Méthé . Laura Garcia-Vedrenne . Heather Hodge . Dr. Aaron Shugar . Dr. Rebecca Ploeger . Nhat Quyen Nguyen . Kathleen Martin

Compiled and edited by Joel Thompson with assistance from Elizabeth Shaeffer, Gretchen Guidess, Hector Meneses and Caterina Florio.

This volume contains the paper and short paper abstracts from the 13th North American Textile Conservation Conference held virtually throughout October 2021.

The responsibility of the methods and/or materials described in this publication is solely those of the authors and should not be considered as officially endorsed by the NATCC organizing group.

The preprints are distributed to the attendees at NATCC 2021. It is possible to buy additional copies through our website www.natcconference.com

All rights are reserved by each author. The presentations and images should not be duplicated or distributed without permission of the author

ISBN: 0-9746438-9-0

Conference Logo Design, abstract booklet, Preprint Design and Formatting: Jaime Ruíz Martínez, Graphic Designer, Oaxaca, Mexico.

Contents

ABSTRACT BOOK INFO

ACKNOWLEDGMENTS

WELCOME

KEYNOTE LECTURE

A Conservation Paradox: Preservation as Patriarchy?CYBELE TOM

Text-il: Lo personal es político RESTAURADORAS CON GLITTER

3711

15

Papers

Confronting Hate: Care and Display of Objects Representing the OppressorEMMA SCHMITT

Ethical Flexibility and the Principles of Preserving Genocide ClothingJULIA M BRENNAN

Textile Conservation as an Emerging Field in Indonesia: Challenges and OpportunitiesKRISTAL HALE, SAIFUL BAKHRI, SANDRA SARDJONO

From Mexico and France: Approaches for the Restoration of a Textile from OaxacaLÉA VOISIN, HECTOR MANUEL MENESES LOZANO

The Tillett Tapiz: A Tale of Impact and IntentALLISON MCCLOSKEY

The Effects of Textile Conservation on “Outside Influences”CHRISTINA MARGARITI, KATERINA EFTHIMIOU, CHRISTINA PRILI, PANAGIOTIS KOSTALOUPIS, AMANI-CHRISTIANA SAINT, VASILIKI DRITSA, MARIA KOUI

Under Pressure: Rediscovering, Treating, and Pressure Mouting the USS Taylor National EnsignYOONJO LEE, KARL KNAUER, AND DAVID KROP

Preventive Conservation Training within the Peruvian Reality MARÍA YSABEL MEDINA CASTRO

25

39

57

75

96

107

128

145

The Royal Tapestry Factory: Definition and Evolution of a ProfessionVERÓNICA GARCÍA BLANCO

Dismantling Antiquated Practices at The Field Museum: Stakeholders, Challenges, and SolutionsERIN E. MURPHY, NICOLE PASSEROTTI, STEPHANIE E. HORNBECK

Challenges and Possibilities at the Rui Barbosa Historic House Museum: Preservation of Textile CollectionsGABRIELA LÚCIO DE SOUSA, MÁRCIA PINHEIRO FERREIRA

No Lab is an Island: Influence in and Influence out in Equipping New Textile Museum LabsMARIA FUSCO, ESTHER MÉTHÉ

Drawing a Fine Line: Ethical Ramifications in Replacing the Shattered Silk Linings on Two Callot Soeurs DressesLAURA GARCIA-VEDRENNE

The Characterization of Three Conductive Fabrics/Threads Used for Do-It-Yourself (Diy) Electronic TextilesHEATHER HODGE, DR. AARON SHUGAR,DR. REBECCA PLOEGER

Combining Accessories and Costume: Reproduction of Tortoiseshell Combs for Costume ExhibitsNHAT QUYEN NGUYEN

Needle Felting as a Solution for Textiles with Wool Yarn FringeKATHLEEN MARTIN

158

174

192

197

221

224

265

274

natcc 13 7

The Board of Directors of the North American Textile Conservation Conference gratefully acknowledges the assistance of Holly Meyers, Ashley Czech, Mike Sanborn and the Omnipress team with the conference website, and Margarita Rustrián Martínez and her team for providing subtitles and simultaneous translation.

Many thanks to Jaime Ruiz, the designer of the conference logo and banner, and for formatting the abstract booklet and preprints.

Thank you to the abstract translation coordinators, Hector Manuel Meneses Lozano and Iliana López Salado. Abstract translation from English to Spanish and Spanish to English was carried out by Isabel Alvarado, María Paz Lira, Patricia Lissa, Diana Medellín, María Catalina Plazas, Jeniffer Ponce, Adriana Sanromán, Elizabeth Schaeffer, Maeva Schwend, Elena Taylor, and Carolina Bermúdez.

Finally, we have to thank Amanda Holden and Hector Manuel Meneses Lozano for all their efforts in bringing the new NATCC website to fruition - website design by Commercial Artisan and website development by Shawn Jones.

Acknowledgments

natcc 13 8

Board of Directors NATCC 2021: Caterina Florio, McCord Museum, Montreal, Quebec. Gretchen Guidess, Colonial Williamsburg, Williamsburg, VA. Christine Guintini, Metropolitan Museum of Art, New York, NY. Amanda Holden, Textile Conservator, Indianapolis Museum of Art at Newfields. Iliana López Salado, Textile Conservator, Whidbey Island, WA. Hector Manuel Meneses Lozano, Museo Textil de Oaxaca, Oaxaca. Denise Migdail, Asian Art Museum, San Francisco, CA. Elizabeth Schaeffer, Metropolitan Museum of Art, New York, NY. Sarah Stevens, New York State Bureau of Historic Sites, Peebles Island Resource Center / Zephyr Preservation Studio, Cohoes, NY. Howard Sutcliffe, River Region Costume and Textile Conservation, Arley, AL/Nashville, TN. Joel Thompson, Museum of Fine Arts, Boston.MA.

Joel ThompsonPreprint co-ordinator NATCC 2021

natcc 13 9

El Consejo Directivo del Congreso de Conservación de Textiles de América del Norte agradece atentamente el apoyo de Holly Meyers, Ashley Czech, Mike Sanborn y del equipo de Omnipress con el sitio web del congreso, así como a Margarita Rustrián Martínez y su equipo por su labor con el subtitulado y la traducción simultánea.

Muchas gracias a Jaime Ruíz, el diseñador del logo y encabezado del congreso, así como por su labor en el formato del cuadernillo de resúmenes y las memorias.

Gracias a Hector Manuel Meneses Lozano y a Iliana López Salado por coordinar la traducción de los resúmenes. La traducción de español a inglés y viceversa fue realizada por Isabel Alvarado, María Paz Lira, Patricia Lissa, Diana Medellín, María Catalina Plazas, Jeniffer Ponce, Adriana Sanromán, Elizabeth Schaeffer, Maeva Schwend, Elena Taylor y Carolina Bermúdez.

Finalmente, agradecemos a Amanda Holden y a Hector Manuel Meneses Lozano por su esfuerzo en concretar el nuevo sitio web del NATCC – diseño de sitio web por Commercial Artisan y programación web por Shawn Jones.

Agradecimientos

natcc 13 10

Consejo Directivo del NATCC 2021: Caterina Florio, McCord Museum Museum of Canadian History, Gatineau, Quebec. Gretchen Guidess, Colonial Williamsburg, Williamsburg, VA. Christine Guintini, Metropolitan Museum of Art, New York, NY. Amanda Holden, conservadora de textiles, Indianapolis Museum of Art at Newfields. Iliana López Salado, conservadora de textiles, Whidbey Island, WA. Hector Manuel Meneses Lozano, Museo Textil de Oaxaca, Oaxaca. Denise Migdail, Asian Art Museum, San Francisco, CA. Elizabeth Schaeffer, Metropolitan Museum of Art, New York, NY. Sarah Stevens, New York State Bureau of Historic Sites, Peebles Island Resource Center / Zephyr Preservation Studio, Cohoes, NY. Howard Sutcliffe, River Region Costume and Textile Conservation, Arley, AL/Nashville, TN. Joel Thompson, Museum of Fine Arts, Boston, MA.

Joel ThompsonCoordinadora de las Memorias NATCC 2021

natcc 13 11

Welcome everyone to the 13th North American Textile Conservation Conference. I would prefer to be welcoming you in person to Nashville, Tennessee, but as we know the global Covid-19 pandemic changed all of our lives, and it has had a profound and continuous impact on our sector, this conference included.

It is likely that all of us experienced the imposition and shock of lockdown, but while physically distant, the internet and social media have allowed many of us to reach into each other’s homes to stay connected and maintain relationships. As our workplaces (and proposed conference venues) started to close in the Spring of 2020 it became clear that The NATCC Board would not be able to meet in person for our usual site visits. The decision to stage a virtual edition of NATCC was taken quite early, and our planning has certainly benefited from seeing what similar groups have achieved.

The virtual format has given us the opportunity to try some new things, as you will see there are two keynote addresses this year, a long format interview, and four round table panel sessions, along with our usual paper presentations, short presentations in lieu of posters, and a virtual tour of the wonderful new textile conservation laboratory at The George Washington University Museum and The Textile Museum in Washington DC.

The theme of ‘Outside Influences’ seems to be particularly prescient given the events of the last 18 months, and serves as a reminder that in today’s interconnected society few things happen in isolation. Our work as conservators is subject to myriad outside influences, macro to micro. Subjects to be explored include politics, geography, training, workplace pressures and ethics.

I want to thank our keynote contributors Cybele Tom and Restauradoras con Glitter for their thought-provoking contributions. Both keynotes look at the relationship between conservation and politics; Can conservators effectively navigate politically charged situations? The Restauradoras con Glitter certainly make the case that they can.

Welcome

natcc 13 12

Cybele Tom explores how conservation approaches change in the aftermath of social unrest, and calls us to ask ‘where should conservation stand, and how should it act?’ Important questions that will be further explored in the first of our live sessions, a conversation focusing on equity and inclusion in the museum field with Leslie Guy, founder of Leslie Guy Consultancy, a company whose mission is to provide a client focused 360° approach to honoring cultural heritage for all.

Finally, I would like to take a moment to thank my fellow board members. Without the team of local committee members that we normally rely on during the preparation of each conference we have all taken on much more work and everyone has been tireless in putting together this thoughtful and constructive program during this extraordinary time.

I hope you enjoy this slightly different NATCC and look forward to being able to meet again in person in 2023.

Howard SutcliffeConference Chair 2021

natcc 13 13

Les damos la bienvenida al 13er Congreso de Conservación de Textiles de América del Norte. Por supuesto que preferiría darles la bienvenida en persona en Nashville, Tennessee, pero como es bien sabido, la llegada de la pandemia global del Covid-19 cambió nuestras vidas y ha tenido (y aún tiene) un fuerte impacto en nuestro sector, incluido este congreso.

Probablemente hemos experimentado la imposición y la conmoción de los confinamientos, pero a pesar de la distancia física, el internet y las redes sociales nos han permitido visitar a otras personas para seguir en comunicación y conservar nuestras relaciones. Conforme nuestros espacios de trabajo (y las sedes propuestas para el congreso) comenzaron a cerrar en la primavera de 2020, fue evidente que el Consejo Directivo del NATCC no podría reunirse físicamente para nuestras usuales visitas de campo. La decisión de llevar a cabo una edición virtual del NATCC se tomó con bastante antelación y nuestra planeación, sin duda, se ha beneficiado de observar los logros obtenidos por grupos similares.

El formato virtual nos ha brindado la oportunidad de probar algunas cosas nuevas: como verán, este año tendremos dos conferencias magistrales, una entrevista y cuatro mesas redondas, así como las presentaciones usuales de ponencias, presentaciones cortas en vez de carteles y una visita virtual al nuevo y fantástico laboratorio de conservación de textiles en The George Washington University Museum and The Textile Museum en Washington DC.

El tema de “Influencias externas” pareciera profético dados los eventos de los últimos 18 meses y nos sirve como un recordatorio de que, en la sociedad interconectada de hoy, pocas cosas ocurren de manera aislada. Nuestro trabajo como profesionales de la conservación está sujeto a un sinnúmero de influencias externas que van de lo macro a lo micro. Los temas a explorar incluyen política, geografía, formación, presiones en el espacio de trabajo y ética.

Bienvenida

natcc 13 14

Deseo agradecer a las conferencistas magistrales, Cybele Tom y Restauradoras con Glitter, por sus provocadoras contribuciones. Ambas conferencias exploran la relación entre la conservación y la política: ¿es posible que profesionales de la conservación lidien de manera efectiva con situaciones cargadas políticamente? Las Restauradoras con Glitter claramente establecen que sí es posible. Cybele Tom explora cómo los enfoques de la conservación cambian tras periodos de disturbios sociales y nos invita a cuestionarnos: “¿Dónde debe posicionarse la conservación y cómo debe actuar?” Interrogantes importantes en las que se ahondará aún más durante la primera de nuestras sesiones en vivo, una conversación con Leslie Guy en torno a la equidad e inclusión en el ámbito de los museos. Guy es fundadora de Leslie Guy Consultancy, una empresa cuya misión es proveer acercamientos centrados por completo en el cliente para honrar la herencia cultural para toda la sociedad.

Finalmente, deseo tomar un momento para agradecer a mis colegas del Consejo Directivo. Sin el apoyo que solemos tener de un comité local dedicado a la preparación de cada congreso, nos hemos hecho cargo de más actividades y cada integrante ha trabajado incansablemente para consolidar un programa reflexivo y constructivo durante estos tiempos extraordinarios.

Espero que disfruten un NATCC ligeramente distinto y esperamos tener la posibilidad de encontrarnos en persona en 2023.

Howard SutcliffePresidente 2021

natcc 13 15

Keynote lectures

natcc 13 16

ABSTRACT

Fine art constitutes only a fraction of the things that conservation cares for. Clothes, flags, shrines, objects of entertainment and play, architecture, and sites are all part of its domain, from the functional to the symbolic, the industrial and mundane, to the sacred and esoteric. And not only physical things, but ideas and concepts, events and practices also require a kind of preservation. In a field where everything is a candidate for its care, what qualifies as “outside influences” anyway? And why is it useful to think about them? This presentation first considers and circumscribes the defining principles and values of modern western conservation in order to specify that which lies outside of it. From there, I specifically probe two contentious boundaries of conservation: how it should approach alternate values, that is, ethical codes and methods different from its own; and, how it should engage, if at all, socio-political issues outside its professional remit. Both questions come to a head in instances of strong outcry against public monuments commemorating historical figures or events considered important to a local group narrative or identity—e.g., monuments to the Confederacy, Christopher Columbus, etc.—while, on the other hand, seen as symbols perpetuating colonial, racist, patriarchal narratives and structures. These scenarios appear to manifest a conservation paradox, where the central aim—the preservation of cultural heritage—clashes with one or more core values of the profession. The practice of preservation, typically carried out with pride and confidence, suddenly takes on unintended and unwanted meanings.

A Conservation Paradox: Preservation as Patriarchy?Cybele Tom Doctoral Student, Department of Art History, University of Chicago, USAAssistant Conservator of Objects, Art Institute of Chicago, USA

natcc 13 17

Where should conservation stand; how should it act? At a time of extreme politicization, wouldn’t it be prudent and professional for conservators to stay out of the fray? How does the field become an ally and force for positive change? Taking cues from art history, philosophy, linguistics, identity theory, conservation theory, and contemporary art practice, this presentation explores answers to these questions and seeks resolution to the paradox. In the discussion, I rove widely between museum collections, public art and community life, inviting conservators to interrogate what it means to do conservation. If we expand our notion of what we treat and care for, perhaps we’ll find new ways of being relevant.

Una paradoja en la conservación: ¿la preservación como patriarcado?

RESUMEN

Las bellas artes constituyen solamente una parte de los objetos que son atendidos por la profesión de la conservación. Ropa, banderas, altares, objetos de entretenimiento y juego, arquitectura y sitios también forman parte de su dominio, desde lo funcional a lo simbólico, lo industrial y lo mundano, lo sagrado y lo esotérico. Los objetos físicos, pero también las ideas, conceptos, eventos y prácticas, requieren un tipo de preservación. En un campo donde todo se vuelve candidato para ser cuidado, ¿qué califica como “influencias externas”? ¿Por qué es útil pensar en torno a ellas?

En primer lugar, esta presentación considera y circunscribe los principios y los valores definitorios de la conservación moderna occidental con ánimo de especificar aquéllos que quedan fuera de esos límites. A partir de ahí, indago dos fronteras disputadas en la conservación: cómo debe acercarse a valores alternativos, es decir, códigos éticos y metodologías distintas a la propia; y cómo, si acaso, debe involucrarse en problemáticas sociopolíticas que quedan fuera de su campo profesional. Ambas interrogantes vienen a la mente en un momento de duras críticas en contra de monumentos públicos que conmemoran figuras o eventos históricos que se consideran importantes para la narrativa o la identidad de un grupo local –por ejemplo, monumentos a La Confederación, Cristóbal Colón, etc.– mientras que, por otro lado, se aprecian como símbolos que perpetúan narrativas y estructuras coloniales, racistas y patriarcales. Estos escenarios parecen expresar una paradoja en la conservación, donde el objetivo central (i.e., la preservación del patrimonio cultural) choca contra uno o más valores intrínsecos de la profesión. La práctica de la preservación, típicamente aplicada con orgullo y confianza, de pronto adquiere significados involuntarios e indeseados.

natcc 13 18

¿Qué postura debe adoptar la conservación, cómo debe actuar? En un momento de extrema politización, ¿no sería prudente y profesional para profesionistas de la conservación mantenerse al margen de estos temas? Con base en la historia del arte, filosofía, lingüística, teoría de la identidad, teoría de la conservación y la práctica de arte contemporáneo, esta presentación explora las respuestas a estas interrogantes y busca una solución a la paradoja. Durante la discusión, recorro colecciones de museos, arte público y la vida en comunidad, extendiendo una invitación a profesionales de la conservación para interrogarse qué significa “hacer conservación”. Si expandimos nuestra noción sobre qué es aquello que intervenimos y resguardamos, quizá hallemos nuevas maneras de ser relevantes.

BIOGRAPHY

Cybele Tom is a doctoral student of Art History at the University of Chicago, focusing on European medieval art, and has been Assistant Conservator of Objects at the Art Institute of Chicago, where one of her many projects was the conservation and examination of polychrome sculpture for the Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor. She received an MA in art history and an advanced certificate in conservation from the Institute of Fine Arts, NYU in 2013. She serves as Book Review Editor for the Journal of the American Institute for Conservation (JAIC).

natcc 13 19

RESUMEN

¿Existe una conexión entre el grafiti y los textiles? ¿Podemos vincular al grafiti realizado el 16 de agosto de 2019 sobre el icónico monumento Victoria Alada, en la Ciudad de México, con este congreso en particular sobre conservación de textiles?

Primero, una premisa: el grafiti es un texto. Texto y textil son palabras similares debido a que comparten la misma raíz etimológica: TEXERE. Textus – participio pasivo de texere. Textil viene de textilis, derivación de la misma palabra: texere. Esta conexión no es casualidad: tanto el grafiti como la elaboración de textiles comunican; ambos se usan para irrumpir en el espacio público por feministas porque “lo personal es político”. Siempre se ha pensado en la elaboración de textiles artesanales y su decoración como un marcador de género. Tradicionalmente, estas actividades se relacionaban con el ámbito femenino, circunscrito a los espacios domésticos dentro de las sociedades preindustriales y la época moderna. Sin embargo, durante la década de 1970, el feminismo reivindicó la realización de textiles como una manifestación artística y como un medio de protesta en contra de los roles tradicionales de género. Hacer textiles a mano, en colectivo, es un buen lugar para conversar e involucrarse unas con otras. Una vez más: lo personal es político. Por otro lado, tenemos al grafiti, el cual también se crea en el ámbito público y en este caso en especial, un espacio bastante público: el de

Text-il: Lo personales políticoRestauradoras con Glitter

natcc 13 20

la Victoria Alada. El grafiti sobre este monumento refleja y denuncia la terrible realidad que viven las mujeres mexicanas: el horror de la violencia de género magnificado por la negligencia y la complicidad de las autoridades en todos sus niveles. Nuevamente, las mujeres se apropiaron del espacio público mediante la visibilización de un gran problema social y político, uno que no tiene una solución real al día de hoy: la violencia que muchas de nosotras sufrimos o hemos sufrido. Estas acciones también nos sirven a nosotras, las mujeres, para saber que no estamos solas, que son experiencias compartidas y que es posible la recuperación a partir de la colectividad y el amor. Estas acciones sirven para entretejer nuestros hilos personales dentro de una comunidad.

Para enfatizar nuestra convicción de que lo personal es político, Restauradoras con Glitter, como restauradoras profesionales, decidimos alzar la voz. Los monumentos no necesitan restauración inmediata en comparación con las problemáticas extremadamente graves sufridas por las mujeres; lo que necesita una restauración urgente es el tejido social. Necesitamos tejer las cosas de otra manera para poner un alto a la violencia de género y dignificar a las mujeres, en términos de los derechos humanos más básicos.

Creemos que la preservación del grafiti en la Victoria Alada es un recordatorio de que necesitamos cambiar, de que requerimos crear conexiones reales, amorosas y empáticas. Estamos convencidas de que nuestra profesión es profundamente subjetiva, con un sólido fundamento en la comprensión de las herencias culturales como una parte activa de nuestra sociedad. Lidiamos con objetos materiales, pero somos sujetos que cohabitamos un país y sus espacios públicos, con derecho a tomar decisiones políticas y, como mujeres profesionistas, estamos haciendo una declaración. Así pues, el 16 de agosto de 2019, nuestra declaración pública, personal, colectiva y política fue: “Primero las mujeres, luego las paredes”.

Text-ile: The personal is political

ABSTRACT

Is there a connection between graffiti and textiles? Can we connect the graffiti that was written on the iconic monument, Victoria Alada, during the Women’s March in Mexico City on August 16th, 2019, to this particular conference on textile conservation?

First, a premise: graffiti is text. Text and textile are similar words because they share the same etymological root: TEXERE. Textus- passive participle

natcc 13 21

of texere. Textile comes from textilis, derived from the same word: texere, to weave. This connection is far from futile. Graffiti and the making of textiles are both means of communication; both have been used by feminists to shout into public spaces because “the personal is political.”

Artisanal textile fabrication and its decoration have traditionally been seen as a mark of gender. These activities have been primarily related to the female sphere, relegated to domestic spaces in preindustrial societies and the modern world. However, during the 1970s, feminists reclaimed the making of textiles as an art form and as a medium of protest against traditional gender roles. Making textiles by hand, as a community working together, lends itself naturally to talk and engagement with one another. Once again, the personal is political.

On the other hand, we have graffiti, also created in the public realm and in this case in the very public space of the Victoria Alada. The graffiti inscribed on this monument reflect and reclaim the awful reality in which Mexican women live: the horror of gender violence further worsened by the negligence and complicity by authorities at all levels. Women, again, reclaimed the public space making visible a huge social and political problem; one that has no real solution to this day: the violence that many women suffer or have suffered. These actions also show us, women, that we are not alone; that those experiences are shared and recovery is possible through collectivity and love. These actions serve to knit our personal threads together into a community.

To emphasize our conviction that the personal is political, we, Restauradoras con Glitter, a group of professional conservators, decided to speak out. Monuments do not need immediate treatment when compared to the extremely serious issues suffered by women; what needs urgent attention is the social fabric. We need to weave things differently in order to stop gender violence and to dignify women. This is a basic human right.

We believe that the preservation of graffiti on the Victoria Alada is a reminder that we need to change, that we need to create real, loving and empathetic connections. We are convinced that our profession is profoundly subjective, with a strong basis on the understanding of cultural heritage as an active part of our society. We routinely deal with material objects, but we ourselves are also subjects cohabiting our country and its public spaces, entitled to make political decisions, and as women professionals, we are making a statement. So, on August 16th, 2019, our public, personal, collective and political statement was: “Primero las mujeres, luego las paredes” (“First women, then walls”).

natcc 13 22

MISSION STATEMENT. RESTAURADORAS CON GLITTER

Restauradoras con Glitter es una colectiva mexicana feminista, independiente y apartidista, integrada por mujeres especialistas de diversas disciplinas dedicadas activamente a la conservación y estudio de las herencias culturales.

Partimos de una noción empática y plural de las herencias culturales fundamentada en la puesta en valor de sus elementos: los bienes tangibles, sus creadores-usuarios y las relaciones dinámicas que se establecen entre ellos y les proveen de significados que se manifiestan de múltiples formas.

Pugnamos, a través de nuestras acciones en el sector cultural, por la restauración del tejido social y la integración de una perspectiva de género en éste, con el fin de que se garanticen los derechos humanos de las mujeres.___

Restauradoras con Glitter is a Mexican, feminist, independent, and nonpartisan collective of women specialists from different disciplines who are actively dedicated to the conservation and study of cultural heritage.

Our starting point is an empathic and plural concept of cultural heritage, grounded in the acknowledgement of its elements: tangible artifacts, their creators-users, and the dynamic relationships established between them, which provide cultural objects with meanings that manifest in multiple ways.

We strive, through our actions in the cultural sector, for the restoration of the social fabric and the integration of a gender perspective within it, with the ultimate goal of guaranteeing human rights for women.

natcc 13 23

INFORMACIÓN DE CONTACTO:

Restauradoras con GlitterCorreo electrónico: restauradoras.glittermx@gmail.comFacebook: @restauradoras.glitterMXTwitter: @RGlittermxInstagram: @restauradoras.glittermx

natcc 13 24

Papers Ponencias

natcc 13 25

ABSTRACT

Objects representing difficult histories such as the Holocaust and American slavery pose challenges to the conservator and the institutions that require them to fulfill their mission. Materials representing the Ku Klux Klan and National Socialism are essential to museums that seek to tell the stories of some of the cruelest events in modern history.

This paper explores how textiles relating to these historical events receive different levels of care, the complicated ethical questions they pose for conservators, and broader contextual forces that can affect the care applied.

Through case studies from the United States Holocaust Memorial Museum and the National Museum of African American History and Culture, this paper summarizes potential contextual factors that affect care and can become entrenched practice. Finally, it suggests the presence of bias against materials related to perpetrators. This discussion will argue that conservation and other museum staff may be out of sync and must directly recognize the complex challenges that these types of objects pose to conservators and to good stewardship.

Confronting Hate: Care and Display ofObjects Representing the OppressorEmma Schmitt National Institute for Holocaust DocumentationUnited States Holocaust Memorial Museum, Washington, DC, USA

natcc 13 26

Enfrentando el odio: cuidado y exhibición de objetos que representan al opresor

RESUMEN

Los objetos que representan historias difíciles como el holocausto y la esclavitud en los Estados Unidos de América representan un gran reto para los equipos de conservación y las instituciones que los resguardan para cumplir con su misión. Aquellos materiales que representan al Ku Klux Klan y al nacionalsocialismo son esenciales para los museos que buscan transmitir algunos de los eventos más crueles de la historia moderna.

En este artículo se explora cómo los textiles asociados con estos eventos históricos reciben distintos tipos de atención, las complejas preguntas éticas a las que se enfrentan profesionales de la conservación y los variados motivos contextuales que pueden afectar en su cuidado.

Mediante la presentación de estudios de caso del United States Holocaust Memorial Museum y el National Museum of African American History and Culture, este texto resume los factores contextuales que potencialmente afectan la conservación y que pueden volverse prácticas arraigadas. Finalmente, el artículo sugiere la presencia de prejuicios en contra de los materiales relacionados con los transgresores. Esta discusión planteará que el área de conservación y otras áreas del museo no siempre tienen los mismos preceptos y deben reconocer directamente los complejos desafíos a los que se enfrentan para la conservación y buen manejo de estos objetos.

1. INTRODUCTION

The United States Holocaust Memorial Museum (USHMM) and the National Museum of African American History and Culture (NMAAHC) are charged with telling the stories of some of the cruelest phenomena of humankind: the Holocaust and American slavery.

USHMM and NMAAHC collect, preserve, interpret, and present images of racial stereotypes and objects associated with the repression, enslavement, and murder of African Americans and victims of the Holocaust and the Nazi regime. Displaying this content material makes tangible the history and the reality of these events including through stories that, at USHMM, illustrate the perspectives of victims as well as perpetrators and bystanders. The care and display of these materials is essential for these institutions to fulfill their charge as historical museums and as memorials. USHMM and NMAAHC are national institutions with

natcc 13 27

“permanent” exhibitions that require the long-term use and care of collections within the exhibition space. In both exhibitions, textiles related to Nazism and American slavery receive uneven levels of care compared to other materials. Handling these materials can cause a kind of ethical turmoil for conservators. Broad contextual issues and decisions made by other staff in the museum can affect the quality of care.

The intent of this paper is to start a conversation and to pose questions to the conservation field. It outlines possible reasons why different levels of care occur, explores two case studies from these institutions of how these different levels of care can manifest, and discusses the challenges faced by conservators in confronting these objects. Finally, it suggests that museums would benefit from recognizing the potential existence of a bias toward these objects and the need for museum leaders to recognize the challenge in conserving these materials.

2. INFLUENCING FACTORS OF DIFFERENTIAL CARE

It can be argued that traditional training in conservation prepares students for working in art museums; not history and culture museums or memorials. In those institutions, visitors and staff alike face humanity. They see and feel how humans write their story into the objects they own, save, and protect, and abhor. When museums and memorials are focused on the difficult histories of peoples who have been brutalized and murdered, these stories can constitute raw open wounds. Conservators in particular feel that emotion because they have the closest, direct contact with these objects. Clinical distance cannot always cancel out the horrors inherent to these objects. When these events remain in living memory, navigating the emotion of the people who work with these objects day-to-day, and the broader audience, some of whom lived these experiences adds layers of complexity.

Countless factors that every museum professional faces influence differential care. The establishment of the practice is subtle, it is not a purposeful or malicious process, nor can one factor alone be the cause. I believe cumulative small choices and unconscious bias may hold a significant role in this phenomenon.

2.1 THE INSTITUTIONS AND THEIR MISSIONS

The United States Holocaust Memorial Museum’s mission is to “advance and disseminate knowledge about this unprecedented tragedy; to preserve the memory of those who suffered; and to encourage its visitors to reflect upon the moral and spiritual questions raised by the

natcc 13 28

events of the Holocaust as well as their own responsibilities as citizens of a democracy” (March 17, 2021). The key elements of education and preservation of memory are essential to understand how the museum operates. The museum is a memorial and the collections at its heart are regarded as evidence.

The National Museum of African American History and Culture’s role is to present American History through the African American experience (Bunch 2016). As the only national museum devoted to this topic, the true breadth and depth of its work has yet to be defined as this institution grows and comes into its own. It is important to note that these institutions are still evolving, and each is in the midst of defining its roles, and internal processes. The challenge for these museums is exponentially greater as they preserve and provide access to difficult histories while, simultaneously, developing as institutions.

In their unique roles, these museums are challenged to push the boundaries of what their audiences are comfortable and capable of confronting. These institutions both have special, deep relationships with their donors and members of the communities whose histories they interpret. Balancing the perspectives and demands of their constituents with their missions to ensure the histories they present are truthful, nuanced, and fully faceted, requires a delicate touch.

USHMM and NMAAHC both were founded and initially designed with the idea that there would be little or no permanent collection outside of objects used in exhibitions (Linenthal, 2001, Bunch 2016). In USHMM’s case, this idea manifested in a permanent exhibition that, as initially conceived, uses objects in a theatrical way to express the gravity of the Holocaust (Linenthal, 2001). Exhibition creators regarded collection objects strictly as a part of the larger stage set for the broader story being told.

2.2 TIME AND STAFFING LIMITS

Within every museum, time and staff resources and constraints are a constant factor determining what work can get done – and what is delayed or disregarded. In new institutions, such limitations can be crushing. The bare minimum is often the best that can be done, given the workload and the demands on a new and limited staff. In these cases, as in every institution, compromises are made. This can lead to extended display times for materials in one area to ease pressure in another area even when such choices are not the conservation ideal. As conservators, we have all come to accept some form of bargaining in our work in an effort to do better, when we cannot do what is best.

natcc 13 29

2.3 ROTATION LIMITATIONS

History and culture institutions typically contain collections whose inherent value is their ability to illustrate and encapsulate the historical story being told. When an object is one of a kind, ephemeral, or the numbers limited, how we treat and preserve that material becomes all the more important. At the same time, when that single object is essential to a storyline and, especially, to a permanent exhibition, the need to exhibit an object, no matter how fragile, can clash with the standards for preservation. Navigating this issue for the conservator is complex. Often scolded for the rate in which we say no, finding the moment where pushing back is right and necessary is a constant delicate balance.

2.4 CHOICES AND BIAS

USHMM and the NMAAHC bring difficult histories into a vivid, painful view to remind us, and to teach us what can happen if we embrace bigotry and division, and warn us what humans have been and are capable of. A conservator within these institutions must fulfill the mission of the institution as it applies to the objects, but is also physically handling and spending time with these materials that are imbued with the worst of humanity. We cannot remain unaffected. The people that work around us cannot remain unaffected. How we channel our emotion and what subtle biases we and others may exhibit is incredibly difficult to pin down. However, I believe it is dishonest to ignore this human component that inevitably runs through our decisions and an institution’s history. All museums should recognize how the cognitive and emotional weight of working with materials related to difficult histories might undermine care for them.

2.5 FIGHTING ISOLATION

The relationship between a history museum and their collections is vastly different than that of an art institution. Here, the curator or historian sees the objects as an illustration of a broader story. This perspective can upset the delicate balance between object, curator, and conservator, and leave the conservator struggling to determine how the physical materiality of the object aligns or competes with the historical evidence or documentation that it must convey.The conservator, trained in materiality, in the care and treatment of these objects cannot often speak to the potency of the object as evidence Therefore, communication is key. The conservation and exhibition teams need to be in sync. We rely on other voices to balance our knowledge, inform our decisions and ensure we are conserving the right thing. In history museums, the right thing is

natcc 13 30

not always obvious, or even definable, and when a collection is seen as evidence, the challenge grows.

3. CASE STUDIES

When confronting objects relating to the Ku Klux Klan or National Socialism, how should a conservator react? In my own training, this subject was addressed only briefly, and the conversation focused on ‘if’ you could treat such an object, not when you ‘must’ treat these objects. My academic training could not prepare me for a career in facing these materials, but through experience, I have learned to build walls, to hold these objects at arms-length and to know when to step away. Yet, I still haven't found a way to manage my own emotions, navigate the repulsion of colleagues within the museum field and institution, and effectively call attention to the need for appropriate care of an object that we collectively hold in disdain.

The following case studies show some of the challenges faced by the conservator in working with these materials, from institutional pressures to personal, internal trials that challenge our adherence to a code of ethics.

3.1 NAZI BANNERS

Since the museum’s opening in 1993, The United States Holocaust Memorial Museum has displayed two Nazi banners in its permenent exhibition. The first banner is located at the opening of the permanent exhibition, occupies a corner of the gallery, and is covered by photo and text panels.

Figure 1. Nazi banner located at the opening of the permanent exhibition. United States Holocaust Memorial Museum, Permenent Exhibition Section 4.26 Nazi Society and The Police State.

natcc 13 32

A second banner, displayed at the end of the exhibition, lies crumpled on the floor, as if torn down. In a section of the exhibition dedicated to the aftermath of World War II. This method of display embodies the fall of Nazi Germany at the end of the war.

Figure 2. Nazi banner located at the end of the exhibition embodying the fall of Nazi germany at the end of WWII. United States Holocaust Memorial Museum, Permenent Exhibition Section 2.07b Liberation: Aftermath.

The rationale behind these two display methods is outlined in the paper ‘Preservation of Stripes, Stars and Swastikas, by Lizou Fenyvesi (Fenyvesi 2003). The display of Nazi materials at USHMM has not changed drastically over the past thirty years, and the objects themselves are not always rotated on a regular schedule due in some part to limited rotation options and a desire to maintain the exhibition narrative.

Today, there are four textiles on permanent display at USHMM with one or two others rotated in as exhibits require. In the nearly thirty years that the museum has been open, the hanging banner has been rotated once, and

natcc 13 33

the banner displayed on the floor has been rotated six times. The issue of rotation was invariably influenced by the banners’ size and the ease of accessibility of display locations. Banners that fit the hanging space are limited, making identifying a rotatable object challenging. Additionally, at the museum’s opening, the number of textiles on display was at an all-time high, increasing workload and rotations. A large-scale loan of concentration camp uniforms was used to supplement the museum’s own collection and fulfill the need for regular rotation of the twenty-five to thirty uniforms on display (Singer 2003). These factors may have prevented or delayed development of rotations for complex objects.

While the Nazi party associated textiles lingered on display, loans for the concentration camp uniforms were established, and a regular rotation schedule maintained. Furthermore, a defined treatment method and rationale for concentration camp uniforms was outlined by the textile conservator, in order to outline and establish a procedure for the lender to sign off on. No such process has been identified for the Nazi materials; they all belong to the museum, and no loans have been established. Facsimiles and reproductions of paper-based materials have been accepted and encouraged (Klinger 2007). However, no such process has been designed for the textiles, which are admittedly more complex, but leaving equally light sensitive materials at risk.

As the number of textiles on display has diminished, time pressures on the textile conservator have decreased as well. However, the precedent of extended display is hard to overcome. While all these factors are most likely the result of normal museum procedures resulting from loan procurement, and various departmental and institutional needs and factors, it could also be argued that due to early inaction in addressing the Nazi banners, the Museum unwittingly established an internal bias towards them. Over many years, these practices compounded and became entrenched procedures.

3.2 KKK BANNER

During my tenure at The National Museum of African American History and Culture I was tasked with preparing a Ku Klux Klan Banner for “We Return Fighting,” an exhibition on African American soldiers during the first World War. As the only textile conservator on staff I struggled with this object, both in terms of what it represented, and how it should be conserved within this institution. While physically working on the object, being a clinician was easy. The focus was held on the material, not the object, it was simply a textile that required attention.

natcc 13 34

When the banner was discussed with my conservation colleagues, and when it was not being treated, a more dismissive, almost trivializing, attitude was employed. These were unconscious ways to draw focus away from what it represented. Focusing on its rather poor construction or concentrating on materials and essentially ignoring meaning and symbolism was my approach to stripping the power from this object. Furthermore, it was kept covered while it wasn’t being worked on, to facilitate work around the object and prevent it from becoming a constant focus when it was not being conserved.

While perhaps not aligning within a code of ethics for respect of the object, these approaches were ways of disrupting the narrative of the KKK and remaining protected from what this object represents. Being able to compartmentalize and keep the banner within a tight sphere in my head and my workspace was also essential. It was a difficult treatment because of the object’s construction, and the difficulty was compounded by a request from the curatorial department to reduce the initially proposed

Figure 3. KKK banner, before treatment on the left and after treatment on the right. Josh Weilepp/NMAAHC.

natcc 13 35

treatment time. Time budgeting had been imposed overall, due to the work required for this exhibition as well as other ongoing projects, but implied in this restriction was the fact that the object was associated with the KKK and was unlikely to be displayed again. In this instance, stabilization was needed to prevent additional loss and ensure legibility. Accomplishing that, however, still took time, and there was persistent pressure to reduce treatment time as much as possible.

I will not deny the effect of working on something like this. There were days when treatment of the KKK banner was an emotional journey, particularly when visitors to the lab asked questions about its treatment. The need to stay clinical and to subdue the interior monologue that was never ending, while trying to ensure that I maintained a level of professionalism and care and simultaneously take into account the reduced treatment request, was both emotionally and physically draining.

Attempting to walk that emotional and ethical line was complex. While NMAAHC has a Sensitive Object Policy, I found that the current policies were not helpful during the process of interventive treatment, and in the isolation of the lab, my own internal debates became a powerful force. As detached as I tried to be in the moment, the whiplash of emotional analysis of whether or not I was meeting the needs of the object versus the institution while also staying true to my ethics as a conservator was taxing.

4. CONCLUSION

The overviews of display and treatment discussed above show the complexities surrounding objects of the oppressor in museums. Providing context for objects, materials associated with the KKK and National Socialism is important and necessary when these objects enter a museum. However, with that context comes added responsibility: rational, cohesive care that manages our bias and defines the future long-term preservation of these materials. Conservation and the broader museum world must directly face the challenges that these objects pose to maintain good stewardship.

The role of the conservator in these institutions is challenging. The bias we hold toward these objects can manifest quickly, and will need to be held at bay, as in my experience with treating the KKK banner; or subtle, seemingly unrelated decisions can result in unequal care as in the case of the Nazi banners. These decisions were never meant to cause harm, or establish an uneven balance in care. However, we need to acknowledge that a kind of bias towards these materials is likely. I recognize such a bias in myself, and in that recognition, I need support from my institution to help

natcc 13 36

ensure we counter it. Treatment and care of these materials is a group effort. To frame how and to what extent we care for an object will ensure these significant artifacts are preserved allowing institutions to tell the stories they were founded to tell long into the future.

Currently at USHMM The permanent exhibition is slated for revitalization. As part of this the Nazi banner display is being reconsidered in terms of mount method and rotation process, which may help open these discussions and allow for installations that are easier to upkeep. Changing the presentation reopens Lizou Fenyvesi’s discussion on how these banners are exhibited, and what role they hold within the museum’s mission. As USHMM begins this conversation on display we will need to examine these objects and have an opportunity to call attention to the fact that there is an emotional toll these objects impart on the conservator that cannot be dismissed. We should ensure that no one person is bearing the weight of what it means to conserve these materials. These discussions cannot happen in isolation in a conservation lab. Discussions around these objects should happen in the open with all members of the museum community and stakeholders.

The museum world and conservation must face the challenges of conserving difficult histories. We, as a field, need to walk into a room together, prepared to make mistakes, be prepared to disagree, and see all sides of this issue. There is no one answer here. Every institution will make their own choices in how these objects should be cared for. But those choices should be explained, supported, and documented to ensure consistent care. If we do not, we are setting ourselves up to lose vital pieces of history and narratives that provide critical insight into the past but also current attitudes.

I anticipate that I will spend the coming years at USHMM navigating this issue alongside colleagues and management. USHMM is at a turning point in its history, leadership within the institution has been changing, and strategic planning is laying out future institutional goals. The revitalization of the permanent exhibition, and an expanded collecting focus to include victims, perpetrators, witnesses and bystanders will all affect how we move forward. We will need to explore the institution’s policy on rotating large textiles. We should be discussing the best way to care for these objects, essential for carrying out the Museum’s mission and expressing the role and history of the Nazis and the Holocaust. We need to try to critically examine the precedent of differential care by calling out the issue and opening the door to incredibly hard, complex discussions. We need a written policy to help regulate the care of these objects.

natcc 13 37

The objects associated with the Holocaust and the rise of Nazi Germany are beginning to show their age, and so the textile collection as a whole is at a turning point. Display methods need to evolve, and materials and past treatments need to be more closely assessed. To preserve the stories and memory we must know how to conserve the object. The fundamental question of “what are we conserving” is entwined in balancing history and preservation, and identifying what is most important politically, emotionally, historically and physically. What we do next matters and will affect how future visitors see this history.

BIBLIOGRAPHY

AIC. “Our Code of Ethics”. Accessed March 16, 2021. https://www.culturalheritage.org/about-conservation/code-of-ethics

Bunch, Lonnie G. 2016. “The Definitive Story of How the National Museum of African American History and Culture Came to Be” Smithsonian Magazine, September. https://www.smithsonianmag.com/smithsonian-institution/definitive-story-national-museum-african-american-history-culture-came-be-180960125/

Fenyvesi, Lizou. 2003. “Preservation of Stripes, Stars and Swastikas.” In Tales in the Textile: The Conservation of Flags and Other Symbolic Textiles: Preprints: North American Textile Conservation Conference 2003, November 6 to 8, 2003, 31-36. North America: North American Textile Conservation Conference.

Klinger, Jane E. 2007. "The Value of the Original and the Use of the Surrogate." The Book & Paper Group Annual 26: 61-65.

Singer, Gail. 2000. "Hanger-mannequins at the United States Holocaust Memorial Museum." The Textile Specialty Group Postprints of Papers Delivered at the Textile Subgroup Session: American Institute for Conservation Annual Meeting 10: 69-74.

FURTHER READING

Schmidt, Christine, Greg Toth. “To Replicate or Not to Replicate? Our Question (and Reflections)” The Wiener Holocaust Library: Staff Blog. Last modified May 27, 2020. https://wienerholocaustlibrary.org/2020/05/27/441/

natcc 13 38

BIOGRAPHY

Emma Schmitt received her MPhil from the University of Glasgow, Center for Textile Conservation and Technical Art History. She was the Textile Conservator at the National Museum of African American History and Culture from 2018-2019 and is currently the Textile Conservator at the United States Holocaust Memorial Museum.

Emma SchmittNational Institute for Holocaust DocumentationUnited States Holocaust Memorial Museum100 Raoul Wallenberg Pl SW Washington, DC 20024, USAeschmitt@ushmm.org

natcc 13 39

ABSTRACT

Artifacts of genocide embody emotional, cultural and preservation challenges. The conservation of clothing at Tuol Sleng Genocide Museum in Cambodia is a compelling example of the struggle to balance memory and access with safeguarding material culture that memorializes victims.

There are no blueprints for preservation of these collections; a collaborative process forged a unique set of protocols. The museum must balance the national narrative with personal histories and the changing perspectives of future generations, while addressing historical truths in a dynamic political landscape. Approaches from archeological conservation and anthropology were combined with practical triage methods. Pragmatic solutions were needed for sustainable practice in a tropical climate, using materials and protocols that can be locally advanced. The resulting guidelines, while based on standard conservation practices, are adjusted to suit these parameters. This work demands self-reflection and challenges the ethical roles of outside ‘experts,’ to define ‘best practices’ for cultural heritage protection. The power of these objects eliminates the standard hierarchy of the conservator-to-trainee relationship. Holistic training and broad discussions resulted in informed decisions made by Cambodian stakeholders. This project has strengthened a commitment by Cambodian stewards to preserve their heritage, and, by extension, the legacy of the nation.

Ethical Flexibility and the Principles of Preserving Genocide ClothingJulia M Brennan Caring for Textiles, Washington, DC, USA

Jacquelyn Peterson-Grace The Colonial Williamsburg Foundation, Williamsburg, USA

natcc 13 40

Flexibilidad ética y los principios de preservación de indumentaria de genocidios

RESUMEN

Los artefactos de contextos de genocidio encarnan desafíos emocionales, culturales y de preservación. La conservación de vestimenta del Museo de los Crímenes Genocidas “Tuol Sleng” en Camboya es un claro ejemplo del esfuerzo que implica equilibrar la memoria y brindar acceso, con el cuidado del material cultural que conmemora a las víctimas.

No hay modelos para la preservación de estas colecciones, por lo que un proceso colaborativo dio origen a un conjunto sui géneris de protocolos. El Museo debe balancear la narrativa nacional con las historias personales y las cambiantes perspectivas de las futuras generaciones, mientras aborda verdades históricas en un contexto político dinámico. Acercamientos desde la conservación arqueológica y la antropología se combinaron con métodos prácticos de protocolos de intervención. Fueron necesarias soluciones pragmáticas para una práctica sustentable en un clima tropical usando materiales y protocolos que puedan ser promovidos localmente. Las directrices resultantes están ajustadas a dichos parámetros sin dejar de sustentarse en prácticas de conservación ya establecidas.

Este trabajo exige introspección y desafía los roles éticos de “los expertos” externos al momento de definir cuáles son las “mejores prácticas” para la protección de los bienes culturales. La fuerza de estos objetos elimina la clásica jerarquía entre conservador y aprendiz. Una formación holística, así como discusiones amplias, han tenido como resultado una toma de decisiones informada por parte de los involucrados de Camboya. Este proyecto ha fortalecido un compromiso de parte de representantes camboyanos a preservar su patrimonio y, en consecuencia, el legado de la nación.

1. INTRODUCTION

The former Khmer Rouge torture site known as Security Prison 21 (S-21) is now the Tuol Sleng Genocide Museum (TSGM) in Cambodia’s capital, Phnom Penh. It is an emblematic site of memory for Cambodians and the global community, receiving more than 97,000 Cambodian and 423,000 foreign visitors in 2018. From 1975 to 1979 over 18,000 men, women and children were imprisoned, tortured, and exterminated at the hands of the Khmer Rouge (Democratic Kampuchea government) at this site alone (Chandler 1999; ECCC 2020). The work of transforming the complex into

natcc 13 41

a memorial and museum was initiated by Vietnamese and Cambodian forces in January 1979, with the explicit goals of bearing witness to atrocities and to gather evidence for trials of the Khmer Rouge leadership (Hawk 1981; Chandler 1999). To that end, the evidence was put on display in massive piles: clothing, shackles, stacks of torture instruments, thousands of prisoner photos and forced confessions. The sheer volume of artifacts directly illustrates the suffering of thousands and tells a story of overwhelming violence and loss.

TSGM bears witness to the atrocities committed on its grounds through the preservation of the original buildings and collections. There is a screening room where films about the Khmer Rouge regime can be viewed, a meditation room, and specialized exhibits. Most visitors are mentored through the hallowed site with a well-researched and respectful audio tour, available in twelve languages. Today, the site is managed by the Ministry of Culture and Arts of Cambodia and the archives are inscribed on the UNESCO Memory of the World Register. It is a complex site that serves as a place of reflection, commemoration, and education through preserving and presenting evidence of the past and keeping alive the memory of those who perished under the Khmer Rouge Regime (Tuol Sleng Genocide Museum 2021).

The museum archives contain the largest existing documentary record of the Democratic Kampuchea government prison system and the mass atrocities committed under the Khmer Rouge regime (Tuol Sleng Genocide Museum 2021). Between 2018 and 2021 the archives were digitized and incorporated into a bilingual website, an undertaking that is a tremendous contribution to one of Tuol Sleng’s major goals: to provide a place for education and healing where the younger generation and Khmer Rouge era survivors can access information about their history and hold dialogues together on peace and non-violence (Archives 2021).

Simultaneously, a pioneering textile preservation project directly addressed the collection of approximately 4,000 textiles and articles of clothing belonging to victims and Khmer Rouge cadre. Funded by the U.S. Ambassadors Fund for Cultural Preservation, two grants (2017-2018 and 2019-2021) sustained efforts to provide badly needed triage intervention for the degraded textile collections. The threefold goal of these grants was to provide crucial preventive conservation training for the TSGM staff, to document and safely store the textiles, and to implement sustainable long-term preservation strategies for the collection.

natcc 13 42

2. THE CLOTHING

The clothing in the collection was gathered from the S-21 complex and surrounding areas in the months that followed the fall of the Khmer Rouge. While the chronological history of the collection is not entirely known, primary sources and anecdotal evidence provide valuable insight. Prisoners were usually stripped of their clothing upon arrival as garments were scarce and valuable, and reuse and repurpose were common (Yathay 1987; Him 2001). There are graphic accounts of odorous clothing piles at S-21 when the Vietnamese army arrived, and two of the five child survivors of S-21 attribute their survival to hiding in piles of clothing (Chandler 1999; Phal 2018; En pers. comm.). Interviews with museum staff from the 1980s suggest that visitors helped themselves to much needed clothing from the original open-air piles on display at the newly formed museum and memorial.

Figure 1. Circa 1980 images from the Tuol Sleng archive (top, bottom left) illustrate how the clothing display has changed over time. By 2018, the textile display consisted of two cases and a framed archival image depicting the original display (bottom right). Archival images courtesy of the Tuol Sleng Genocide Museum archives.

natcc 13 43

Clothing has been a part of the permanent exhibition at TSGM since its inception, and historic photographs illustrate how the clothing displays have changed over time (Figure 1). Around 2011, a portion of the clothing was placed in two display cases and the remainder of the garment collection was placed in black plastic bags in a storage room, undocumented and unsorted. In 2014 Director Mr. Visoth CHHAY recognized the imminent danger that the collection faced in its degraded state, exacerbated by poor storage conditions. He directed conservation staff to remove the collection from the black plastic bags, sort the objects by type, and place the sorted collection in vented plastic bins (Figure 2). They remained as such until the first textile conservation project began in 2018.

Figure 2. Before 2014 the collection was stored in black plastic bags (left image). The next step was sorting the textiles by type and moving them to vented plastic bins until conservation could begin in earnest (right image). Images courtesy of TSGM.

3. DEVISING A CONSERVATION APPROACH

The significance of the collection is defined by its materiality; these articles of clothing have survived to tell the stories of this period of history when thousands of individuals did not. The artifacts pose emotional, cultural, and preservation challenges for conservation professionals. There is a responsibility to do the ‘right thing’ in working with local stakeholders who are deeply connected to these materials. The need to care for these objects

natcc 13 44

was derived from the communally shared principle that the preservation of the clothing is vitally important to pay respect to and preserve the memories of the people who suffered and died. There is a shared belief that this work ensures that the lessons learned from this dark period of human history are not forgotten and provides access to the surviving artifacts for further research and peace studies.

Preserving genocide clothing offers a particular set of challenges. As little research on the preservation of textiles related to human atrocities has been conducted or published, the protocols for triage and long-term care of the collection were ultimately a combination of western conservation strategies, archaeological approaches, and an ongoing series of discussions with a wide range of invested parties (Garcia-Alonso and Lacombe, pers. comm.). The need for immediate triage to slow the deterioration of these susceptible organic materials was collaboratively identified, and formed the initial and fundamental conversations regarding the long-term preservation of the collection. Stakeholders that were consulted during the process included the director and staff of TSGM, survivors of the regime and those who lost loved ones, researchers and allied professionals with a deep connection and understanding of the events that occurred at S-21, and cultural heritage professionals with a wide range of backgrounds. From these detailed discussions, guidelines for how to approach the collection emerged.

First and foremost, Tuol Sleng’s policies mandate that artifacts cannot be altered in any irreversible way. This directive underscored the need for an approach based on the guidelines of archeological conservation, which necessitates retaining as much contextual information as possible and permits only those interventions which will not inhibit future research or interpretive use (Brooks et al. 1996).

The textiles in the temporary plastic crates had never been documented or catalogued, and devising a collection care approach was difficult without knowing what made up the collection. Stakeholders agreed that the individual articles of clothing would be documented in an inventory as the archives and other sections of the collection had been. The process of cataloging and assigning accession numbers, with a focus on written and photographic documentation, was considered a necessary first step in the conservation approach. The inventory established an understanding of the materials and began the process of recognizing and appreciating the value of these surviving artifacts.

Discussions about interventive actions related to the accumulation of decades of soiling, biological growth, and insect debris drove the decision

natcc 13 45

to surface clean only. The risk of wet cleaning, with its potential to remove important evidentiary information or cause substantial damage, was determined to be too great by all parties. These risks directly contradict TSGM’s mandate that any treatment must avoid causing irreversible changes. However, stakeholders also agreed that failing to remove the heaviest soiling and encrustations could obscure important identifying information. Through these conversations it was collaboratively decided that surface cleaning be incorporated into the initial triage and inventory workflow. The dirt, dust, and hair removed during surface cleaning was considered to have human “agency.” This material was retained as part of the collection, in respect to the deceased. This is human genocide archeology; the purpose is to keep all data. Not all deteriorating factors can be fully removed, nor should they.

Several certainties were affirmed through the many conversations surrounding the textile collection at TSGM. This memorial site is of profound importance to Cambodians, and the actions of preservation deepen their sense of ownership and their roles as cultural heritage professionals. Working directly with the clothing or finding a familiar school shirt reaffirms a personal commitment to honoring and protecting memory. There is a real awareness of safeguarding this site for individual and national purposes. Heartfelt discussions with the museum director, survivors, and historians made it clear that treating each piece of clothing and textile fragment with the deepest respect was the foundation of all preservation work. Respect for each physical artifact, the memory of each individual, and the collective history of the site and historical event was inscribed into the treatment of each textile as a personal memory.

4. ESTABLISHING THE TEXTILE ARCHIVE

The actual protocols that were eventually decided upon are based on respect for the object, suitability to the tropical climate, concern for future use and study, staff capacity, and sustainable practice. Each step of the process was carefully discussed and considered within the frameworks determined by the stakeholders and the guidelines and best practices for collections care. The triage approach, devised to arrest further deterioration by limiting risk factors, was tailored specifically for clothing that is extremely degraded due to history and climate. Moreover, the procedures and protocols were designed so that the staff can continue to implement collections care initiatives after the conclusion of the project.

Each textile that was complete enough to be recognizable was assigned an inventory number, tagged with a cotton label, and documented with digital photography. Detailed information including any unique features

natcc 13 46

like inscriptions and repairs were recorded in Khmer on a paper form. An abbreviated Microsoft Excel database was created to provide access to basic information about individual pieces.

All the clothing is in poor condition. Garments bear signs of original use from the wearer, often with multiple repairs, in addition to decades of decomposition, staining, and infestations. Each textile was surface cleaned with brushes, spatulas, and a locally purchased vacuum to remove extreme soiling and embedded detritus. The removal of surface soiling often revealed additional information, including lettering and manufacturing data on military accessories. The collection includes civilian and military clothing and accessories of men, women, and children. There are over 3,000 relatively intact objects and another 1,000 or more unidentifiable fragments. Three quarters of the items appear to be associated with Khmer Rouge military or S-21 guards. About 100 caps contain embroidered or penned names. The clothing of children, including several pairs of boy’s shorts and three dresses, speak to the magnitude of the violence and loss (Figure 3).

Figure 3. Extensive repairs and hand-stitched personalization provide insight into the lives of those who lived and died during the Khmer Rouge regime. These pieces of clothing are evidence that families and children were victims at S-21. From left to right: a small, hand-made dress (TSL.2018.055), man’s shirt with extensive patchwork mends (TSL.2020.0904), and a dress with distinctive 1960’s pattern (TSL.2020.0908). Images courtesy of TSGM.

natcc 13 47

Processing the mixed-material fragments required a more ‘mass’ archaeological approach. The fragments were processed in batches through a large screen, repeatedly shaken to dislodge and remove soiling (Figure 4). The groups of fragments were documented with digital photography and examined for any recognizable objects. During this process several significant artifacts were identified including a single gold earring, a handwritten letter, and a piece of a silk krama scarf.

Figure 4: Sokphen CHHAENG and Julia Brennan work outside during the monsoon season. Adapting a traditional archeological field sieve, loose soiling was shaken out from the textile fragments and carefully examined and retained, prior to being put in microclimate storage. Personal protective equipment was worn to reduce exposure to potentially harmful substances.

In addition to documenting the collection, a central goal of the project was to identify and implement a long-term preservation strategy to protect these organic materials from the tropical Cambodian climate. The textile storage room was fitted with locally sourced, powder-coated metal shelving units, metal window screening, and oscillating fans. Despite these improvements the storage room remains largely open to the exterior environment and susceptible to water and termite damage. To address these limitations an innovative, low-cost and sustainable

natcc 13 48

microclimate storage system was employed. The system was developed by Rhino Research Group for the agriculture industry and adapted for use with the textile collection. The textiles are placed in transparent, airtight, polypropylene containers with built-in hygrometers. Aluminum silicate zeolite “drying beads” are placed inside the containers and condition the interior air by absorbing water vapor (Figure 5). This ensures that all materials are maintained at a stable relative humidity. The beads are removed or added to the containers as needed to regulate internal conditions. They are easily regenerated in a locally purchased convection oven and can be reused indefinitely. This system is easy to monitor and requires no continual electrical supply. The textiles are maintained in stable relative humidity while being protected from water, pests, and soiling. The majority of the textile collection has been rehoused with this storage system and is both visible and accessible.

Figure 5. The textile storage room now houses the textile collection in conditioned microclimate boxes.

natcc 13 49

5. COLLECTIONS CARE TRAINING

The multifaceted preservation project was designed to provide preventive and textile conservation training to deepen the collection care capacity of the TSGM staff through on-site workshops consisting of hands-on experiences and classroom lectures, accompanied by remote support. Chenda KHO, head of the conservation lab, and four graduates with degrees in archeology participated in several years of ongoing training, spread out over multiple site visits and supplemented with online mentoring and communication. The project also provided opportunities for cross- training of other museum staff and fostered relationships between departments.

The curriculum was tailored to the needs of the collection, the skill level of the participants, and the resources that were locally available. To broaden knowledge about this particular genre of textiles, initial lectures addressed global genocide memorials and how textiles are interpreted and preserved. The images of materials from other mass atrocity memorials reinforced that as stewards of cultural heritage the TSGM staff are not alone, and in fact confront the same challenges of climate, resources, staffing, training, long-term exhibit and storage.

English was the primary language for these workshops, but all documents were translated into Khmer. Bilingual informational materials including workflows, identification charts for local insects, and glossaries were created, illustrated, printed, laminated and posted in the conservation lab for easy reference. Learning to examine and describe textiles with common terminology was a primary objective and the training components directly supported the development of the protocols. For example, examination methods and bilingual terminology used to describe objects’ condition informed the cataloguing and database. This led to the formation of a trained team who carry out the daily work of assessing and processing each textile as part of the inventoried collection. This team also carries out the routine preventive tasks of monitoring the microclimate boxes, pest activity throughout the museum, and environmental monitoring for the site overall.

With the assistance of a translator, additional topics were covered in the 2020 workshop. Managing light in exhibition spaces, methods for displaying textiles, and basic textile conservation treatment approaches were discussed with all participants, including staff from other Cambodian cultural institutions. The workshop, which built on previous training sessions, was divided between the classroom and hours spent critically examining the exhibition and storage spaces to identify strengths and areas for improvement. This combination of theoretical lectures and

natcc 13 50

hands-on experience provided opportunities to evaluate and problem-solve in the collection spaces, which facilitated a greater understanding of the foundational preventive principles.

Figure 6. Lectures and classroom discussions were reinforced by time spent in the museum galleries, discussing exhibits and brainstorming ways to improve collections care. In the 40th anniversary special exhibition, the group made practical changes to reduce light exposure and monitor the interior conditions of the case containing light-sensitive objects.

A detailed site-wide risk assessment survey was completed by workshop participants in 2020. This extensive report provides a comprehensive overview of the exhibitions, written documentation of the conditions and challenges inherent to open displays, and recommendations for taking next steps to care for the collection and exhibit spaces. Immediate outcomes included a practical solution to improve the display of light sensitive objects like textiles and paper-based materials (Figure 6). The team also improved the current textile display case by replacing non-archival components with non-reactive materials and employed creative techniques to reduce the number of garments on display from more than

natcc 13 51

300 to approximately 50. Such improvements to the site are practical, empowering examples of the conservation strategies discussed and practiced during the on-site workshops.

6. THE INTANGIBLE VALUE AND EMOTIONAL IMPACT

The work requires self-reflection by conservators regarding the ethical roles of outside ‘experts,’ as well as defining ‘best practices’ for protection of cultural heritage. Nothing can prepare the ‘outside’ consultant for the anguish heard in a survivor’s account of losing loved ones in the location where we work. No amount of training or professional expertise is a qualification to engage in this hallowed task. The work is deeply humbling and often painful. Clothing, in particular these tattered remains, speaks to people about the details of their history. As colleague Sokphen CHHEANG says, “through textiles I feel compassion beyond compassion that is difficult to speak.” (2021). The power of these physical materials to bear witness, tell a story of loss, and foster healing bonds the heritage team in different ways. It could be described as a personal partnership of common purpose and results, without the standard hierarchies of conservation practice. The preservation training takes place within this space, characterized by a spirit of sharing, conversations, questions, mistakes, revisions, bilingual ‘charades’, group lunch breaks and birthdays, and camaraderie.

Preserving materials that represent individuals is a constant reminder that conservation can be an act of reconciliation. At Tuol Sleng the conservation lab is in a former room of torture that retains the scars of its past with scrawled graffiti and chains still attached to the walls. High on a shelf is a small Buddhist shrine. Each day, one of the team refills the offerings of water, flowers and rice and offers blessings. This shrine presides over the daily work, and over each of us. Before working on the clothing of the victims, incense sticks are lit and the smoke fills and cleanses the workspace. Our colleagues ask for permission to work with these materials that contain the spirits of the deceased, to honor and respect them. This must be done.

7. CONCLUDING REFLECTIONS

The impacts of the textile preservation initiative can be seen across TSGM. Accomplishing the primary goals of inventorying, documenting and rehousing the textile collection has increased access to and an awareness of this important body of textile artifacts. This project established a sustainable conservation workflow and helped to initiate a new group of young heritage professionals who engage in this challenging work.

natcc 13 52

Expanding responsibilities are opening paths for continued relationships, mentoring, and collaborations. A greater understanding of the role of conservation has resulted in the near completion of the textile conservation project, success of a first risk assessment of the collections, and significant improvements to recent exhibitions. The team played an essential role in creating an exhibit to commemorate the 40th anniversary of the museum in 2019 and a 2020 exhibition about the tragic story of returned intellectuals who died at S-21. They collaborated with the exhibition team, reached out for guidance on materials and methods, and prepared object cases with improved conservation standards and monitoring tools.

Moreover, these efforts helped to produce exhibits that more holistically engage the staff in the history of the site. This is further stimulated by personal growth and awareness in their own roles in preserving the legacy of their country. When asked about the importance of the textile collection, Sokphen CHHEANG said: “In addition to documents and materials, textiles are also a part of helping students who want to study and research the history of the Khmer Rouge and the events that took place at S-21. Sometimes it is difficult to accept what happened. But textiles are part of the evidence that the events that took place at S-21 were real events.” (2021). The team increasingly recognizes the importance of their efforts to save not only the artifact, but their own history, for future generations. In 2021 colleague Sokly CHOUB reflected on this, saying:

“The importance of the clothes at TSGM is important evidence for humanity, both inside and outside the country…and to study and understand the living conditions and hardships of the people, during the Khmer Rouge era. As for conservation work, it is valuable for the team to take care of and preserve it as a proof for younger generations to know the scarcity, life in wartime, how miserable it is? To make everyone consider, understand and prevent this event happening in future.”

Alongside our colleagues we experienced a reexamination of our own practice, skills, and principles. We questioned and collaborated to identify the most respectful, suitable, and achievable protocols for these degraded but nearly sacred textiles. Though the approach is rooted in contemporary textile conservation practices, this work is driven by a different set of expectations, outcomes, and human connections, as described by our colleagues. The ongoing preservation effort demonstrates that this conservation work is about people and developing compassion for those who we work with and as well those whose clothing we preserve. Our integrity rests in our flexibility, our long view of humanity, and our small role as collaborative conservators today, together with our Cambodian colleagues.

natcc 13 53

BIBLIOGRAPHY

Archives. 2021. Tuol Sleng Genocide Museum, Phnom Penh, Cambodia. Accessed February 25, 2021. http://www.archives.tuolsleng.gov.kh

Brooks, Mary, Alison Lister, Dinah Eastop, Tarja Bennett. 1996. “Artifact of Information? Articulating the Conflicts in Conserving Archaeological Textiles.” International Institute for Conservation: Archaeological Conservation and Its Consequences, Preprints of the Contributions to the Copenhagen Congress. London: IIC. 16-21.

Chandler, David P. 1999. Voices from S-21: Terror and History in Pol Pot’s Secret Prison. Berkeley, CA: University of California Press.

EN, Pen. 2018. Julia Brennan, Personal communication. Tuol Sleng Genocide Museum, Phnom Penh, Cambodia.

Garcia-Alonso, Lilian. 2016-2019. Julia Brennan, Personal communication, Washington DC.

Hawk, David. 1981. “Cambodia: A Report from Phnom Penh.” New Republic, 15 November 1981.

HIM, Chanrithy. 2001. When Broken Glass Floats: Growing Up Under the Khmer Rouge: A Memoir. New York, NY: W.W. Norton.

Lacombe, Laura. 2016-2019. Julia Brennan, Personal communication, Washington DC.

PHAL, Norng Chan. 2018. The Mystery of the Boy at S-21: A Story of Family, Love, and the Struggle to Rebuild Life after the Khmer Rouge Genocide. Phnom Penh: Cambodian Institute for Peace and Development.

Tuol Sleng Genocide Museum. 2021. Tuol Sleng Genocide Museum, Phnom Penh, Cambodia. Accessed February 25, 2021. http://www.tuolsleng.gov.kh/en

YATHAY, Pin. 1987. Stay Alive, My Son. Ithaca, NY: Cornell University Press.

natcc 13 54

FURTHER READING

Brennan, Julia M, Jacquelyn Peterson, Chenda KHO. 2019. “Establishing a Collaborative and Creative Approach to the Preservation of Genocide Clothing.” Papers from the ICOM-CC and ICOFOM Session at the 25th General Conference. Paris, France. 24-31.

Drying Beads. 2021. Rhino Research Group. Accessed February 25, 2021. http://www.dryingbeads.org

Extraordinary Chambers in the Courts of Cambodia (ECCC). 2020. Phnom Penh, Cambodia. Accessed February 25, 2021. http://www.eccc.gov.kh/en

ACKNOWLEDGMENTS

This preservation effort is collaborative and ongoing. The authors are grateful to the assistance and support of Visoth CHHAY, Nisay HANG, Madame Minister Sackona HE PHOEURNG, Sonnara HE PRAK, Mr. Ambassador Patrick Murphy, Leaksmy CHAN, Chenda KHO, Sokpenh CHHEANG, Chetrey NHEAN, Sokly CHOUB, Sreynoch PING, Barbara Thimm, Julie Matthées and Hellena Huesmann, Elena Rigo, Arend C. Zwartjes, Linnette D. Franco, Soreimeas NORN, Andrew Boyle, Samphos Pin, Dr. Johan Van Asbrouck and Patcharin Taridno, Kuntheary KONG, Sopheap CHEA, Bang Sovath, Dr. Ly Vanna, Dr. Julie Fleischman, Marta Swieton, Ewelina Bisaga, Elizabeth Becker, Angel Braestrup and Michele Cooper, without whom these efforts would not be possible.

natcc 13 55

BIOGRAPHIES

Julia M. Brennan, founder of Caring for Textiles, has worked in the field of textile conservation since 1985. She is committed to conservation outreach and the protection of cultural property, by providing stakeholders with sustainable skills. Since 2000, she has led conservation workshops in Bhutan, Madagascar, Algeria, Indonesia, Laos, Thailand, Cambodia, Taiwan, and Rwanda in museums, monasteries, genocide memorials, and community-based collections. Julia has BA from Columbia University, and a Master’s in art crime from The Association for Research in Crimes Against Art.

Jacquelyn Peterson-Grace is the Assistant Textile Conservator at The Colonial Williamsburg Foundation. She completed a Master of Science from the Winterthur/University of Delaware Program in Art Conservation in 2018 with concentrations in textile and preventive conservation, and holds a Bachelor of Science degree in Conservation Studies from Marist College. As a graduate student, she completed internships in the textile conservation labs at the Victoria & Albert Museum, the Philadelphia Museum of Art, and Peebles Island Resource Center.

natcc 13 56

Julia M BrennanCaring for Textiles3924 Ingomar Street NWWashington DC 20015, USA+1 202 320 7272 (mobile)+1 202 362 1941 (work)Julia@caringfortextiles.com

Jacquelyn Peterson-GraceThe Colonial Williamsburg Foundation309 First StreetWilliamsburg, VA 23185, USA+1 315 744 4751jpeterson@cwf.org

natcc 13 57

ABSTRACT

Throughout Indonesia, indigenous customary law adat embodies a long-held tradition of keeping important heirloom objects, including textiles, in local communities and villages. These textiles were used in ceremonies, including rituals connected with ancestor veneration. With improved 14C testing methods, it has now been established that some of these cloths date from as early as the 15th century, contradicting earlier assumptions that cloth cannot survive for long in rural settings near to the Equator. It also suggests that there are useful learnings to be gleaned from traditional approaches to conserving textiles.

Today, as state-run museums and preservation offices in Indonesia are increasingly taking on the role of guardians of Indonesia’s textile heritage, they face significant challenges in how best to conserve this important heritage. In this paper, we review the history of conservation in the region and the definition of ‘heritage’ objects. We discuss two distinct conservation scenarios: textiles conserved ‘in the field’ with local communities, versus those held in museums, using the Museum Tekstil, Jakarta as a case study. We also review the adaptation of traditional methods, such aqueous cleaning of batiks with seeds of the indigenous lerak tree, (sapindus rarak) and modern approaches in the context of

Textile Conservation as an Emerging Field in Indonesia: Challenges and Opportunities

Kristal Hale Metropolitan Museum of Art, New York, NY, USA

Saiful Bakhri

Bali Cultural Heritage Preservation Office, Gianyar, Bali, Indonesia

Sandra Sardjono

Tracing Patterns Foundation, Berkeley, CA, USA

natcc 13 58

current conservation practices. The adaptation of historical techniques alongside the selective adoption of current practices offers a means of effectively dealing with textile conservation challenges in hot and humid climates and under budgetary constraints.

Los desafíos de la conservación de textiles en los países en desarrollo: un caso de estudio en Indonesia

RESUMEN

A lo largo y ancho de Indonesia, la ley consuetudinaria indígena (“adat”), ha generado una larga tradición por mantener importantes reliquias textiles en comunidades y pueblos locales. Estos textiles se utilizaron en ceremonias, incluidos los rituales relacionados con la veneración de los antepasados. Gracias a los avances en los métodos de análisis de C-14, es posible fechar algunos de estos tejidos en el siglo XV. La preservación y el respeto por los tejidos tradicionales hechos a mano y/o teñidos con técnicas de reserva son parte integral de la cultura de Indonesia y contradicen las viejas creencias de que los tejidos más antiguos no pueden sobrevivir de manera adecuada en ambientes tropicales.

En la actualidad, los equipos curatoriales de los museos de Indonesia se enfrentan a nuevos retos en la conservación del patrimonio textil. En este artículo repasamos estos retos y algunos enfoques exitosos desarrollados, centrándonos en las experiencias del personal y los voluntarios del Museo Textil de Yakarta y otras instituciones, quienes siguen empleando técnicas tradicionales que se han utilizado históricamente en Indonesia, a la par del empleo de métodos contemporáneos. También se abordarán técnicas habituales como la limpieza acuosa de los batiks con semillas del árbol nativo lerak (Sapindus rarak) y los enfoques de almacenamiento en el contexto de las prácticas actuales de la conservación.

La adaptación de las técnicas históricas junto a las prácticas actuales ofrece un camino para afrontar los retos de la conservación textil en climas cálidos y húmedos, así como de las limitaciones de presupuesto.

1. INTRODUCTION

Throughout the Indonesian archipelago, richly diverse textile traditions have flourished for centuries, as documented in the chronicles of missionaries and anthropologists (Itie van Hout 2005; Robyn Maxwell 2003; Gittinger 1979), and preserved worldwide in museums and private collections. Testament to the importance of Indonesian textile traditions

natcc 13 59

is found in the standard terminology used to describe the resist-dyeing techniques of ‘ikat’ and ‘batik’ (Holmgren & Spertus 1989).

Because of Indonesia’s strategic location at the heart of the spice route, imported textiles and materials have been widely available since the early historical period, as recorded on temple statues from Java (Sardjono 2017; Guy 2013). Some of the earliest surviving foreign cloths in Indonesia were resist-dyed cottons from Gujarat and the Coromandel Coast of India (Aragon 2021). Imported materials such as silk threads from China were also incorporated in local weavings (Summerfield 1999; Montegut, Indictor & Summerfield 1996). Although the humid, tropical climate of the equatorial Indonesian archipelago could be viewed as antithetical to the survival of delicate silk and cotton cloths, many textile examples have not only survived, but have in fact been remarkably well preserved (Barnes 2010). Several Indonesian textiles in museums and private collections have now been dated to the 15th century using radiocarbon testing (Barnes 2010).

The discoveries of these early textiles obliges scholars to re-evaluate local preservation practices. In Indonesia in particular, and in Southeast Asia in general, conservation is still a newly emerging field where human and financial resources are scarce. How does the country deal with these challenges and how do museums set conservation priorities and implement practices? First, we will give an overview of the history of conservation in Indonesia, followed by an example of the challenges of conservation fieldwork. We will review adaptive conservation strategies that have been undertaken in local communities and some studies that have been advanced to investigate further the use of ‘local wisdom’ in conservation practices. Finally, we will discuss the parallel yet different history of conservation in the Museum Tekstil Jakarta.

2. CONSERVATION IN INDONESIA: A BRIEF HISTORY AND OVERVIEW

Conservation, regarded as a science and a specialism, is a relatively new concept in Indonesia. Currently no full-fledged educational program in conservation is offered in Indonesia, so individuals interested in becoming conservators must go abroad to study. At time of writing, six Indonesian citizens have graduated from the Grimwade Centre for Cultural Materials Conservation at the University of Melbourne’s master degree program, of whom five, graduated within the last three years, including one of the authors of this paper (Bakhri). These graduates have founded an organization called Institut Konservasi, intended as a platform to discuss and advocate conservation ethics and standards.

natcc 13 60

In the past, people became ‘conservators’ through their participation in the colossal restoration project of Borobudur temple, initiated by UNESCO in the 1970s (Cahyandaru 2011). Conservation personnel were mainly trained in dealing with stone, specifically andesite, which is the primary construction material of classical Javanese temples. Tjandrasasmita (1989) noted the difficulty of training staff in material science as few have backgrounds in chemistry or related fields. Nevertheless, conservators have successfully adapted their practical knowledge and skills to conserve other types of cultural heritage, including materials made from brick and wood (Anom 2005; Cahyandaru 2020).

In Indonesia today, the handling of ‘cultural heritage’ falls under the Law of the Republic of Indonesia Number 11 of 2010 concerning Cultural Heritage, which was based on the Dutch Colonial law Monumenten Ordonantie Statsblad (Old Monument Ordinance) Number 238 of 1930 (Dwiyanto 2011). Today this covers both immovable and movable heritage. ‘Cultural Heritage’ is defined as “... material culture in the form of an object, building, structure, site, and area on land and/or water whose existence should be preserved because it has significant value for history, science, education, religion, and/or culture through a stipulation process .”1

Art objects are not specifically mentioned in the act, and to date relatively few such objects, including textiles, have received Cultural Heritage status. Private conservators dealing with art objects are (in most cases) therefore not bound by law, nor is there any professional code of ethics, or code of practice at present.

In contrast to this, strict regulation applies to the preservation of objects designated as Cultural Heritage, which are mainly the responsibility of governmental organizations under the umbrella of the Directorate General of Culture of the Ministry of Education and Culture. Conservators who work for the government have civil servant status and they are expected to abide by the Law No. 11 of 2010. Their roles, job descriptions, and standard operating procedures are closely regulated by the ministry. These ‘civil servant conservators’ are spread across the Indonesian archipelago; they are posted in museums such as the National Museum of Indonesia, the Borobudur Conservation Office, and in the twelve Regional Cultural Heritage Preservation Offices².

3. CONSERVATION IN LOCAL COMMUNITIES

As noted, important traditional textiles are preserved in private homes in Indonesia, particularly the homes of aristocratic families, and in adat houses as the communal property of certain villages. The preservation

natcc 13 61

of these objects, as well as the ways in which they have been stored, displayed, cleaned, repaired and, in some cases, venerated, attests to their value in Indonesian culture.

A common factor in many examples of textiles that have been preserved for long periods (a century or more) is ‘suspended storage’, typically in baskets or bundles high up in the roof spaces of houses with vaulted ceilings. Louise Aragon (2021) mentions that custodians frequently stored their precious textiles in baskets or containers such as the ‘heirloom storage containers of aristocratic South and Central Sulawesi families who curated them [textiles] for centuries.’ While visiting the islands of Sumba, Timor and Sulawesi some of the authors were shown baskets attached to rafter beams where textiles and other heritage objects were being kept. This type of storage allows for ventilation, reducing the risk of mildew, as well as keeping the textiles away from rodents, which will use old textiles as nesting materials if given the opportunity. It may also be that the smoke from fire hearths in the home helps to keep away insects.

The traditional practice is to bring out old textiles on rare occasions, and such textiles are not usually displayed for long periods out of the home or adat house, thus limiting the total light exposure which might otherwise fade them. The process of unwrapping and re-wrapping bundles of heirloom textiles allows custodians to monitor them for pests and damage, even though this is not the primary purpose of these activities. In addition to suspended storage, the use of aromatic herbs and spices have been noted to deter insect infestation in Indonesia and greater Southeast Asia (Bahkri 2021 Brennan and Moreau 2020; Cahyandaru, Wahyuni and Purnama 2017; Brennan, Pianprasankit and Pochoom 2014). Benny Gratha, advisor to the Museum Tekstil also mentioned the benefits of spices in deterring pest infestations (interview Feb 25, 2021). Because textiles made and collected in Indonesia served a variety of purposes, traditional custodial techniques take into account the significance and function of a given object. The care of ceremonial textiles, linked to temple, matrimonial or funerary ceremonies and the reverencing of ancestors, stand in contrast to pieces intended for daily use (interview Feb 25, 2021). A textile imbued with ancestral blessing and only displayed on ceremonial occasions would not have been handled in the same manner as a sarong intended for regular wear.

Indonesian sarongs and other textiles are sometimes wet-cleaned with Lerak (soap nut, Sapindus rarak A.DC., Sapindus saponaria L., Sapindaceae), a native saponin-containing nut, whose flesh is traditionally

natcc 13 62

used for cleaning sarongs (Brennan 2015, 2017). In Lembata, daily use sarongs are also sometimes cleaned by rinsing them in the sea, since it is believed that salt water does not cause synthetic dyes to run as much as in freshwater (Christopher Buckley, personal communication). These approaches, however, are not usually employed for ceremonial textiles, which are generally left undisturbed.

Figure 1. Dried lerak nuts (image: Kristal Hale).

In addition to traditional cleaning and storage approaches, precious textiles were repaired by local custodians using darning, crochet, and needle-stitching techniques. Needlework repairs involved the application of buttonhole and other stitches in a concentric fashion, to gradually fill in missing areas. The aesthetic awareness of the artisans repairing heritage objects is evident in the appearance of the work: to create aesthetically pleasing results, the repair thread matched the color of the textile, and occasionally, more than one thread color was used in order to blend the repair into the coloration and motifs of a given textiles. Such repairs are an integral part of the history of heirloom textiles, as well as being interesting in their own right for the techniques employed.

natcc 13 63

4. THE ROLE OF REGIONAL CULTURAL HERITAGE PRESERVATION OFFICES

For Regional Cultural Heritage Preservation Offices who help to preserve living, tangible heritage, a key first step is to receive consent from the local community. This often includes performing certain ethical/religious practices and obligatory ceremonies. For instance, in Bali, before commencing conservation work at a temple, the Bali Cultural Heritage Preservation Office’s personnel must don traditional Balinese outfits consisting of skirt-like kamen (inner sarong) and saput (outer sarong). Men usually wear a headband called udeng. Before the program begins, participants must pray in the temple, asking for permission and blessings from the local gods to conduct the program. If the temple’s priest is present, he/she usually blesses the personnel; otherwise, an individual from the team, who is considered the most senior member, leads the prayer to obtain blessings for the team members.

Figure 2. Detail of a traditional needlework repair (private collection).

natcc 13 64

In a project at Tutubhada, a remote village in Nagekeo, East Nusa Tenggara, conservation personnel needed to provide a clear explanation for their intended work and to convince the village’s elders in order to gain their consent to help conserve the village’s heirlooms. Prior to the conservation work a ceremony and a feast were held involving sacrificing a piglet and a rooster. The piglet’s heart was ‘read’ by one of the elders, concluding that this conservation is “worthy.” These activities ensure that the village’s ancestors and present-day inhabitants give their permission and blessings for the work to take place.

Figure 3. Obligatory religious prayer before conservation, the conservation team wears Balinese traditional outfits (image: Saiful Bakhri).

natcc 13 65

Figure 4. Community elders interpret auspicious meaning in animal intestines prior to a conservation treatment (image: Saiful Bakhri).

natcc 13 66

These activities are a fundamental component of “conservation ethics,” especially when working with objects and textiles that are part of the tangible heritage of communities. Most of the time these practices are not taught in a laboratory or a university-led conservation program but learned through practical field-experience.

5. THE MUSEUM TEKSTIL, JAKARTA

A different type of conservation practice takes place at the Museum Tekstil, located in the capital of Indonesia, Jakarta. The museum building was constructed in the early 19th century. The birth of the museum came about with the initial gift of 500 textiles that were donated by a group of Jakarta’s prominent citizens, who at the same time formed an organization, the Himpunan Wastraprema (Society of Textile Lovers), dedicated to the preservation and study of lndonesian textiles. This group was deeply involved with many aspects of the Textile Museum’s projects, including exhibitions and new acquisitions. Today, the museum’s collection comprises some 2800 textiles, most of which have been acquired through donations. The museum has separate conservation and storage facilities outside the main exhibition building, which include a laboratory, where the collection is researched and documented. According to Misari, former curator of the Museum Tekstil, the start of conservation efforts was organized by the Museums and History Bureau prior to her joining the museum in 1998. During this time, experts from the Netherlands were invited to train museum staff in basic conservation methods. Museum staff also traveled abroad to the Art Gallery of South Australia in Adelaide for further training. In 1994-95, the Museum Tekstil received a grant from the Sumitomo Foundation, Japan, to build the conservation laboratory and storage facilities. This grant allowed the museum to purchase metal storage drawers, build fumigation chambers, and acquire equipment for making detailed examinations (interview with Misari, Feb 25, 2021). Misari recruited Benny Gratha, who started as a volunteer and then worked part-time at the museum as a private textile conservator and advisor. Around 2012-13, he and a person in charge of conservation from the Museum Nasional Indonesia were sent to attend a textile conservation course taught by Julia Brennan at the Queen Sirikit Museum, Thailand. One of the major topics discussed concerned traditional methods of preservation, indigenous materials and their potential applications in textile conservation in Southeast Asia.

natcc 13 67

In addition, Museum Tekstil works with the Indonesian Heritage Society (IHS), a non-profit organization that provides assistance, including conservation support, to many cultural institutions in Jakarta. Brennan also came to Jakarta and trained IHS volunteers and several museum staff in basic conservations. IHS volunteers, in consultation with Gratha, then supervised the work of university interns who came to the museums for practical training.

Gratha, currently the most experienced, trained person in textile conservation in Indonesia, commented that the biggest problem is the difficulty of building expertise, because the government system rotates individuals from one job position to another every 4-5 years.3 In his case, he decided to work independently instead of joining the museum officially as a civil servant. Working outside the government system has allowed him to continue pursuing his passion in textiles and textile conservation. In his part-time work capacity at the Museum Tekstil, Gratha also provides basic textile conservation training to museum staff from provincial museums. He believes that a professional conservation group is needed in Indonesia in order to share resources and build expertise (interview with Benny Gratha, Feb 25, 2021). Despite the lack of full-time dedicated conservators, the museum continues its work with the help of volunteers and local cultural organizations and manages to maintain the collection in an organized and professional manner. Although more expertise will be needed for complicated treatments, the day-to-day storage issues and simple conservation work such as stabilization using sewing, as well as display challenges for exhibition, are handled well with the current manpower and resources. Today, the Museum Tekstil Jakarta has the best equipped conservation lab and maintains the largest group of people with textile conservation experience in Indonesia.

natcc 13 68

In tandem with researching local traditional methods, the museum adopted the international standard practice of conservation. For example, support fabric placed beneath damaged areas, and secured with reversible conservation stitching, is used to repair loss.

The Museum’s pragmatic approach follows contemporary practices as they evolve. The once-popular fumigation chambers provided by the Sumitomo Foundation grant in 1994-95, for example, are no longer used. Instead, insect-infested textiles are addressed either with freeze/thaw treatment or anoxia treatment (interview with Benny Gratha, Feb 25, 2021). The advisors and staff of the Museum Tekstil continue to adapt and innovate to preserve the textiles in their care.

6. CONCLUSIONS

Conservation as a field in Indonesia had its roots in the UNESCO initiatives in the 1970s, which provided training for the purpose of preserving heritage monuments. But it is only until very recently that some conservators obtained a higher education in conservation from abroad. As interest and expectations in heritage conservation grow, both at a local level and in the museums, the building of professional expertise in conservation will continue to grow in importance.

Figure 5. Conservation lab of the Museum Tekstil Jakarta(image: Kristal Hale).

natcc 13 69

The success of some local communities in conserving their textiles for hundreds of years (in some cases) deserves further study and consideration. Textiles and other fragile materials are not automatically ‘better off’ in a museum environment, in many cases continued custodianship in the field is appropriate. There are also important learnings to be had from traditional practices that may help to further improve the conservation and cleaning methods used in institutions.

Tekstil Museum Jakarta proves to be the most promising institution in Indonesia to take leadership of textile conservation research and experimentation. The newly formed Institut Konservasi also provides hope for a professional platform to discuss and advocate conservation ethics and standards in Indonesia.

ENDNOTES

1 Article 5 of the Law No. 11 of 2010 states that objects, buildings, or structures can obtain Cultural Heritage status if at least one of four criteria are fulfilled: (a) the object is 50 years old or older, (b) it exhibits the style of culture of at least 50 years standing, (c) it has historical, scientific, educational, regional and/or cultural value, or (d) it embodies values that strengthen national identity (Law of The Republic of Indonesia Number 11 of 2010 Concerning Cultural Heritage 2010).

2 Dozens of governmental institutions recruit new people for civil servant conservation positions and other vocational postings across the country via a process called the national civil servant recruitment. The last recruitment process in 2018 opened twenty-two conservator positions. There are only two main requirements: the applicant must hold an undergraduate degree in Archaeology, Biology, Chemistry, Physics, or Graphic Design/Engineering and have passed the recruitment examination. The fact that a background in conservation is not required demonstrates that the discipline has some way to go before it can be considered a full-fledged profession in Indonesia.

3 The rotation of staff members between museums was a postcolonial solution to staffing Indonesian institutions. By shifting the limited number of highly educated staff members approximately every 5 years, the Indonesian government attempted to allow an equal distribution of talent and development potential. The drawback to this method is that individuals who specialize in textile curation may be shifted to museums in unrelated fields in a very brief timespan.

natcc 13 70

ACKNOWLEDGMENTS

The authors are grateful to the current and former personnel and advisors of the Museum Tekstil Jakarta for generously sharing their knowledge and insights: Misari, Benny Gratha, Ardi Haryadi, Rahmadi Widodo, Esti Utami, Sri Utami. Additional thanks go to the Historical Society of Indonesia for contributing information for this paper: Elaine Chan, Stephanie Pirolo and Anya Robertson.

BIBLIOGRAPHY

Anom, IGN (ed). 2005, The Restoration of Borobudur, UNESCO, Paris.

Aragon, Louise. 2021. “Textiles of Sulawesi.” Textiles of Indonesia. Forthcoming 2021. Munich: Prestel. Barnes, Ruth. 2010. “Early Indonesian Textiles: Scientific Dating in a Wider Context .” Essay in Five Centuries of Indonesian Textiles: the Mary Hunt Kahlenberg Collection, edited by Ruth Barnes and Mary Hunt Kahlenberg. Munich: Delmonico Books/Prestel. Brennan, Julia M., Linh Anh Moreau. 2020. “Protecting Textiles from Insects with Traditional Plant Methods.” Textiles of Asia, Vol. 12, Issue I, 23-27.

Brennan, Julia M. Nuchada Pianprasankit and Lilian García-Alonso. 2017. Before they are gone expanded: Capturing traditional textile preservation knowledge in Southeast Asia and Latin America. ICOM-CC 18thTriennial Conference, Copenhagen. Brennan, Julia M. 2015. “Capturing and Sharing Traditional Methods of Textile Preservation in South East Asia: An ASEAN Textile Conservation Research Project.” Embracing Cultural Materials Conservation in the Tropics. The 4th APTCCARN Meeting in 2015 (Asia Pacific Tropical Climate Conservation Art Research Network), November 25-27.

Cahyandaru, N, Wahyuni, S & Purnama, YAH. 2017. “Indonesian essential as biocides in traditional-based artefact conservation study: a mini review”. Jurnal Konservasi Benda Cagar Budaya Borobudur, vol. 11, no. I: 22–28.

Cahyandaru, N. 2011. 'Material Konservasi pada Pemugaran van Erp', in H Santiko (ed.), 100 Tahun Pascapemugaran Candi Borobudur, Balai Konservasi Borobudur, Magelang, vol. 1, 23-36.

natcc 13 71

Cahyandaru, N. 2020. BUSUR: Ngobrol Seru Soal Borobudur - Mau Dibawa Kemana Konservasi Indonesia?, podcast video, YouTube - Balai Konservasi Borobudur, 8 June, viewed 8 June 2020, <https://www.youtube.com/watch?v=8frUh_I4I6s>.

Dwiyanto, D. 2011. 'Menyongsong Implementasi Undang-Undang Nomor 11 Tahun 2010 tentang Cagar Budaya: Studi Kasus di Provinsi DIY', in Pertemuan Ilmiah Arkeologi (PIA) XII, Surabaya.

Gittinger, Mattiebelle. 1990. Splendid Symbols: Textiles and Traditions in Indonesia. Oxford: Oxford University Press. Guy, John. 2013. “‘One Thing Leads to Another’, Indian Textiles and the Early Globalization of Style.” Interwoven Globe: The Worldwide Textile Trade, 1500-1800, edited by Amelia Peck. New York, NY, NY: Metropolitan Museum of Art, Communications Department.

Law of The Republic of Indonesia Number 11 of 2010 Concerning Cultural Heritage. 2010. UNESCO Cultural Heritage Laws Database, Indonesia.

Maxwell, Robyn. 1990. Textiles of Southeast Asia Tradition, Trade and Transformation. Melbourne: Australian National Gallery.

Montegut, D., N. Indictor, and J. Summerfield. 1996. “Technical Examination of Metal Threads in Some Indonesian Textiles of West Sumatra.” Textile History 27, no. 1: 101–14. https://doi.org/10.1179/004049696793711716. Sardjono, Sandra. 2017. Tracing Patterns of Textiles in Ancient Java (8th-15th century). Berkeley: University of California, Berkeley. Summerfield, Anne, and John Summerfield. 1999. Walk in Splendor: Ceremonial Dress and the Minangkabau. Los Angeles: UCLA Fowler Museum of Cultural History

Tjandrasasmita, U. 1989. Final Report: SPAFA-ICCROM Seminar on Conservation Standards in Southeast Asia.

Van Hout, Itie. 2017. Indonesian Textiles at the Tropenmuseum. Volendam: LM Publishers, Amsterdam.

natcc 13 72

FURTHER READING

Bakhri, Saiful. 2021. “Promoting Traditional Knowledge in Conservation: The Role of the Borobudur Conservation Office.” The Australian Institute for the Conservation of Cultural Materials, AICCM Bulletin 2021, 1-11.Bakhri, S & Tse, N 2018, 'Between Art and Heritage Conservation: An Examination of the Discipline, Profession and Professional Practice in Indonesia', in NY Damayanti, KRS Putri, A Riswarie & A Belinda (eds), Proceeding 1st International Conference on Art for Technology, Science and Humanities (ARTESH), Bandung, 629-36.

natcc 13 73

BIOGRAPHIES

Kristal Hale received a Mellon Fellowship in Conservation at the Metropolitan Museum of Art in the department of the Arts of Africa, Oceania and the Americas, 2020-2021. She completed her MA at the Bern University of Applied Sciences in collaboration with the Abegg-Stiftung in Switzerland, specializing in textile conservation and holds a BA in Art History from San Francisco State University.

Saiful Bakhri is a conservator at Bali Cultural Heritage Preservation Office, Gianyar, under the auspices of the Directorate General of Culture, Ministry of Education and Culture of the Republic of Indonesia. He is also a conservation consultant for Museum Pustaka Lontar, Karangasem. Having completed his Master of Cultural Materials Conservation at the University of Melbourne, Saiful’s expertise lies in the areas of place-based conservation and disaster management for heritage sites and museums.

Sandra Sardjono is founder of the Tracing Patterns Foundation, a cultural nonprofit organization that promotes textile study and indigenous knowledge. She is an alumna of the University of California, Berkeley, and the Conservation Center of the Institute of Fine Arts, NYU. She has worked as a textile conservator at the Cooper Hewitt National Design Museum and assistant curator for Costume and Textiles at the Los Angeles County Museum of Arts.

natcc 13 74

Kristal Hale12 E. 86th St. Apt 925New York, NY 10028kristal.hale@metmuseum.org +1 628 777 8158

Saiful BakhriBalai Pelestarian Cagar Budaya Bali, Jalan Raya Tampaksiring, Bedulu, Blahbatuh, Gianyar, Bali, Indonesia 80581saiful.bakhri@kemdikbud.go.id+62 811 8788 51

Sandra Sardjono, PhD972 Euclid AvenueBerkeley, CA 94708sandra.sardjono@gmail.com +1 510 710 0396

natcc 13 75

RESUMEN

El huipil grande usado por las mujeres zapotecas del Istmo de Tehuantepec es una de las prendas más distintivas de Oaxaca, México. Las mujeres istmeñas llevan a cabo numerosos procesos para mantenerlos en óptimas condiciones y cuentan con una metodología específica para su cuidado. El Museo Textil de Oaxaca ha intervenido estas piezas siguiendo los pasos tradicionales (con algunas variaciones) que emplean sus creadoras y usuarias.

Uno de los huipiles más antiguos que conocemos (finales del siglo XIX) se conserva en el Musée du quai Branly – Jacques Chirac, en París. En 2010 fue estudiado por un restaurador mexicano y en 2019, una restauradora francesa que colaboró con el Museo Textil de Oaxaca tuvo la oportunidad de proponer y realizar un tratamiento de restauración para esta pieza.

El reto de este trabajo consistió en comprender cómo se preservan piezas como ésta dentro de los pueblos zapotecos, así como en museos en México y en instituciones europeas). El tratamiento de restauración no se enfocó exclusivamente en la conservación material de la pieza, sino también en la preservación del significado que actualmente se le atribuye a estas prendas al interior de sociedades vivas y dinámicas. Este caso

Desde México y Francia: Aproximaciones para la Restauración de un Textilde Oaxaca

Léa Voisin Restauradora de textiles independiente, París, Francia

Hector Manuel Meneses Lozano

Museo Textil de Oaxaca, Oaxaca, México

natcc 13 76

puede considerarse como un cruce entre países, tradiciones, museos y prácticas de restauración.

From Mexico and France: Approaches for the Restoration of a Textile from Oaxaca

ABSTRACT

The huipil grande used by the Zapotec women of the Isthmus of Tehuantepec is one of the most distinctive garments from Oaxaca, Mexico. The women of the Isthmus carry out numerous processes to keep them in optimal condition and they have a specific methodology to care for them. The Museo Textil de Oaxaca has treated these garments following the traditional method (with some variations) carried out by their creators and users.

One of the oldest huipiles known to us (late 19th c.) is housed at the Musée du quai Branly – Jacques Chirac, in Paris. First studied by a Mexican conservator in 2010, in 2019, a French conservator, who had worked with Museo Textil de Oaxaca, had the opportunity to propose and carry out a conservation treatment for that garment.

The challenge of this work was to understand how this emblematic textile was preserved in Zapotec communities, in Mexican museums, and in European institutions. Not only did the conservation treatment aim at the material conservation of the object, but also the preservation of the current meaning assigned to such garments within a living and dynamic society. This case may be considered as a crossroad among countries, traditions, museums, and conservation guidelines.

1. INTRODUCCIÓN

La región de Tehuantepec se encuentra en la parte más angosta del estado de Oaxaca, al sur de México. Habitado desde antes de la llegada de los europeos a América, actualmente es hogar para distintos pueblos, entre ellos: zapotecos, ikoots, chontales y zoques. El Istmo de Tehuantepec ha sido un lugar estratégico para el intercambio comercial. En época prehispánica fue el paso desde el centro hacia el sur de México, así como hacia lo que ahora es Guatemala y Nicaragua. Durante la época colonial y hasta el siglo XIX, se propuso que el Istmo fuera una vía que comunicara el Océano Atlántico (a través del Golfo de México) con el Océano Pacífico. Si bien no se logró la construcción de un canal, en 1907 se inauguró una red ferroviaria que introdujo una activación económica importante en la zona.

natcc 13 77

Dentro de los distintos trajes que portan las mujeres istmeñas, sobresale aquel empleado en fiestas, ceremonias y otros eventos especiales. Numerosos viajeros, cronistas, artistas y escritores han hecho referencias a esta indumentaria. Las prendas que se emplean son: el refajo (una falda de uso interior, blanca, con volantes calados en el borde inferior), la enagua (una falda de uso exterior, bordada, con holán de encaje en el borde inferior), el huipil o bidaani huiini “huipil chico” (prenda sin mangas para cubrir torso y espalda, bordada), y el bidaani ró’ “huipil grande” / bidaani quichi’ “huipil blanco” (empleado a modo de tocado sobre la cabeza). El artista mexicano Miguel Covarrubias se refirió a esta última pieza de la siguiente manera: “La prenda istmeña de mayor belleza es un tocado de encaje plisado y almidonado, que se usa en ocasiones ceremoniales importantes. Se le conoce como ‘huipil de cabeza’ o ‘huipil grande’ y en realidad no es otra cosa que un blusón en malla de seda o encaje con cuello, mangas simuladas y un borde o peplo de encaje almidonado y plisado, guarnecido con listones de seda” ( Artes de México 2000, 37). El uso varía según la ocasión: si se va a la iglesia, el holán del cuello enmarca el rostro y el resto de la prenda cubre la cabeza y los hombros; mientras que en otros contextos, el holán del borde inferior se acomoda sobre la cabeza, con toda la prenda cayendo sobre la espalda.

Figura 1. Monteserate y Sugey Lemus Morgan muestran las dos formas de uso del bidaani ró’, Juchitán de Zaragoza, Oaxaca, 2019.

natcc 13 78

Este artículo presenta un trabajo de restauración de un bidaani ró’ según diferentes puntos de vista, realizado desde una perspectiva múltiple entre un museo francés, un museo mexicano y una comunidad zapoteca. El reto era estudiar la pieza textil a través de distintas perspectivas para ofrecer un tratamiento que respondiera a las características observadas. El texto busca demostrar la manera en que un acercamiento plural nutre el trabajo de la conservación al tiempo de ahondar en el contexto de las colecciones que se resguardan en distintas instituciones y fortalecer la vinculación con las comunidades que han dado origen a dichas colecciones.

2. UN HUIPIL ISTMEÑO EN FRANCIA

El Musée du quai Branly – Jacques Chirac (MqB) abrió sus puertas al público en 2006. Algunas de sus colecciones, sin embargo, son mucho más antiguas, y algunas de ellas provienen del antiguo Musée d’Ethnographie du Trocadéro, fundado en 1878. Dentro de las colecciones más antiguas se encuentra aquella formada por Auguste Génin. Industrial y hombre de negocios, Auguste Génin (1862–1931) fue uno de los primeros coleccionistas de arte mexicano en Francia. Sin ser arqueólogo de profesión, realizó distintas exploraciones de esta índole en México. En 1890 estuvo a cargo de una misión científica promovida por el Ministère d’Instruction Publique Français y realizó varios envíos de lotes de objetos mexicanos al Musée d’Ethnographie du Trocadéro. En 1922, decidió donar la mayor parte de sus colecciones. En total, son alrededor de 7,000 mil piezas donadas entre 1897 y 1931, que hoy en día hacen parte de las colecciones del MqB.

2.1 EL CASO DE ESTUDIO

El objeto de estudio de este artículo es un bidaani ró’ de finales del siglo XIX elaborado en el Istmo de Tehuantepec, México, y perteneciente a la colección Génin resguardada por el MqB, código de inventario 71.1897.52.1218.

Ha sido estudiado en dos ocasiones, en 2010 por un restaurador mexicano y en 2018 por una restauradora francesa.

Figura 2. Objeto de estudio, bidaani ró’, 71.1897.52.1218, Musée du quai Branly – Jacques Chirac.

natcc 13 80

2.2 TÉCNICA DE MANUFACTURA

El cuerpo central del huipil se compone de un lienzo de tul de algodón bordado en algodón con punto de cadeneta. El bordado fue hecho a mano, puesto que las puntadas cruzan por encima de las costuras de unión de las diferentes secciones de tul; además, no existe un patrón regular ni definido en los diseños bordados, de hecho, las dos caras del huipil son diferentes entre sí. El lienzo se dobla sobre sí mismo y se une a los costados con hilo de algodón y punto al pasado. Únicamente se dejó un espacio libre para las bocamangas. Al centro del lienzo se cortó un espacio para abrir el cuello. Los bordes en dicho corte se dobladillaron y cosieron con hilo de algodón y punto de hilván, al mismo tiempo que se colocó una cinta de seda azul. La cinta está cosida en dos partes: una sección en azul muy pálido está unida al tul con hilvanes hechos a mano con hilo de algodón blanco; la otra sección es color azul más intenso y está cosida a máquina con hilo de algodón color azul. El borde inferior del lienzo se cortó formando curvas; la tela se remató con la misma puntada de cadeneta.

A la prenda se le cosieron varias secciones de tul bordado a modo de holanes. Estos se colocaron en el área del cuello, en las bocamangas y en el borde inferior. Cada una de las mangas emplea una sección de tul; dicha tira de tul se cerró con punto al pasado. Una cinta de seda de color azul sirvió como puente para unir el tul a la bocamanga. Las puntadas son de hilván con hilo de algodón blanco y se realizó un fruncido muy ligero en el tul al momento de unirlo a las bocamangas.

El holán del cuello se cosió primero a un bies de algodón blanco, formando pequeños tablones a intervalos irregulares y utilizando una puntada al pasado. De este bies es donde se sostienen las puntadas que unen el holán a la cinta azul del cuello.

En el borde inferior se cosió una cinta azul de seda con punto de hilván e hilo blanco de algodón. El holán en esa sección se conforma de siete secciones de tul unidas a lo ancho con punto al pasado. Como se mencionó, la unión de los siete segmentos se hizo antes del bordado. La tira completa de tul se cosió a un bies de algodón con punto al pasado. Este bies se unió a la cinta azul con punto de hilván e hilo de algodón (como en el cuello).

2.3 ESTADO DE CONSERVACIÓN

El estado general de la pieza mostraba distintos deterioros. Entre las alteraciones físico-químicas se encontraba una gran cantidad de polvo y suciedad acumulados en la superficie, así como un amarillamiento general

natcc 13 81

del algodón debido a la oxidación y envejecimiento natural de la celulosa. Las distintas secciones de tul también mostraban manchas negras con distribución heterogénea. Entre las alteraciones mecánicas, se observaron numerosas roturas evolutivas en la tela. Asimismo, la cinta azul del cuello se encontraba muy débil y estructuralmente inestable. Varias costuras de unión se encontraban rotas y los bordes mostraban numerosos deshilachados. La tela mostraba un gran número de dobleces y arrugas muy marcadas, lo que provocó distintas deformaciones.

3. EL VALOR DEL CONOCIMIENTO Y EXPERIENCIA LOCAL

La formación profesional en restauración busca presentar y promover estrategias y protocolos de acción que puedan aplicarse a distintos contextos. Esta educación es una plataforma sobre la que es posible entretejer el contexto y el valor local, con todos sus retos y virtudes.

3.1 EL MUSEO TEXTIL DE OAXACA (MTO)

El MTO es un museo patrocinado por la Fundación Alfredo Harp Helú Oaxaca. Se ubica en el centro histórico de Oaxaca de Juárez, al sur de México. Su colección se centra en el área mesoamericana, si bien incluye piezas de distintas regiones del mundo. Desde su apertura en 2008, el MTO ha establecido distintas estrategias para vincularse con las comunidades que se dedican a la creación de textiles artesanales. Una de estas estrategias es conectar las colecciones con las personas mediante consultas del acervo, asesoría para exposiciones, exposiciones en comunidades y viajes de campo. Para el equipo del MTO es fundamental la comprensión del contexto de donde proceden las piezas del acervo y, en la medida de lo posible, se busca un diálogo abierto con las personas que provienen de esas comunidades, por lo que las labores de conservación y exhibición deben responder a ello.

3.2 EL MTO, EL LABORATORIO DE RESTAURACIÓN Y LAS COMUNIDADES

La coautora realizó una pasantía en el laboratorio de restauración del MTO en 2017. Es así como pudo experimentar la labor en torno a la conservación y la restauración de las colecciones en relación a las tradiciones vivas, las comunidades y el patrimonio inmaterial de México.

3.3 ANTECEDENTES SOBRE RESTAURACIÓN DE UN BIDAANI RÓ’

El MTO adquirió un huipil grande en 2017, fechado en los años 1930–1940 (HUI0879). La prenda está conformada por distintas piezas de encaje de algodón y listones de rayón. Si bien el estado inicial de conservación era

natcc 13 82

relativamente bueno, se encontraban algunas roturas y desgarres en los encajes. El deterioro principal, sin embargo, se debía a distintas fuentes de suciedad, tanto polvo depositado en superficie, como manchas de distinta naturaleza; algunas de ellas derivadas de maquillaje, ubicadas alrededor del cuello. Debido a que el uso del huipil grande aún está vigente, y dado que personas procedentes del Istmo de Tehuantepec visitan frecuentemente el MTO, se consideró primordial que se resolviera el problema presentado por la suciedad y manchas. De lo contrario, sin un tratamiento eficiente de limpieza, no sería posible exhibir esta prenda en el contexto en el que se ubica el MTO sin provocar una actitud de rechazo por la comunidad, pues daría a entender que el Museo no se preocupa por las colecciones y, por consiguiente, por las comunidades que dieron origen a esas piezas. Las mujeres de la zona de Tehuantepec son sumamente cuidadosas en la limpieza y almidonado de los holanes que conforman al huipil grande, por lo que el MTO tiene la responsabilidad de mostrar el mismo cuidado en la conservación de este tipo de piezas en su acervo.

El bidaani ró’ se envió a la Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete” – INAH (ENCRyM) para servir como material didáctico en la formación de futuros profesionales de la restauración. El MTO expuso a Lorena Román, coordinadora del seminario-taller de restauración de textiles, la necesidad de atender el problema presentado por la suciedad en la pieza. El tratamiento llevado a cabo respondió a esa necesidad. Para ello, se procedió a la separación de los distintos elementos que conforman la pieza para que estos pudieran lavarse de manera individual y con ello minimizar al máximo cualquier deformación en las telas. El lavado se llevó a cabo por inmersión, en una solución acuosa y saponinas al 0.5% p / v. El secado se realizó en plano, tras un proceso de alineado de hilos y colocando pesos para evitar encogimientos. Los listones de rayón se lavaron en seco debido a la fragilidad del material. Las roturas fueron reforzadas con crepelina de seda.

Es importante mencionar que previo a la separación de elementos, se registraron las dimensiones y ubicaciones de todos los plisados del encaje con la finalidad de reproducirlos posteriormente. Una vez terminado el proceso de limpieza, los plisados volvieron a marcarse mediante la aplicación de almidón de trigo modificado, siguiendo el mismo orden registrado inicialmente. El tratamiento fue exitoso en cuanto a que se logró eliminar una gran parte de la suciedad inicial, reestableciendo así la blancura de los encajes y permitiendo la preservación de la estructura de los pliegues en cada una de las secciones de tela.

natcc 13 83

4. LA RESTAURACIÓN EN FRANCIA TRAS UNA ESTANCIA EN MÉXICO

Al volver a Francia, la coautora realizó numerosos estudios sobre el bidaani ró’ que se conserva en el MqB, sin embargo, decidió complementar la fase de investigación con una experiencia de campo en el Istmo de Tehuantepec con la finalidad de profundizar en el diálogo al interior de la comunidad zapoteca de Juchitán de Zaragoza y con un museo mexicano, el MTO.

Figura 3. Rosa Pineda Luna, originaria de Juchitán de Zaragoza, muestra la separación de elementos de un bidaani ró’, previo a realizar el proceso de limpieza. 2019.

natcc 13 84

Esta investigación permitió comprender la metodología local de cuidados aplicados al bidaani ró’ con el objetivo de recontextualizar esta información y presentar una propuesta de tratamiento de conservación-restauración que se adaptara a las características de esta pieza en su comunidad de origen. 4.1 PROPUESTA INICIAL DE RESTAURACIÓN

La investigación permitió establecer distintas propiedades del tocado, todas ellas importantes a considerar en el tratamiento de restauración: la limpieza o incluso la blancura de la tela, así como la estabilidad estructural y la rigidez que otorga el almidón al plisado.

La propuesta de intervención consideraba una limpieza mecánica superficial con el fin de eliminar residuos y sustancias móviles en superficie, seguida de una limpieza acuosa por inmersión para estabilizar la estructura físico-química del objeto y tratar de recuperar cierta noción de limpieza y uniformidad del tejido. Este paso incluía la posibilidad de separar los volantes del cuerpo central del tocado para facilitar el manejo y limitar el riesgo de tensión y encogimiento. Las zonas de roturas y deshilachados se protegerían para realizar el lavado de forma segura y posteriormente se consolidarían. Es importante mencionar que no se proponía ningún proceso de re-almidonado, pues los pliegues se podrían modelar durante el proceso de secado. Además, se propuso la elaboración de un soporte de exhibición que brindara la estructura que normalmente otorga el almidón, así como un embalaje de almacenamiento hecho a la medida.

4.2 INTERROGANTES Y DIÁLOGOS

El Museé du Quai Branly – Jacques Chirac no suele realizar limpiezas acuosas por inmersión de las piezas en su colección; en cambio, promueve la conservación de huellas y marcas de uso de los objetos en las colecciones etnográficas. El valor que proporciona la antigüedad de un objeto conlleva la consideración de la suciedad como una pátina que es importante preservar en vista de su historia. Sin embargo, es interesante marcar una distinción para cada tipo de textil estudiado. El interés de este trabajo y de realizar extensos estudios de campo en Oaxaca fue demostrar que en este caso de estudio, las huellas de uso (suciedad, manchas y amarillamiento) no constituían un elemento inherente al objeto; es más, actualmente estas huellas de uso son evidentes signos de deterioros dentro de la comunidad que dio origen al objeto. Los estudios realizados dentro de la comunidad de Juchitán y del MTO permitieron discutir la propuesta de intervención. El estudio histórico y documental,

natcc 13 85

así como la investigación de campo, fueron fundamentales para concluir que el estado de limpieza del bidaani ró’ es un factor clave para la pieza. Además, el grado de suciedad presentaba un riesgo de deterioro físico-químico en la estructura del textil. Más allá de lograr la limpieza del objeto, el lavado del bidaani ró’ permitiría una conexión más estrecha con la forma inicial de este tocado, incluyendo el plisado tan característico.

La separación de elementos también fue tema de discusión. El desmontaje total o parcial del tocado implicaba la pérdida de las costuras originales del bidaani ró’. El desmontaje es una práctica habitual en la restauración textil cuando la estructura de un objeto no permite la correcta aplicación del tratamiento a realizar. Los grandes volúmenes de los volantes y su confección podrían complicar el proceso de lavado y crear zonas de tensión. Nuevamente es importante enfatizar que la práctica del desmontaje es común durante la vida del objeto dentro de la comunidad. Las costuras de unión de los diferentes elementos del bidaani ró’ se retiran y sustituyen a lo largo de los años. Así pues, se propuso realizar una documentación precisa y detallada de las costuras originales con el fin de re-ensamblar de manera idéntica cada elemento del tocado.

Por razones de conservación y falta de dominio en la práctica de almidonado, se decidió no volver a aplicar almidón a la pieza luego de su proceso de limpieza. En vez de ello, se propuso desarrollar un soporte que permitiera recuperar esa rigidez ligada al almidón.

4.3 TRATAMIENTOS REALIZADOS

La limpieza del bidaani ró’ comenzó con la remoción mecánica de suciedad a partir del uso de una aspiradora equipada con un graduador y filtro HEPA, con el apoyo de cepillos y puntas de precisión.

De acuerdo con las discusiones previas, se desmontaron los distintos volantes con el fin de facilitar las operaciones de lavado; para ello se realizó el marcado y la documentación precisa en cada elemento. Las roturas y las áreas con faltantes fueron estabilizadas temporalmente con tul sin teñir e hilo de seda.

Para la limpieza acuosa se decidió utilizar agentes quelantes. Después de realizar las medidas de pH y conductividad del objeto, así como las pruebas de solubilidad del colorante de las cintas azules, se efectuaron diversas pruebas de lavado aplicadas en gel con diferentes soluciones tamponadas y el uso de agentes quelantes o detergentes.1 El mejor resultado se logró con una solución tamponada con ácido bórico pH 8 y EDTA.

natcc 13 86

Figura 4. Proceso de limpieza acuosa en el MqB, 2019. El lavado se realizó sucesivamente para cada uno de los elementos desmontados, tras lo cual se realizaron tres enjuagues.

natcc 13 87

La devolución a plano y el secado de los elementos se realizó sobre soportes de espuma de polietileno recubiertos con calcas precisas de Mylar®. Los pliegues se reconstituyeron a partir del uso de alfileres.

Figura 5. Colocación de alfileres entomológicos durante el proceso de secado para fijar los plisados del tul, MqB, 2019.

Para las consolidaciones estructurales definitivas, se eligió un tul similar al original que se tiñó a tono. Los soportes de tul se recortaron con precisión de acuerdo con la forma de cada desgarre con el fin de conservar al máximo la cualidad de transparencia del tul. Estas áreas se estabilizaron con líneas de puntos de restauración. Las zonas de pérdida de cohesión en la cinta del cuello se consolidaron con una cinta de crepelina de seda previamente teñida. Las costuras deshilachadas y abiertas también se estabilizaron mediante costuras.

Los distintos elementos se re-ensamblaron gracias a las marcas y la documentación establecida anteriormente. El hilo de algodón utilizado para el remontaje también se eligió cuidadosamente en comparación con el hilo original. Las puntadas siguieron el formato original.

natcc 13 88

Figura 6. Bidaani ró’ después del proceso de restauración, MqB, 2019.

Una de las últimas etapas importantes de este tratamiento fue la realización de un soporte de presentación tridimensional que pudiera mostrar las dos formas de uso del bidaani ró’ sin perder los plisados logrados durante el secado de la pieza y crearla ilusión de la rigidez relacionada con el almidonado. Para mostrar el uso en una ceremonia religiosa, se creó una banda de Fosshape® y un soporte de crin que reproduce cuidadosamente la forma de los holanes originales. El soporte de exhibición puede fijarse mediante el uso de imanes sobre un maniquí.

natcc 13 89

Figura 7. Soporte de exhibición con fondo negro para mayor contraste del encaje, MqB, 2019.

natcc 13 90

Finalmente, se elaboró un embalaje de almacenamiento hecho a medida con formas internas acolchadas para permitir la buena conservación del tocado y de los plisados.

Figura. 8. Embalaje de almacenamiento, MqB, 2019.

El tratamiento de conservación-restauración llevado a cabo en el Musée du quai Branly – Jacques Chirac permite, por tanto, reconectar de mejor manera con un tocado bastante desconocido en Francia, al tiempo que permite su presentación según las formas de uso aún vigentes en la comunidad de origen.

5. CONCLUSIONES

El objetivo de este trabajo fue demostrar la importancia de los valores presentes al interior de una comunidad viva, pues estos complementan de manera imprescindible a los estudios documentales, históricos y materiales en torno a un objeto. Al entrar en vinculación con una tradición actual, es importante recordar para quién se está realizando una intervención de restauración, así como la intención original del tratamiento y el reconocimiento del contexto geográfico y sociocultural en torno al objeto. La plena conciencia de estos factores permitirá establecer con

natcc 13 91

mayor veracidad qué es un deterioro, no solo desde el punto de vista de la conservación material de los bienes culturales, sino también desde las perspectivas de las comunidades que les han dado origen. Este diálogo crea una mayor vinculación entre la conservación, instituciones y comunidades, no solamente para abordar temas de exhibición y almacenamiento, sino también para el establecimiento de criterios a considerar durante las intervenciones de restauración. En una época donde se discute tanto en torno a la equidad, inclusión y accesibilidad, la profesión de la conservación-restauración también debe formar parte activa de la conversación y aceptar la urgente necesidad de ser flexible y adaptable a distintos contextos.

NOTAS FINALES

1 Las pruebas se realizaron con las siguientes soluciones: (a) solución tamponada con ácido cítrico pH 6; (b) solución tamponada con ácido bórico pH 8 y ácido cítrico como quelante; (c) solución tamponada con ácido bórico pH 8 y EDTA como quelante; (d) solución tamponada pH 8 y ácido cítrico como quelante; (e) solución tamponada con ácido bórico pH 8 y DTPA como quelante; (f) solución tamponada con ácido cítrico pH 8 y DTPA como agente quelante; (g) solución tamponada y detergente Tinuvetin® JUN 0.5 g / L.

AGRADECIMIENTOS

Quienes escriben estas líneas desean agradecer a las personas e instituciones que han permitido el estudio, el resguardo y la apreciación del textil de estudio: Rosa Pineda, Lorena Román, Fabienne de Pierrebourg, Alejandro de Ávila, Paz Nunez-Regueiro, Christophe Moulherat, Eléonore Kissel, Stéphanie Elarbi, Clothilde Castelli, Museo Textil de Oaxaca, Fundación Alfredo Harp Helú Oaxaca y Musée du quai Branly – Jacques Chirac, así como a quienes contribuyeron al buen desarrollo de este trabajo. Un sincero agradecimiento y reconocimiento a las mujeres istmeñas por su creatividad y empeño en la preservación del conocimiento y práctica textil.

BIBLIOGRAFÍA

Andrade, Lourdes, Charles Brasseur de Bourbourg, Miguel Covarrubias, Serguéi Eisenstein, Mathieu de Fossey, Rocío González, Annegret Hesterberg, Alberto Ruy Sánchez, Aída Sierra y Agustín Yáñez. 2000. La Tehuana 49. Ciudad de México, México: Artes de México.

natcc 13 92

OTRA LECTURA

Cordry, Donald y D. Cordry. 1968. Mexican Indian Costumes. Austin, TX: University of Texas Press.

Covarrubias, Miguel. 1946. Mexico South – The Isthmus of Tehuantepec. Nueva York, NY: Alfred A. Knopf.

de Ávila, Alejandro. 2013. Gráfica textil de Miguel Covarrubias. Oaxaca, México: Museo Textil de Oaxaca. Cédulas de exposición.

de Sevilla, Claudia. 2018. L’oeuvre d’Auguste Génin. Analyse des collections mexicaines et profil d’un proto-archéologue (1862–1931). Tesis de doctorado, École doctorale Archélogie – Laboratoire Archéologie des Amériques, París – Nanterre.

González, Jimena, Juan Manuel González y Franco Romero. 2018. Colección etnográfica del Museo Textil de Oaxaca – ceñidor mixteco, huipil de tapar. Istmo de Tehuantepec y ceñidor de bodas hopi. Manuscrito sin publicar, Instituto Nacional de Antropología e Historia – Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete”, Ciudad de México.

Henderson, Jane. 2020. “Beyond lifetimes: who do we exclude when we keep things for the future?” Journal of the Institute of Conservation 43 (3): 195–212.

Meneses, Hector. 2010. Estudio de treinta textiles mexicanos pertenecientes a la colección del Musée du quai Branly. Manuscrito sin publicar, Musée du quai Branly – Jacques Chirac, París.

Voisin, Léa. 2018. Étude et conservation-restauration d’une coiffe huipil de cabeza originaire de l’Isthme de Tehuantepec, Oaxaca, Mexique, conservée au Musée du quai Branly – Jacques Chirac. Tesis de Maestría, École Supérieure d’Art d’Avignon, Avignon.

MATERIALES Y PROVEEDORES

Ácido bórico, Ácido cítrico, EDTA, DTPAVWR Internationalhttps://fr.vwr.com/store/

natcc 13 93

Tinuvetin® JUNKremer Pigmentehttps://www.kremer-pigmente.com/fr/ CrinSocolatex12 rue du Bourg l’Abbé75003 Parishttps://socolatex.fr/

Fosshape®WonderflexWorldhttps://www.wonderflexworld.com/

Hilo de sedaMoulinage De La Rive - Michel BlancLa Rive43200 YssingeauxFrance

Colorantes sintéticosGamme LanacronHuntsmannhttps://www.huntsman.com/

Espuma de polietileno, Mylar®PromuseumZ.A. les MarceauxAllée Jean Chaptal78710 Rosny-sur-Seinehttps://promuseum.eu/

natcc 13 94

BIOGRAFÍAS

Léa Voisin se graduó como restauradora textil en 2019 por la École Supérieure d’Art d’Avignon. Actualmente trabaja como restauradora de textiles independiente en Francia atendiendo colecciones en distintas instituciones y museos públicos y privados. Apreció México y sus textiles durante una estancia en el Museo Textil de Oaxaca, tras lo que se interesó de manera particular por los textiles de distintos pueblos. Posteriormente colaboró con el Musée du quai Branly – Jacques Chirac en la conservación de este tipo de textiles, primero como practicante y posteriormente para obtener su título.

Hector Manuel Meneses Lozano es director del Museo Textil de Oaxaca desde 2012; anteriormente fue coordinador de conservación y colecciones en la misma institución. Además de involucrarse en la conservación y museografía en el Museo, es un activo colaborador en proyectos de vinculación comunitaria. Co-organizador del Encuentro de Textiles Mesoamericanos desde 2014 y miembro del Consejo Directivo del NATCC desde 2008. Licenciado en Restauración de Bienes Muebles por la Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete” – INAH, en la Ciudad de México.

natcc 13 95

Léa Voisin5 rue de la Herse61130 BellêmeFrancialea.voisin02@gmail.com+33 767983859

Hector MenesesMuseo Textil de OaxacaHidalgo 917, Centro Histórico Oaxaca de Juárez, Oaxaca, C.P. 68000 Méxicohmeneses@museotextil.org+52 9511979220

natcc 13 96

ABSTRACT

The Tillett tapiz is a 32-meter-long embroidered panel that depicts the Spanish conquest of Mexico in 230 vibrant scenes. It was designed by Leslie Tillett, a British-born textile designer who hired embroiderers in Mexico to execute the design from 1965 to 1977. The tapiz has a handwoven cotton ground with brightly colored embroidery. Embroidered strips of bilingual text along the top and bottom edges narrate the scenes, added after the central panel was complete. The tapiz was exhibited at several venues around the world in the 1970s and ’80s, providing a different perspective of the conquest to audiences.

The Denver Art Museum acquired the tapiz in 2018, and seeks to share this unique work responsibly with the museum’s audience. One concern is the fading of the brightly colored embroidery. Physical support of the panel to accommodate its significant length as well as its complicated construction, which is both sewn and adhered, also dictates the exhibition plan for this singular textile. Conservation treatment has addressed minor aesthetic concerns. With interpretation, the museum also hopes to unpeel the complex cultural issues involved in this work through its inception, execution, and in the story that it tells.

El tapiz Tillett: una historia de impacto y propósito

RESUMEN

El tapiz Tillett es un panel bordado de 32 metros de largo que representa la conquista española de México a través de 230 escenas llenas de vida. Fue diseñado por Leslie Tillet, un artista textil de origen británico, quien contrató a bordadoras en México para realizar los diseños entre 1965 y 1977. El tapiz está hecho sobre un lienzo de algodón tejido a mano y

The Tillett Tapiz: A Tale of Impact and Intent

Allison McCloskey

Denver Art Museum, Denver, CO, USA

natcc 13 97

bordado con colores brillantes. Franjas de texto bilingüe en los márgenes superior e inferior narran cada una de las escenas y fueron agregadas una vez que se concluyó el panel central del bordado. El tapiz se exhibió en diversos sitios alrededor del mundo en los años 1970 y 1980, ofreciendo a las audiencias una versión distinta de la conquista.

El Denver Art Museum adquirió el tapiz en 2018 y busca compartir esta pieza única de manera responsable con su público. Una de las preocupaciones es el desvanecimiento de los colores originalmente brillantes del bordado. El plan de exhibición de esta particular obra textil está regido por su complejidad, pues requiere soportes físicos que se acoplen a su gran longitud así como a su compleja manufactura que contiene áreas con costura y áreas con adhesivos. Los tratamientos de conservación han abordado problemas estéticos menores. En conjunto con la interpretación, el museo espera develar los complejos problemas culturales entramados en esta obra desde su concepción, ejecución y su narrativa.

1. INTRODUCTION

The Tillett tapiz is a 32-meter-long embroidered panel that depicts the Spanish conquest of Mexico in 231 scenes. It was designed by Leslie Tillett, a British-born textile designer who hired embroiderers in Mexico to execute the design from 1965 to 1977. The tapiz has a handwoven cotton ground with brightly colored embroidery. Embroidered strips of bilingual text along the top and bottom edges narrate the scenes, added after the central panel was complete. The tapiz was exhibited at several venues around the world in the 1970s and ’80s, providing a different perspective of the conquest to audiences.

The Denver Art Museum acquired the tapiz in 2018 (2018.303), and seeks to share this unique work responsibly with the museum’s audience. One concern is the fading of the brightly colored embroidery. Physical support of the panel to accommodate its significant length as well as its complicated construction, which is both sewn and adhered, also dictates the exhibition plan for this singular textile. Conservation treatment has addressed minor aesthetic concerns. With interpretation, the museum also hopes to unpeel the complex cultural issues involved in this work through its inception, execution, and in the story that it tells.

1.1 INCEPTION AND INSPIRATION OF THE TAPIZ

Leslie Tillett moved from London to Brooklyn as a child with his family, a family which had been steeped in textile manufacturing for generations. He took up the textile design and printing business, including travel to

natcc 13 98

the United Kingdom and Europe. In 1941, as World War II ravaged many countries, he and his brother James opened a textile design studio called Artes Tillett in Cuernavaca, Mexico. They also established connections in nearby Taxco and became eager participants in communities of artists within the region. James married Nieves Orozco, an indigenous woman who was a frequent model of Diego Rivera, and who would be instrumental in establishing the family’s Taxco workshop. Their community included indigenous artists and activists, refugees from the Spanish Civil War, and expatriate artists.

Leslie was familiar with Rivera’s mural cycle depicting the history of Mexico at the Palacio de Cortés in Cuernavaca. A note from Tillett’s archives explains that Rivera influenced Tillett to use primary sources: “In talking with Diego Rivera . . . I determined on using only authentic early sources and to invent nothing. Rivera encouraged me and directed me to the codices of the conquest period” (Root 2016, 405–406).

Tillett Tapestry of the Conquest of Mexico, designed and executed from 1965 to 1977, highlights the embroidery tradition of the region in Mexico where it was primarily designed and made. Tillet quoted illustrations from the Florentine Codex, the Codex Moctezuma, and the Lienzo de Tlaxcala in the vignettes of the tapiz. This selection of sources demonstrates an effort to tell a more complete version of the conquest and begin to address some of the biases they were starting to identify in 20th century historiography.

Figure 1. Opening vignette of Tillett tapiz.

natcc 13 99

Tillett also took inspiration for the format of the tapiz from the Bayeux Tapestry, with its linear format and smaller bands of illustrations at the far top and bottom borders (rendered as glyphs in the tapiz). He commissioned weaver Luis Rodríguez of Telas Rancho to create the continuous length of handspun and handwoven manta fabric. Embroiderers from Yelapa, Puerto Vallarta, Cuernavaca, and Chiapas spun and dyed the silk embroidery yarns, and executed the design on the fabric. Scholar Regina Root (2016), who is currently undertaking an in-depth study of the history and significance of the tapiz, reports that one note from Tillett records several hundred embroiderers working on the project in numbers of up to thirty at once. According to oral history that Root obtained from Dek Tillett, Leslie’s oldest son, the embroidery was moved to Port au Prince Haiti in 1968 where it was completed by artisans who stitched baseball covers. A stylistic shift in the stitch work is noticeable in the end of the tapiz. The embroidered text panel appliques above and below the central vignettes were added in 1976, in New York. Root poses that Tillett was conscious of making this work relevant for the Mexican population in New York at this time, and quotes him as saying, “The conquest is a direct part of their history” (407).

2. HANDLING AND DOCUMENTATION

The Denver Art Museum acquired the Tillett tapiz in 2018. This 32-meter-long embroidered panel arrived rolled, with its several layers bulking out the package to a very large diameter. The conservation and collections management teams first transferred the textile onto a wider diameter tube, which would allow for smoother rolling and could support the significant weight of the tapiz. A second identical tube would allow for scrolling through the length of the panel, allowing safer access for examination and documentation. Heavy gauge aluminum posts, or steel pipes, were used as internal supports for the rolls, each one resting on a pair of wooden stands to keep the rolls elevated and facilitate scrolling. Conservators and staff photographers worked together with the curator to identify select vignettes for detail photography and to start a plan to prepare the tapiz for safe gallery display in the coming years.

natcc 13 100

The tapiz features a series of vignettes illustrating events of the Spanish conquest of Mexico, “a modern interpretation of the events that transpired between 1519 and 1521” (Lyall n.d.). Colorful embroidery, primarily in multifilament silk with some synthetic metallic yarns, are on a continuous length of 72 cm wide handwoven cotton plain weave fabric with a 1 cm brown selvedge that runs above and below the embroidery. This ground fabric is made of handspun z-spun single yarns, with 25 warps per cm and 17 wefts per cm. A second continuous length of the same handwoven cotton fabric serves as the backing for the embroidery. There is an interlayer of heavier cotton canvas with a stripe of red paint on the front selvedges; this layer measures 73 cm wide. The three layers are adhered with a thin application of relatively brittle adhesive applied along the selvedges of the narrower front and back fabrics. The adhesive has no noticeable fluorescence under ultraviolet light.

Figure 2. Tapiz rolled on handling tubes with photographers Christina Jackson and Eric Stephenson and conservator Allison McCloskey.

natcc 13 101

Figure 3. Cortés meeting Moctezuma with Tecnochtitlan in the background, November 7, 1519.

Above the scenes of the conquest is a 5 cm wide applied strip of fabric, identical to the main ground fabric, with narrative text in Spanish script embroidered with deep gold-colored cotton embroidery floss. Gold-colored three-ply silk cording edges the top and bottom of the applied text panel. Below the pictorial scenes is a matching text panel in English. Applied bands of embroidered glyphs are stitched above the upper Spanish text and below the lower English text bands.

The embroidered panel is in good condition. The three layers of canvas pose a significant challenge to rolling the textile smoothly and uniformly. There is creasing of the ground fabric due to shifting of the layers when the extremely long panel was handled and rolled for storage. These are primarily vertical creases in the weft direction of the ground fabric. Adhesive on the selvedges has released along lengths of the panel, especially along the bottom edge between the backing and inner canvas. This allows access to some of the panel’s interior. There are loose brown threads from the fraying edges of the inner canvas layer.

The ground fabric has some scattered disfiguring stains with dark tidelines. Initial testing of aqueous surfactant solutions indicated that these could be reduced with local cleaning on a suction table. There are yellow-orange adhesive accretions along the folded edges of the glyph applique strips (which are stitched, not adhered, to the ground layer).

natcc 13 102

Based on physical properties and solubility tests undertaken on a loose sample of the adhesive, these accretions appear to be a hot melt-type ethylene vinyl acetate (EVA) copolymer.

Through the panel, a fine synthetic plain weave fabric with a heat-activated adhesive was seen around the text embroidery. Most had been cut away, but some areas of this embroidery stabilizer were left in place, remaining along the edges of the letters. The fabric appears to have darkened with age, soiled, and frayed from abrasion, and so the frayed remains are more visually prominent today than they likely were when first applied. The uncut remnants also show evidence of black marker outlining the script of the text panels. This marker is soluble in acetone.

After discussion of these examination findings with Victoria I. Lyall, Frederick and Jan Mayer Curator of Art of the Ancient Americas (who oversaw the acquisition of the tapiz), a treatment plan included cutting away the most prominent and distracting of these remnants. Adhesive remnants, primarily along edges of the glyph panels, would be mechanically reduced with a scalpel under magnification. Local stain reduction would be undertaken. Creases from rolled storage did not pose immediate risk to the sturdy fabric, and the improved wider diameter rolls were not eliminating this issue due to the bulky size and complex laminated structure of the tapiz, so it was decided to address these creases upon exhibition section-by-section as needed.

Figure 4. Tapiz support tubes and stands over suction table.

natcc 13 103

3. TREATMENT

Testing indicated that the tideline staining was responsive to aqueous treatment. A solution of Ecosurf EH-9 nonionic surfactant with triammonium citrate was the most effective solution tested; these included water alone, water with Orvus WA Paste anionic surfactant, and water with Ecosurf EH-9 surfactant. Surfactants were tested at 4 times the critical micelle concentration for a balance of efficacy and rinsability. A concentration of 4 g/L of surfactant in reverse osmosis filtered water was prepared with 20 g/L of triammonium citrate. Embroidery dyes were stable throughout testing. Controlling the migration of tidelines would be the most challenging aspect of local stain reduction. This was undertaken in small sections on a suction table, with each of the two support rolls situated on either end of the suction table. Surfactant solution was introduced by dropper on the stains, and cleared with three passes of reverse osmosis filtered water. Cotton blotter paper under the area and lithography wipes from above immediately controlled the movement of the water, and the suction table provided for quick drying after that to minimize tideline shifting and re-appearance. The stains were largely along and within the text panels, and their structure and placement provided some natural perimeters for the local cleaning, which aided in blending. On larger fields of unembellished canvas it was more difficult to reduce stains with a uniform result, and these areas took a second pass using similar techniques to achieve satisfactory stain reduction. Where possible along the lower edge, in areas where the adhesive had released and the three layers of tapiz could be safely separated, the main embroidery ground was isolated on the suction table for stain reduction. A few small stains that appear to be from a different source (darker and with less defined perimeters than the tidelines) are located in the center of the tapiz; these were not responsive to nonpolar solvent or aqueous tests, and were left untreated. Though the local stain reduction was time intensive (totaling over 160 hours including setup and dismantling of the suction table and support stands), the end results were positive and a net improvement in the tapiz’s appearance.

natcc 13 104

Figure 5. Moctezuma; La Malinche; Cortés landing in Vera Cruz, Good Friday, 1519.

4. PLANS FOR DISPLAY

The Tillett tapiz will be featured in a special exhibition at the Denver Art Museum in 2022 focusing on La Malinche—a Nahua woman who was given as a slave to Hernán Cortés by the Mayans as a young girl and served as his interpreter—and may travel to two additional venues. This exhibition will explore the complex issues of centuries of myth, misogyny, racism, and classism wrapped in the stories of this historical figure. Upon its return, the curators hope to install the tapiz in the newly renovated Ancient Arts of the Americas galleries for ongoing display. The current installation plan is to support the textile on two rolls, similar to the way in which it was cleaned and photographed. A central panel between the two rolls will support the vignette chosen for display; the rest of the length will be safely rolled on either side of the display panel and supported internally with posts. This method will allow for regular rotation of the vignettes, greatly reducing the cumulative light exposure while maximizing access. Regular colorimeter readings will be a part of a long-term display plan for this textile, with a primary goal of preserving the vibrancy and intensity of the story told within.

natcc 13 105

BIBLIOGRAPHY Lyall, V. n.d. “Tillett Tapestry of the Conquest of Mexico.” Denver Art Museum. https://www.denverartmuseum.org/en/object/2018.303 Root, R. A. 2016. “Imagining Conquest: El Tapiz and Postrevolutionary Mexico.” Crosscurrents: Land, Labor, and the Port. Textile Society of America's 15th Biennial Symposium Proceedings. Savannah, GA. 405–409. http://digitalcommons.unl.edu/tsaconf/1004

ACKNOWLEDGMENTS

The author would like to thank Francisca Lucero-Juez and Marina Kastan Hays, Andrew W. Mellon Fellows in Textile Conservation at the Denver Art Museum (DAM), for their assistance, advice, and support of this multi-year project; collection manager Juhl Wojahn for expert handling and rigging strategy; photographers Christina Jackson and Eric Stephenson for their careful and exacting work; Victoria I. Lyall, Frederick and Jan Mayer Curator of Art of the Ancient Americas, for bringing this exciting artwork into the DAM collection; and the entire DAM Department of Conservation and Technical Studies and director Sarah Melching for their ongoing support.

MATERIALS AND SUPPLIERS

Ecosurf EH-9 nonionic surfactantAmmonium Citrate Tribasic AnhydrousSigma AldrichPO Box 14508St. Louis, MO 63178USAhttps://www.sigmaaldrich.com/

Cotton blotting paper, 30 pt.Talas330 Morgan Ave. Brooklyn, NY 11211, USAhttps://www.talasonline.com/

Portable suction tableMuseum Services Corporation385 Bridgepoint DrSouth St Paul, MN 55075, USAhttps://museumservicescorporation.com/

natcc 13 106

BIOGRAPHY

Allison McCloskey is senior conservator of textiles at the Denver Art Museum. Allison specializes in the treatment and preventive conservation of fashion and textiles, and prepares objects for the museum’s rich exhibit schedule. She is particularly intrigued by the challenges presented by fashion and composite objects, where a variety of materials respond differently to changes in environment. She is a graduate of the Winterthur/ University of Delaware Program in Art Conservation, a Professional Associate of the American Institute of Conservation, and has worked at the Denver Art Museum since 2012.

Allison McCloskeyDenver Art Museum100 W 14th Ave PkwyDenver, CO 80204, USAamccloskey@denverartmuseum.org

natcc 13 107

ABSTRACT

This paper presents how the conservation of textiles managed to neutralize the effects of geographical, political and economic “outside” factors, in the case study of a collection of 86 painted textiles by the folk painter Theophilos Hadjimichail (1870–1934). The 1926–1933 collection was donated to the Municipality of the island of Lesvos, birthplace of the painter. In 2013, the paintings were transported to Athens for conservation by the Directorate of Conservation of Ancient and Modern Monuments/ Ministry of Culture. It was a joint effort between the Ministry and the Municipality, which lasted six years. During this time, conservators managed to tackle many challenges, and faced time-consuming bureaucratic processes, mainly in persuading the decision makers of both entities of the necessity, despite their high cost, to acquire museum quality frames.

Nevertheless, the efforts of the conservators had a successful outcome, which included the improvement of the conditions and method of display in the museum, the provision of the aforementioned custom designed museum quality frames and glazing, and analysis of the pigments Theophilos used. Most importantly, conservation triggered an official listing of the collection, by the State in January 2020, as movable contemporary cultural heritage monuments.

The Effects of Textile Conservation on “Outside Influences”

Christina Margariti, Katerina Efthimiou, Christina Prili, Panagiotis

Kostaloupis

Directorate of Conservation of Ancient and Modern Monuments, Hellenic Ministry of Culture, Athens, Greece

Amani-Christiana Saint, Vasiliki Dritsa, Maria Koui

National Technical University of Athens, Athens, Greece

natcc 13 108

RESUMEN

Los efectos de la conservación de textiles en las “influencias externas”

Este artículo presenta la forma en que la conservación de una colección de textiles logró neutralizar los efectos de factores geográficos, políticos y económicos “externos”. Se presenta el caso de una colección de 86 textiles pintados entre 1926 y 1933 por el artista Theophilos Hadjimichail (1870–1934), colección que fue donada a la Municipalidad de la isla de Lesbos, lugar de nacimiento del pintor. En 2013, las pinturas fueron transportadas a Atenas para su conservación por parte de la Dirección de Conservación de Monumentos Antiguos y Modernos / Ministerio de Cultura. Fue un esfuerzo conjunto entre el Ministerio y la Municipalidad que duró seis años. Durante este tiempo, el equipo de conservación logró enfrentar varios desafíos y largos procesos burocráticos, principalmente al lograr incidir en los cuerpos directivos de ambas entidades sobre la necesidad de adquirir marcos de calidad museo, a pesar de su alto costo.

Afortunadamente los esfuerzos del equipo de conservación tuvieron resultados exitosos, entre ellos, la mejora de las condiciones y método de exhibición en el museo, el diseño e implementación de los marcos con cubiertas transparentes mencionados anteriormente y el análisis de los pigmentos que usó Theophilos. Más importante aún, la conservación permitió que, en enero del 2020, el Estado creara un listado oficial de la colección, catalogando las obras como monumentos muebles del patrimonio contemporáneo.

1. INTRODUCTION

Theophilos Hadjimichail1 (1870–1934) or Theophilos Kephalas, was a folk painter born on the Northeast Aegean island of Lesvos, Greece. His maternal grandfather was an iconographer and Theophilos used his surname to sign his paintings. At a young age, he left Lesvos to live and work first in Asia Minor and later in the Greek mainland city of Volos, where he spent most of his life. He created numerous paintings and murals for which he was usually paid in food or wine. Many have unfortunately perished or have been destroyed (Papazachariou 1997; Papaspyrou 1998). His persistence in dressing in the traditional folk kilt and his insatiable urge to constantly draw and paint on any surface—from the walls of local taverns to tree trunks—caused contempt and mockery towards him (figure 1) (Petris 2008).

natcc 13 109

Figure 1. Theophilos Hadjimichail dressed in the traditional folk kilt. Courtesy of the Theophilos Museum. Photograph by K. Efthimiou.

natcc 13 110

In 1926 Theophilos returned to Lesvos where his raw and authentic painting style impressed the publisher and art critic Stratis Eleftheriadis (known by his nom de plume Tériade), who, between 1926 and 1933, took him under his wing and provided him with painting materials, thus enabling him to create a collection of lively painted textiles. Since the artist’s death in 1934, efforts to make him known to the Greek public were made by his patron as well as other famous artists and scholars of the era (called the Generation of the ‘30s). In fact, Angelos Katakouzenos, a well-known psychiatrist, neurologist, and patron of the arts, along with his wife Leto, organized two exhibitions of Theophilos paintings entrusted to them by Tériade. The first was at their home in Athens in 1946, and the second was one year later at the British Council in Athens, with George Seferis, poet and future Nobel laureate, giving a seminal speech at the opening. The local press, both right- and left-wing, mocked the paintings’ style, the painter himself, and the efforts to publicize him. International attention was not given to Theophilos’ works until 1960, when they were displayed in Bernes, and even more so, in 1961, when an exhibition was held at the Musée des Arts Décoratifs in the Louvre. Odysseas Elytis, poet and future Nobel laureate, wrote about it with glowing praise. That boosted Theophilos’ popularity greatly and in 1964, another exhibition, this time with great success, was housed in the Greek-American Union. In 1965, Tériade donated 86 painted textiles to the Municipality of Lesvos, along with a building that became the Theophilos Museum. The museum opening was celebrated as a grand event, attended by politicians, well-known figures of the literary world and the arts, as well as the local community (Peloponnisiou-Vasilakou and Synodinos 2020). Nowadays Theophilos is considered one of the most prominent modern/folk painters in Greece (Petris 2008).

2. THE COLLECTION OF PAINTED TEXTILES

The collection of 86 paintings was created from 1928 to 1933, right before Theophilos’ death, and all works are signed and dated except the smallest (figure 7). His thematology is rich with historical subjects ranging from classical Athens and Alexander the Great, to Byzantine kings in battle, heroes of the Greek War of Independence in 1821, or wars contemporary to his life, like the First Italo-Ethiopian War (1887–1889), the Russo-Japanese War (1904–1905), or battles between the English and the Indians. Fictitious subjects include scenes from Homer’s epic poems or later plays, like Erotokritos.2 Many of the paintings portray quotidian scenes like the fishmonger, the gathering of olives, and weaving. Theophilos also painted scenery from Lesvos or famous places he had never visited, like the Gates of Jerusalem and the pyramids in Egypt.

natcc 13 111

Theophilos’ art can be characterized as naïve, as he never received any formal training or education as an artist and formed his own style by using a wide range of vivid colors and sharp outlines. He defined the painting area by black borders that he crossed whenever necessary. He signed and dated the paintings on the unpainted area outside the borders. Interestingly, he also added titles and captions, explanatory to the subject, using the conservative Modern Greek literary language3, as opposed to the contemporary vernacular. Theophilos infused his personal perceptions into his paintings by putting bows in the hair of the Archaic lyric poet Sappho (Lesvos, ca. 630 – ca. 570 BCE) and feathers on the Indians’ heads. He was quick in incorporating contemporary inventions into his paintings by depicting airplanes over Lesvos landscapes, or covering Mrs. Pattrison’s legs with fishnet tights (figure 2).

Figure 2. Details from the paintings a) The Poet from Lesvos, Sappho and the Guitarist Alkaios (1932); b) Battle of the English Against the Indians (1931); c) The Virgin of Petra (1928); d) The Family of Mr. Pattrison, the Democrat of the Prefecture of Chicago (1933). All titles translated from Greek. Courtesy of the Theophilos Museum and the Directorate of Conservation of Ancient and Modern Monuments. Photograph by C. Margariti and K. Efthimiou.

natcc 13 112

The paintings are large in dimension, with the smallest measuring 72 x 71 cm, the majority approximately 70 x 180 cm, and some even approximately 120 x 160 cm. Pigments were applied directly to the textile without a preparation layer in thin coatings with very little buildup. The textile substrate is a sized, plain weave, 23 x 23 ± 2/cm2, z-twist, cotton fabric. The paintings were lined with a similar fabric, stretched on wooden frames, and their edges were secured to the back of the stretchers with metal nails. They were subsequently framed with plywood strips and acrylic glazing. Due to the small size of the museum, they were displayed in rows from floor to ceiling, while temperature and humidity levels were not controlled and sunlight streamed through the open windows (figure 3).

Figure 3. A view of one of the rooms of the Theophilos Museum before refurbishment and conservation of the paintings. Courtesy of the Directorate of Conservation of Ancient and Modern Monuments. Photograph by P. Kostaloupis.

natcc 13 113

3. OUTSIDE INFLUENCES

The Theophilos Museum collection belongs to the Municipality of Lesvos, which exercises local self-governance. Preserving culture within their local area falls under the responsibilities of Greek Municipalities, as stated by the European Committee of the Regions. Since the Municipality of Lesvos does not employ conservation personnel or have a conservation laboratory where treatment of the paintings could take place, a collaboration with the Ministry of Culture was necessary.

The Ministry of Culture operates under very specific regulations concerning the conservation and protection of cultural heritage, stipulated by Archaeological Law No. 3028/2002. Cultural objects postdating 1830 must be officially declared movable monuments to fall under the auspices of the Archaeological Law. Although all Theophilos’ works had been listed as such in 1976, problems arose concerning the authenticity of many of them. As a result, since 2002 the Ministry of Culture began to relist them one by one or collectively. The conservation of the collection was undertaken by the Directorate of Conservation of Ancient and Modern Monuments (DCAMM), which is the part of the Ministry of Culture responsible for the conservation of movable and immovable monuments. The paintings had to be transported to DCAMM’s conservation laboratories in Athens. In addition, as the project was incorporated into DCAMM’s regular annual work plan, hiring additional personnel was not possible. In total, six conservators worked on the project throughout its duration, with a maximum of two working simultaneously at any given time.

Despite its location and very small size, the Theophilos Museum is very busy, visited daily by schools during winter and large numbers of tourists during summer. In order to keep the museum open, the collection was shipped to Athens in two parts. Transportation of the paintings from and back to the island, including a 12-hour journey by ship, proved to be more challenging than anticipated due to the bureaucracy needed for security reasons and the paintings’ very high insurance value. The cost of the project was further increased by the conservation-quality materials used for the paintings’ frames, combined with their large size. Since the Municipality and the State operate under distinctly different financial, administrative, and operational policies, good communication between both parties was crucial in order to overcome hurdles. Time management became essential, since DCAMM could provide the funds necessary for the frames over an extended period of time, which was considered too long by the Municipality. On the other hand, the framing process as proposed by

natcc 13 114

the Municipality did not meet DCAMM’s conservation standards, so delays occurred while sorting out the finances and coming to agreement on the conservation prerequisites.

Theophilos is nowadays considered one of the most prominent Greek painters, and his paintings are highly sought works of art at national and international auctions. The Theophilos Museum collection is, at the time of writing, the most comprehensive and well-known collection of his paintings. Subsequently, the conservation project drew the attention, and often criticism—mostly as a means of pressure—of a national radio station, a local TV station, and many national and local newspapers.

3.1 PROJECT OUTLINE AND TIMELINE

The project included four distinct actions, each one greatly influencing the welfare of the collection:

• Refurbishment and restoration of the museum building by the Municipality beginning in 2012, including installation of new lighting, heating units, and dehumidifiers.• Transportation of the paintings to and from Athens by the Municipality, which took place in two shipments in order for the museum to stay open. The first 51 paintings were transported in 2013, 40 of which returned in 2015. The remaining 35 paintings were transported for conservation in 2015, and 46 paintings were returned in 2019.• Conservation and analysis of the paintings by DCAMM, lasting from 2013 to 2018.• Framing of the paintings, which took place in three parts: 23 and 46 paintings framed by DCAMM in 2015 and 2019 respectively, and 17 paintings framed by the Municipality in 2019.

4. CONSERVATION

Conservation works included mechanical surface cleaning, removal from the old stretchers, disinfection of mold-infested paintings, consolidation of crumbling paint layers, infills of missing areas, pigment analysis, and support on padded boards.

4.1 CONDITION ON RECEIPT

The paintings were removed from the museum when damage to the roof caused rainwater to saturate the walls and subsequently leak into the exhibition rooms. RH levels in the rooms were very high for a prolonged

natcc 13 115

period of time until the leakage became evident. The high RH levels were likely responsible for two types of deterioration detected in certain paintings: (1) mold growth between the back side and the secondary lining, and (2) crumbling and powdery paint layers, probably due to failure of the binding medium and/or sizing of the textile substrates. Furthermore, the acrylic glazing, almost in contact with the underlying painting, created a microclimate favorable for microorganism growth and inhibited viewing of the paintings due to the way it reflected light. Many plywood frames and glazing material had warped, allowing for significant dust accumulation on the objects. A few paintings were missing their lower parts, which seemed to have been cut by scissors, although the reason and time this took place is unknown. The wooden stretchers had caused mechanical stress to the textile substrate, which in combination with the tension and corrosion from the metal nails had deformed the paintings and several holes had developed around the edges. Finally, permanent exhibition in rooms lit mainly by sunlight had caused some paintings to fade.

4.2 FRAME REMOVAL, MECHANICAL SURFACE CLEANING, AND HUMIDIFICATION

The old frames and metal nails holding the paintings to the stretchers were removed. The second, support textiles were easily removed, since they were not actually attached to the paintings. The painted areas, except those requiring consolidation, were protected with net and mechanically surface cleaned with a museum vacuum, while chemical sponges were used on the unpainted borders. Deformed areas and intense creases in the textile from folding around the stretchers were relaxed by local humidification through a moisture-permeable polyester membrane (Sympatex®).

4.3 DISINFECTION

Mold had grown between the back of some paintings and the support textile. The infested objects were placed facedown on a sheet of Polymex® polyester film (chosen for its antistatic properties) inside the domed chamber of the suction table. An OMRON Compare C28 nebulizer, also placed inside the dome, saturated the air with a solution of 70:30 v/v ethanol in deionized water, where the objects were left for three hours (Yosef, Dolan, and Flender 2001). Subsequently, the back surface of the paintings were vacuumed and further surface cleaned with chemical sponges.

natcc 13 116

4.4 CONSOLIDATION

The thin paint layer was powdery and crumbling in certain paintings. Overall, the surface of all paintings had the matte appearance of under-bound paint. Retaining the matte effect and preventing any consolidant from heavily impregnating the textile substrate were the main considerations when choosing the medium and method of consolidant application. A solution of 2% Klucel® G in isopropyl alcohol was applied with a 00 pointed paint brush in small areas, color by color. Isopropyl alcohol was selected as the solvent to enhance evaporation in order to eliminate the risk of lateral spreading into the textile substrate (Pollak 2003, 131) and to minimize color change and alteration of the matte appearance (Knight 2016; Romano 2019).

4.5 INFILL AND SUPPORT OF AREAS OF LOSS

In eight cases, the bottom border and an unknown amount of the painting had been cut away and previously restored with a strip of cloth machine-stitched to painting. These strips were removed and replaced with 32 x 32/cm2 plain weave cotton fabric, dyed to a color similar to that of the textile substrate and secured with long-short stitches with cotton thread through the holes made by the sewing machine (figure 4). In addition, the nails that secured the paintings on the wooden stretchers had corroded, causing holes to develop. These were also infilled as described above.

Figure 4. Detail of the infill on the painting, New Type of the Peasant From Mytilene (1931), showing the machine stitching before (a, b) and long-short stitches after (c, d) conservation. Courtesy of the Directorate of Conservation of Ancient and Modern Monuments. Photograph by C. Margariti.

natcc 13 117

4.6 PIGMENT ANALYSIS

According to popular belief, Theophilos used nature as his source to produce his own pigments. However, it is also recorded that Tériade provided him with painting materials. Conservation was considered an ideal period to perform pigment analysis on the collection. Several non-destructive techniques were applied to a set of paintings representative of all the different years of the collection in order to acquire detailed information on the molecular structure of the pigments, the binding media, and their application technique. In situ analyses were performed with x-ray fluorescence spectroscopy (XRF) using a portable Bruker Tracer III-SD spectrometer and S1XRF and ARTAX software, and fiber optics diffuse reflectance spectroscopy (FORS) using a portable Ocean Optics USB4000-VIS-NIR spectrometer and Spectrasuite Spectroscopy software. Furthermore, microsamples (flakes) were collected and analyzed by Fourier transform infrared spectroscopy (FTIR) with a Bio-Rad FTS 3000 MX Excalibur Series spectrophotometer, after being mixed with potassium bromide powder and compressed into pellets. FTIR spectra were processed with Bio-Rad Win-IR Pro 3.0 and Thermo Nicolet OMNIC 7.1 software. Comparative spectral analyses of the in situ color measurements and Kremer reference pigments were performed (Saint et al. 2018; Saint et al. 2019).

Based on the analyses, the pigments Theophilos used were: for the whites, lithopone (a mixture of barium sulfate and zinc sulfide) and/or zinc white (zinc oxide), lead white (lead carbonate), and white earths (calcite, gypsum in traces); for the blues, ultramarine (artificial lapis lazuli); for the greens, green earth with the form of celadonite (phyllosilicate of potassium) and glauconite (iron potassium silicate); for the reds, red ochre with the form of hematite [iron(III) oxide], minium [lead(II,IV) oxide], and mixtures of the two; for the browns, earth pigments with the form of hematite such as dark ochre or caput mortuum; for the yellows and beiges, yellow ochre with the form goethite (hydrated iron oxide) (Saint et al. 2018; Saint et al. 2019).

Pigments like lithopone, ultramarine, and ochres are consistent with similar analyses by XRF and Raman spectroscopy applied to two of Theophilos’ paintings on wood from the same period (Mouzakiotou, Laskaris, and Ganetsos 2020).

Among the aforementioned, white pigments were used in the ground layer of the paintings. Additionally, it was found that organic materials were used as the binding media, namely, oils possibly combined with resins (oil painting), as well as egg (tempera) or milk (Saint et al. 2018).

natcc 13 118

4.7 PADDED BOARD SUPPORT

The paintings were mounted on padded boards in order to provide full support without causing mechanical stress (Pollak 2003). Since the edges were heavily deformed and stained by corroded metal nails, it was decided to maintain the original dimensions of the paintings and fold them again behind the padded boards. Fluted polycarbonate panels of 12 or 18 mm thickness, depending on the size of the painting, were used as the rigid base of the padded boards, cut to size with the internal tunnels running parallel to the longest side of the painting to increase the rigidity of the structure (Tétreault 2017). Linen self-adhesive tape reactivated with water covered the sharp edges of the boards, which were then covered by two layers of cotton flannel, the upper stapled to the back of the panel. A custom-produced undyed, unbleached, unsized, plain weave cotton fabric (32 x 32 /cm2) was used as the final cover, secured to the back of the board by stitching and stapling. Linen self-adhesive tape was used to secure the edges of the cotton fabric to the back of the board. An additional layer of cotton flannel was stitched on top of the cotton cloth, right behind the painting to provide additional grip (figure 5). This was considered necessary due to the large surface area of the paintings, as no stitching could be applied through the paint layer. The edges of the paintings were secured to the textiles on the back of the boards by herringbone stitching with cotton thread. Strips of Velcro® loop tape (2.5 cm width) sewn to cotton fabric were stitched to the back on the corners and in the middle of the long edges, to the object and/or the mount fabric.

Figure 5. Detail of the cotton flannel placed behind the paintings to provide additional grip. Courtesy of the Directorate of Conservation of Ancient and Modern Monuments. Photograph by C. Margariti.

natcc 13 119

5. FRAMING

The custom-made frames were made of European beech wood (Fagus sylvatica). It has a pH higher than 5 (Campbell and Bryant 1941; Tétreault 1999; Gibson and Watt 2010) and releases an intermediate amount of acetic and formic acids (Tímár-Balázsy and Eastop 1998, 339). Optium Museum Acrylic® sheets of 3 or 4 mm thickness, depending on the size of the painting, were used for the glazing. Optium is a lighter weight material than glass that is shatter and abrasion resistant, and most importantly blocks UV radiation up to 99% and is anti-reflective. The two latter qualities were considered of utmost importance and justified the high cost of the material. The frames were made of two mounts, the inner mount that would support the painting, and the outer that would support the glazing material. The outer mount was 8 cm deep to allow for a minimum 2 cm distance between the painting surface and the glazing material. For every painting, the hook side of Velcro® tape was stapled to corresponding positions on the inner mount. First, each painting was secured to the inner frame with the Velcro® tape, and then the glazing was inserted into the outer mount, which was subsequently joined to the inner one with screwed metal flaps (figures 6–8).

Figure 6. Cross-section of a frame mockup. The strip of wood indicated by the arrow was replaced by screwed metal flaps in the final frames. Courtesy of the Directorate of Conservation of Ancient and Modern Monuments. Photograph by K. Efthimiou.

natcc 13 120

Figure 7. Comparison of the old frames (left) with the new one (right). On the right is the first painting framed with the new materials, We Have Fresh Yogurt and Milk (undated). Courtesy of the Directorate of Conservation of Ancient and Modern Monuments. Photograph by C. Margariti.

Figure 8. The painting Pericles at Pnyx Justifying the Expenses Made for the Akropolis (1928) after conservation and framing. Courtesy of the Theophilos Museum and the Directorate of Conservation of Ancient and Modern Monuments. Photograph by C. Margariti.

natcc 13 121

6. CONCLUSION

Conservation and reframing using museum quality materials, enhanced both the condition and aesthetics of the paintings. This was the first time this specific glazing material, Optium Museum Acrylic®, was used in a museum in Greece. This material along with the simple design of the new frames significantly improved the experience of the museum visitor. In addition, the environmental conditions and lighting in the Museum were adjusted to acceptable levels by closing the windows and using artificial light sources at low levels (≤60 lumens), and by adding dehumidifiers and heating units in the exhibition rooms. Although the conservation treatments were generally straightforward, the number and size of the paintings, the limited personnel involved, the high cost of the frames, and the distinct differences in the managerial systems of the two authorities involved, made the project a particularly demanding one, yet with a successful outcome. Most importantly, conservation triggered the State to officially list the collection as movable contemporary cultural heritage monuments in January 2020, and the paintings are now officially protected by the Archaeological Law.

ENDNOTES

1 Hatzi-, Hadji-, or Chatzi- (Greek: Χατζη-), deriving from the Arabic Hajji, is a prefix added to Greek surnames indicating a pilgrimage to Jerusalem (Petris 2008, 13).

2 A romantic poem by Vikentios Kornaros, early 17th century Crete.

3 Katharevousa, a late 18th century version of Modern Greek attempting to “clean” (katharos) the language from foreign influences and emphasise its Ancient origins.

ACKNOWLEDGMENTS

The authors would like to thank Tina Chanialaki, conservator, and Maria Mertzani, director, Directorate of Conservation of Ancient and Modern Monuments; Evangelia Valavani and Eleni Cheilakou, researchers, School of Chemical Engineering, National Technical University, Athens; Rania Makropoulou, The Theophilos Museum; Yiannis Vlachos, La Cornice SA; Argyris Chatzimalis, conservator, Municipal Gallery of Lesvos; Toula Vougiouka and Vlassis Mavrantonis, Municipality of Lesvos; Konstantinos Astyrakakis, Vice-Mayor of Lesvos for Culture and Tourism (2014–2018); and Spyros Galinos, Mayor of Lesvos (2014–2018).

natcc 13 122

REFERENCES

Campbell, W. G., and S. A. Bryant. 1941. “Determination of pH in Wood.” Nature 147: 357. https://doi.org/10.1038/147357a0

European Committee of the Regions. 2021. “Division of Powers. Greece.” Accessed January 14, 2021. https://portal.cor.europa.eu/divisionpowers/Pages/Greece.aspx

Gibson, Lorraine, and Michael Watt. 2010. “Acetic and Formic Acids Emitted From Wood Samples and Their Effect on Selected Materials in Museum Environments.” Corrosion Science 52 (1): 172–178. https://doi.org/10.1016/j.corsci.2009.08.054

Knight, Evan. 2016. Assaying Klucel-G Recipes, Application Methods in the Surface Consolidation of Tanned Bookbinding Leathers. Poster presented at the Joint 44th Annual Meeting and 42nd Annual Conference of the American Institute for Conservation of Historic and Artistic Works and the Canadian Association for Conservation (Association Canadienne pour la Conservation et la Restauration), May 11–18; Montreal, Canada. Accessed January 20, 2021. https://www.culturalheritage.org/docs/default-source/annualmeeting/68-assaying-klucel-g-recipes-application-methods-in-the-surface-consolidation-of-tanned-bookbinding-leathers.pdf?sfvrsn=a54b29af_4

Mouzakiotou, Stella, Nikolaos Laskaris, and Theodore Ganetsos. 2020. “Research Study in Two Unpublished Artworks of the Important Greek Artist, Theofilos Hadjimichael (1870–1934).” International Journal of Arts 10 (2): 27–32. https://doi.org/10.5923/j.arts.20201002.01

Papaspyrou, Dinos. 1998. Θεόφιλος Χ.Η. Μιχαήλ [Theofilos G.H. Michael]. Thessaloniki: Ianos.

Papazachariou, Emmanouel. 1997. Ο Άλλος Θεόφιλος [The Other Theofilos]. Athens: Cactos.

Peloponnisiou-Vasilakou, Sophia, and Zisimos Synodinos, eds. 2020. Άγγελος Κατακουζηνός, Στρατής Ελευθεριάδης -Tériade: μια φιλία ζωής [Angelos Katakouzenos, Stratis Eleftheriadis – Tériade, a Life Friendship, Creation of Theophilos Museum]. Athens: Angelos and Leto Katakouzenos Foundation.

Petris, Giorgos. 2008. Ο Ζωγράφος Θεόφιλος [Theophilos the Painter]. 4th ed. Mytilene: Municipality of Lesvos.

natcc 13 123

Pollak, Nancy R. 2003. “Moving Pictures: Adapting Painting Conservation Techniques to the Treatment of Painted Textiles.” In Tales in the Textile: The Conservation of Flags and Other Symbolic Textiles, edited by Beth Szuhay. Albany, NY: North American Textile Conservation Conference. 127–134.

Romano, Christine. 2019. “Painting Consolidation.” American Institute for Conservation Wiki. Accessed January 20, 2021. https://www.conservation-wiki.com/wiki/Paint_Consolidation#Cellulose_Ethers

Saint, Amani-Christiana, Vasiliki Dritsa, Eleni Cheilakou, Evangelia Valavani, Christina Margariti, Katerina Efthimiou, and Maria Koui. 2018. “Chapter 22: Non-invasive Identification of the Pigments and Their Application on Theophilos Hatzimihail’s Easel Paintings.” In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, edited by Maria Koui, Fulvio Zezza, Dimitrios Kouis. New York: Springer. 217–231.

Saint, Amani-Christiana, Vasiliki Dritsa, Eleni Cheilakou, Evangelia Valavani, Christina Margariti, Eirini Savu, and Maria Koui. 2019. Μη-επεμβατική Αναγνώριση Χρωστικών και η Εφαρμογή της σε Πίνακες του Θεόφιλου Χατζημιχαήλ (1870-1934) [Non-invasive Identification of the Pigments and Their Application on Theophilos Hatzimihail’s Paintings (1870–1934)]. Paper presented at the 12th Panhellenic Scientific Conference of Chemical Engineering, Athens, May 29–31.

Tétreault, Jean. 1999. Coatings for Display and Storage in Museums. Technical Bulletin 21. Ottawa, ON: Canadian Conservation Institute.

Tétreault, Jean. 2017. Products Used in Preventive Conservation. Technical Bulletin 32. Ottawa, ON: Canadian Conservation Institute. Accessed January 14, 2021. https://www.canada.ca/en/conservation-institute/services/conservation-preservation-publications/technical-bulletins/products-used-preventive-conservation.html

Tímár-Balázsy, Agnes, and Dinah Eastop. 1998. Chemical Principles of Textile Conservation. Oxford: Butterworth-Heinemann.

Valavani, Evagellia. 2016. Διερεύνηση Ταυτοποίησης των Πιγμέντων και της Εφαρμογής τους σε Πίνακες Ζωγραφικής του Θεόφιλου Χατζημιχαήλ με Μη Καταστρεπτικές Μεθόδους [Pigment identification of Theophilos paintings with non-destructive techniques]. Bachelor’s Thesis, National Technical University of Athens.

natcc 13 124

Yosef, Ali, Michael J. Dolan, and Eleanor J. Flender. 2001. “Alcohols.” In Disinfection, Sterilization, and Preservation, edited by Seymour Stanton Block. 5th ed. Philadelphia: Lippincott, Williams & Wilkins. 229–254.

FURTHER READING

https://www.mutualart.com/Artist/Theofilos Hadjimichail/98B2997D1253E042

MATERIALS AND SUPPLIERS

Cotton fabric and flannelElmaloglou & Co.Aiolou 22 & Mitropoleos, 10563 Athens, Greece

Chemical sponge, Klucel® G, Linen and Velcro® tapes, Sympatex®IN SITU Museum & Archive ServicesPontou 181, Kalamaria,55132 Thessaloniki, Greecehttps://www.insituconservation.com Kremer Pigments Inc.247 West 29th Street New York,NY 10001, USAhttps://shop.kremerpigments.com/us

Optium Museum Acrylic®, Tru Vue, Inc.La Cornice SA12 Kyprou, 18346 Moschato, Greecehttps://www.lacornice-sa.gr

Polycarbonate panelsPolycarbonLeoforos Kiffissou 44 & Iteas 2,12133 Peristeri, Greecehttps://www.polycarbon.gr

Polymex® PSG Group Ltd.EXAIRETONPoulopoulou 18,11851 Athens, Greecehttp://www.exaireton.com

natcc 13 125

BIOGRAPHIES

Christina Margariti gained her MA in textile conservation at the Textile Conservation Centre/University of Southampton, UK where she also completed her PhD. She was a Marie Skłodowska Curie Fellow at the University of Copenhagen (FIBRANET, agreement no. 745865). She is currently the head of the Applied Research Department of DCAMM and has taught textile conservation at the Technical Educational Institution of Athens (TEI). Katerina Efthimiou gained her first degree in Conservation from TEI. She also has MSc degrees in Museum Studies from University of Leicester, UK, and in Protection of Monuments from National Technical University of Athens (NTUA). She has been a permanent employee of DCAMM since 2010. She greatly enjoys making videos of the conservation projects she participates in, e.g., “«Theophilos Gallery»: Conservation to the Core” on YouTube.

Christina Prili gained her first degree in Conservation from TEI. She is a textile and paintings conservator and has worked, amongst other places, at the Asian Museum of Corfu and the Ecclesiastical Museum in Kefalonia. Lately she has been working at the Textile Conservation Laboratory of DCAMM on several large projects like the conservation of the Theophilos paintings and the textile collection of the former Royal Palace of Tatoi.

Panagiotis Kostaloupis is a paintings conservator with a degree in Conservation from TEI. He has an MA in Museum Studies from the Kapodistreian University of Athens. He is the head of the Conservation Works department of DCAMM.

natcc 13 126

Amani-Christiana Saint, chemical engineer, is a PhD candidate in the Materials Science and Engineering Department of National Technical University of Athens. She also holds an MSc in “Protection of Monuments: Intervention Materials and Techniques” from NTUA. Her research expertise is in the application and assessment of spectroscopic, non-destructive testing techniques for the characterization and decay assessment of different materials and structures.

Dr. Vasiliki Dritsa, chemist, is a member of the laboratory teaching staff and a researcher in the National Technical University of Athens. She holds a PhD in Synthesis and Development of Industrial Processes, and is working with non-destructive spectroscopic analysis for the identification and decay investigation of different materials and structures.

Maria Koui is a faculty member of the School of Chemical Engineering, NTUA, and professor of “Spectroscopic and Non-Destructive Methods and Techniques for the Characterization of Materials.” In 2005, she founded the Laboratory Unit of Non-Destructive Controls (NDT Lab). She is also a professor at the postgraduate “Protection of Monuments” program. Her interests include, amongst others, the development of non-destructive inspection methods for historic artifacts, structures, and complexes, etc.

natcc 13 127

Christina Margariti, Katerina Eftimiou, Christina Prili, Panagiotis KostaloupisDirectorate of Conservation of Ancient and Modern MonumentsHellenic Ministry of Culture81 Peiraios Avenue,10553 Athens, Greece+30 210 32 44 227chmargariti@culture.gr, aefthimiou@culture.gr, chprili@culture.gr, pkostaloupis@culture.grhttps://www.culture.gov.gr/el/ministry/SitePages/viewyphresia.aspx?iID=1331 Amani-Christiana Saint, Vasiliki Dritsa, Maria KouiDepartment of Materials Science and Engineering, NDT LabSchool of Chemical EngineeringNational Technical University of AthensIroon Polytechniou 9, Zografou,15780 Athens, Greece+30 210 77 24 296amani45@gmail.com, vdritsa@central.ntua.gr, markoue@chemeng.ntua.grhttp://www.ndt-lab.gr/ndtlab/

natcc 13 128

ABSTRACT

In November 1988, the Naval Historical Center, now Naval History and Heritage Command, became stewards of the national ensign flown on the United States Navy destroyer USS Taylor (DD 468). Due to limited staffing and uncontrollable circumstances shortly after donation, the ensign’s physical location was not properly updated during a move, causing dissociation. As a result, in 2002 when the USS Taylor Reunion Association requested their ensign for their reunion, the flag could not be located. Thus began a saga that spanned nearly two decades. This paper will focus on factors that influenced the ensign’s treatment and pressure mounting including: satisfying the desire of USS Taylor veterans to be reunited with their ensign, needing to complete treatment in a short timeframe, working in a nascent Conservation Branch and laboratory still in development, navigating the Navy and government system to purchase supplies, and later packing and shipping the ensign in time for the USS Taylor veterans’ reunion in October 2018. Ultimately, the progression of events over twenty years made it possible for the USS Taylor national ensign’s eventual rediscovery, treatment, and successful reunion with its crew.

Under Pressure: Rediscovering, Treating, and Pressure Mounting the USS Taylor National Ensign

Yoonjo Lee, Karl Knauer, and David Krop

Naval History and Heritage Command, Richmond, VA, USA

natcc 13 129

Bajo presión: redescubrimiento, tratamiento y montaje bajo presión de la Insignia Nacional del USS Taylor

RESUMEN

En noviembre de 1988, el Naval Historical Center, actualmente el Naval History and Heritage Command, se convirtió en el custodio de la insignia nacional izada en el destructor USS Taylor (DD468), perteneciente a la Marina de los Estados Unidos. Debido a la escasez de personal y a circunstancias incontrolables poco después de su donación, la ubicación física de la insignia no fue actualizada durante una mudanza, lo que provocó una disociación. Como resultado, en 2002, cuando la USS Taylor Veterans Association solicitó su insignia para su reunión, la bandera no pudo ser localizada. Así comenzó una saga que se extendió por casi dos décadas.

Este trabajo se enfocará en los factores que influenciaron las decisiones para su tratamiento, incluyendo el montaje bajo presión de la bandera, la ejecución del tratamiento en un tiempo muy reducido (abril a octubre de 2018), el trabajo en un incipiente sector de conservación y laboratorio aún en desarrollo, la navegación en el sistema de la Marina y del gobierno para la compra de suministros, y posteriormente el embalaje y traslado de la insignia a tiempo para la reunión de los veteranos del USS Taylor en octubre de 2018. En definitiva, la secuencia de sucesos durante estos treinta años hizo posible que la insignia nacional del USS Taylor eventualmente se redescubriera, se interviniera y se reuniera exitosamente con su tripulación.

1. INTRODUCTION

USS Taylor (DD 468) was a United States Navy destroyer named after Rear Admiral William Rogers Taylor. Commissioned in 1942, USS Taylor began service in World War II with the Atlantic Fleet and was present during the Japanese surrender conducted aboard USS Missouri on 2 September 1945 in Tokyo Bay. USS Taylor later served in the Korean and Vietnam wars, earning a Navy Unit Commendation and 14 battle stars throughout its career. In 1977, USS Taylor veterans began holding reunions. Their ensign—the national flag flown on the ship when it entered Tokyo Bay for the Japanese surrender—became the focal point, displayed tacked to walls.

During the 1988 reunion, Captain Chuck Smith, Deputy Director of the Naval Historical Center (NHC) at the time and a USS Taylor veteran, convinced the custodian of the ensign to donate it to the organization. In

natcc 13 130

November 1988, the ensign was formally accessioned (object #: NHHC 1988.220.A) and catalogued into NHC’s collection (Thompson 2018).

At this point, the history of the ensign becomes murky. NHC was a small organization with limited staff struggling to evolve and modernize its collections database system. Following three data migrations and staff changes, the artifact location information was not updated when collections were moved to other storage locations. This dissociation was not discovered until the USS Taylor Reunion Association requested their ensign for a reunion in 2002.

The misplacement of this ensign became a point of tension between the veterans and NHC. Emails from USS Taylor veterans inundated NHC staff from 2002 onwards urging staff to locate the flag. A member of Congress also communicated with NHC regarding the veterans’ request. The veterans’ disappointment in the organization designated as steward of their ensign became a powerful external influence and motivation for NHC staff to improve the overall management of its collection, and to make a concerted effort to locate the flag.

2. NAVAL HISTORY AND HERITAGE BACKGROUND

2.1 INSPECTOR GENERAL INSPECTION 2011

In 2006, Naval Historical Center was given oversight of ten Navy museums. With the added responsibilities, its name was changed in 2008 to Naval History and Heritage Command (NHHC). It is headquartered at the Washington Navy Yard in the District of Columbia.

NHHC’s collection of over 300,000 Navy objects had been stored in various locations throughout the country, making it difficult to manage with limited staffing. As a result, in 2011 an Inspector General (IG) inspection of NHHC revealed major deficits of the organization’s functional ability to manage a large collection. This failed inspection prompted NHHC to take action to improve the conditions and care of their collection.

In 2015, NHHC consolidated the majority of its objects by establishing the Collection Management Facility (CMF) in Richmond, VA. That same year, the Navy also established its first Conservation Branch (CO) and laboratory dedicated to Navy objects. The lab officially opened on 1 May 2019.

natcc 13 131

2.2 CONSERVATION BRANCH

Conservation Branch operations at the CMF include a main laboratory, analytical lab, and industrial workspace.1 The laboratory had been a food preparation space when the CMF warehouse was formerly a distribution center (figure 1). The space had not been retrofitted prior to the arrival of conservation staff. Initially, the Conservation Branch was provided with a fume hood, heated vacuum suction table, four adjustable height steel tables, and a surgical stereomicroscope bought previously in anticipation of the creation of the Conservation Branch. All other basic supplies and equipment necessary for operating a conservation laboratory had to be acquired.

It was not until 2016 that CO could start buying basic items after mandatory online training, receipt of a government purchase card, approval to begin procurement, and learning the constraints of the federal system. Purchasing technical supplies and equipment would be extraordinarily frustrating but critical for the Conservation Branch to function.

Figure 1. Space designated as the conservation laboratory before and after installation. The lab was undergoing renovation during the USS Taylor ensign pressure mounting project. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released.

natcc 13 132

3. USS TAYLOR NATIONAL ENSIGN REDISCOVERY NHHC was required to account for its collection after the 2011 IG Inspection, and consolidation at the CMF provided the opportunity to begin in earnest. NHHC hired contractors to audit numerous crates and their contents and designated the project the Artifact Baseline Reset (ABR). On 17 April 2018, contractors discovered a flag matching the accession number of the misplaced USS Taylor ensign. Senior leadership at the Washington Navy Yard was notified immediately. Soon after, NHHC Director Samuel Cox notified the USS Taylor veterans that nearly two decades later, their flag finally had been relocated.

4. CONSERVATION4.1 REQUEST FOR CONSERVATION SERVICES

On 18 April 2018, the Conservation Branch received a formal request to examine, treat, and mount the ensign for display at the USS Taylor Reunion Association gathering in October, leaving CO staff approximately six months to complete the request. Immediately the ensign took priority over existing treatments; NHHC wanted to make amends for past failures surrounding this important object. Additionally, the Command wanted to demonstrate that the CMF, staffing increase, new conservation capabilities, and ABR process were effective tools to regain positive control of its historic objects. Under normal circumstances, a six-month treatment window would not be an issue, but the Conservation Branch faced considerable challenges.

4.2 EXAMINATION AND TREATMENT

The ensign was in stable condition overall, but was grayed from soot and other soiling, and the fly end was tattered from flying on the aft stack pig stick. The veterans had stored it folded, and it was rehoused identically in 1988 when it was accepted for donation.

Stamped on the hoist was manufacturing information including the size, manufacturer, and fabrication date (NHHC 2018), which read as follows: “US ENSIGN NO 9 MARE ISLAND JUNE 194[?].” Soiling and unsaturated ink obfuscated the illegible year, the last digit being either “3” or “8”. In previous decades, documentation of the Navy’s artifacts was minimal at best. Accession files rarely offered much information regarding an object’s condition or physical description. For this reason, providing appropriate condition descriptions and images was imperative. For accuracy, conservators used multiband imaging to confirm the date was indeed “1943”.

natcc 13 133

The ensign was surface-cleaned overall with a Nilfisk® vacuum with HEPA filtration on a low suction. Humidification was local, only targeting the folds and disheveled fly end. Knotted and loose thread tails were humidified, unknotted as needed, and re-aligned. Conservators considered reducing sooty discoloration, but past email correspondence between the veterans and NHC indicated the flag had always been dirty with a tattered fly end. This was how the veterans remembered their ensign. As a result, the choice was made not to clean it as the soiling did not seem to have any negative effects at the time; preserving these residual signs of use for the veterans was just as important as honoring the ensign itself. Treatment took 41.5 hours between 24 April and 7 May. Afterward the ensign was rolled onto a padded, acid-free tube to create space in the small lab for mount fabrication.

4.3 MOUNTING CHALLENGES

Pressure mounting the ensign would protect it from mishandling during shipping and display while providing an aesthetically pleasing appearance. Under normal circumstances, mounting would not be difficult, but simple tasks were complicated by federal protocols.

In the private sector, contracting the fabrication of a pressure mount would be simple and reasonable. Within the Navy however, the contracting process is exceedingly onerous and lengthy for approval of specialized projects. Contracting was not feasible due to the difficulty of finding a suitable company to perform the job within three months, arcane bureaucracy, and the fact that CO did not have a budget to contract outside services.

Fabricating the pressure mount in-house was the only option but came with caveats, notably the physical state of CO’s laboratory. By 2018, the lab was still in development and not fully functional. Conservators had adjustable height steel tables on casters as their only work surfaces. Certain supplies were on hand by this time but in limited quantity.

The government purchase card process requires that all purchases must be approved by NHHC’s comptroller. The billing cycle is also short and restrictive. Since treatment was completed on 7 May, everything for this mount needed to be acquired within the month to allow for unexpected eventualities during mounting. Additionally, the ensign needed to be crated and shipped by the end of September. This responsibility was managed by NHHC’s Curator Branch staff. Conservation staff recognized that the Curator Branch would need to crate and ship through approved

natcc 13 134

Navy services. CO subsequently set an internal completion deadline for mid to late August to provide the curatorial staff a month for crating and shipping, leaving CO approximately three months to source and purchase materials, fabricate the assembly, and mount the flag.

4.4 PRESSURE MOUNT FABRICATION

Conservators measured and made final design and fabrication decisions so CO Management Analyst Abigail Preston could purchase supplies. Post-treatment, the ensign measured 45.5 inches (width) x 82 inches (length). The finished pressure mount needed to be manageable by the veterans group without specialized handling equipment. As a result, the pressure mount would be only four inches larger than the size of the flag, leaving a two-inch border around it.

CO purchased a custom aluminum honeycomb panel with basswood closeout as the primary support. Hanging hardware was not included because reunion display options remained unknown. A sheet of cotton flannel served as a layer on top of the panel, stapled to the basswood closeout to provide a surface with grip for the layer of padding to follow. Cotton flannel, ½-inch thick polyester batting, and ¼-inch polyester felt were purchased in limited quantities the previous year. Conservation staff also decided that museum-quality acrylic glazing was necessary to further protect the ensign because of the likelihood of future loan requests. CO selected 4.5mm Optium Museum Acrylic® for its antistatic, UV-filtration, and anti-reflective properties; to minimize final mount weight for easier handling; and to satisfy budget constraints.

CO selected and purchased a neutral-colored background exhibition fabric that would not detract from the flag, could possibly cover the eventual frame, and would provide continuity to showcase the ensign. Requesting colored swatches of fabric was not feasible due to time constraints. For simplicity, the author chose a previously vetted white cotton percale from Testfabrics, Inc.

Flannel and percale were washed in a regular washing machine cycle on hot with American Association of Textile Chemists and Colorists (AATCC) standard detergent prior to assembling the pressure mount. Percale was pressed and temporarily rolled onto an archival tube. Since the ensign occupied the tables needed to fabricate the pressure mount, a template was created by tracing the outline of the ensign onto archival polyester film sheet before rolling the ensign onto an archival tube. The template would be used for placement decisions during fabrication.

natcc 13 135

Figure 2. Diagram of pressure mount layers and hardware. U.S. Navy illustration by Naval History and Heritage Command, Conservation Branch staff/Released.

The ensign would be sandwiched between the aluminum honeycomb panel and Optium® acrylic glazing, cushioned by ¼-inch thick polyester batting, ¼-inch felt, and percale exhibition fabric (figure 2). The ½-inch thick polyester batting had too much loft and was split to create the ¼-inch thick layer. The traced hoist outline was cut from polyester film and placed on the felt. This template marked the hoist location before cutting the padding to create a recess to accommodate the corresponding hoist thickness. The percale was placed on top and securely stitched along interior contours of the hoist recess. The fabric was tensioned, pinned, and then stitched to the flannel along the tacking margins. The percale fabric was covered with acid-free, unbuffered tissue until the ensign could be placed onto the pressure mount after completion of the frame.

Finding a framer to custom-build a frame within limited time was not an option. Based on earlier work with strut channels as object supports (Knauer 2019), CO utilized similar U-channel as the framing material. Aluminum U-channel was an ideal choice because it is relatively affordable, readily available from approved government vendors, lightweight, and easy to cut safely.2

natcc 13 136

Conservation staff used a horizontal bandsaw to cut the aluminum channel to length with 45-degree mitered angle end-cuts to ensure a reasonably tight, accurate mating surface for each adjoining section of U-channel. Conservators used a floor drill press to create regularly spaced countersunk holes to accommodate assembly hardware. After cutting and drilling, staff filed and smoothed the mating surfaces and holes, then degreased the aluminum to remove residual cutting oil from the bandsaw and drill press. Although staff had access to industrial-grade tools, simple hand tools also would have been viable options for cutting and drilling the U-channel.

Cotton percale was then cut into appropriate lengths to wrap channel sections. 3M #415 double-sided tape was adhered to the underside of the top lip and outer side of the bottom lip, avoiding the holes in the U-channels. Percale was adhered to the top edge and tensioned starting at the center before adhering to the bottom side. The excess fabric was trimmed at the mitered ends, folded inwards, and secured with double-sided tape. Fabric covering the drilled holes was slashed open and trimmed.

U-channel sections were then tested to ensure an appropriate fit. Multiple layers of honeycomb panel, cotton flannel, polyester batting and felt, cotton percale, flag, and glazing had to be compressed firmly to properly encapsulate the package within the open edges of the U-channel (figure 3). Unfortunately, conservators’ miscalculations left two additional inches of framing at the top and bottom edges. Rather than taking additional time to re-cut, file, clean, and reassemble, staff managed to shim the existing side sections utilizing stacks of wooden tongue depressors held with 3M #415 double-sided tape within the channel grooves to accommodate the extra width.

Figure 3. Pressure mount layers including ensign compressed between Optium® acrylic and honeycomb panel weighted down with available “weights” prior to adding U-channels. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released.

natcc 13 137

Corresponding holes were marked and drilled with a handheld, battery-powered drill into the back of the honeycomb panel for threaded inserts; regular screws would not properly or securely anchor directly into the panel due to the voids in the honeycomb structure. Rivet nuts or pronged tee-nuts were preferred but added height from their associated flanges and could not be accommodated by the U-channel (in addition to the mount components). Instead, CO used threaded inserts to sit flush within the panel’s aluminum skin so the U-channel sections could fit. Unfortunately, these inserts had nothing to ‘bite’ into: they required adhesion and the honeycomb voids had to be gap-filled. Their open ends were closed with adhered polyester film to prevent adhesive ingress during gap-filling. The corresponding honeycomb cavities were injected with a mixture of epoxy and glass bubbles. The threaded inserts’ external texture provided tooth during adhesion. Conservators used a drilled wood block jig temporarily holding screws into the inserts to maintain correct orientation during curing.

Tamper-resistant, two-hole security screws properly secured the U-channel after the epoxy had set (figure 4). Conservators then opted to reinforce the underside of each corner with 90-degree angle flat corner braces (figure 5). The threaded inserts were occasionally misaligned with their predetermined location for angle brackets due to loose tolerances at the mitered corners. Fortunately, after one hole was aligned on the angle brackets, there was just enough free space to re-drill the second hole where needed and re-align with the corresponding fastener holes in the U-channel and inserts in the panel below.

Figure 4. Two-hole security screw. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released

Figure 5. 90-degree angle flat corner brace. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released.

natcc 13 138

After final assembly of the pressure mount system (figure 6), conservators noticed a very slight convex bubble at the center of the glazing, only evident after completing the frame. Normally, additional padding in the center relieves this known issue, but there was insufficient time to disassemble, remedy, and reassemble the pressure mount.

Figure 6. USS Taylor ensign pressure mount completed. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released.

5. CONCLUSION5.1 REUNION AND CLOSURE

The USS Taylor Reunion Association held its reunion in Colorado Springs, Colorado, coinciding with Columbus Day—a federal holiday. This complicated logistics, as the flag needed to be shipped early and secured until the reunion but could not be sent directly to the reunion hotel due to security concerns. Fortunately, arrangements were made with the Naval Operational Support Center (NOSC) in Fort Carson, Colorado, to receive and secure the shipment at the base and assist with delivery to the reunion. The flag was safely received by NOSC personnel on 2 October 2018.

natcc 13 139

Former NHHC Curator Melissa Weissert met NOSC personnel and assisted with loading and delivering the ensign. NHHC Deputy Assistant Director for Collection Management Frank Thompson and Ms. Weissert then attended the reunion (figure 7). At the reunion, Mr. Thompson and Ms. Weissert displayed the treated and pressure-mounted USS Taylor ensign on a table, leaning against the wall at an angle. The reception was emotional for the veterans as well as for NHHC staff. The rediscovery, conservation, pressure-mounting, and display of the USS Taylor national ensign provided much needed closure for the remaining veterans and NHHC.

Figure 6. USS Taylor ensign pressure mount completed. U.S. Navy photo by Naval History and Heritage Command, Conservation Branch staff/Released.

natcc 13 140

5.2 LESSONS LEARNED

Treating and pressure mounting the USS Taylor national ensign was a success. In hindsight, however, certain aspects of the project required improvement. Firstly, the old adage “measure twice, cut once” applied numerous times. Confirming the U-channel framing interior could accommodate the entire display package (panel/padding/artifact/glazing/edge sealing) and added height from fasteners was essential. Additionally, cut frame sections were longer than needed rather than shorter, which allowed conservators to continue with their use. Not re-checking measurements could have negatively affected frame fabrication, especially if replacement framing materials were required due to short cuts. Secondly, conservators noticed a superficial scuff through the protective film of the glazing—fortunately not impacting the surface and avoiding time-intensive material replacement. Thirdly, failing to account for the convex bubble forming in the Optium Museum Acrylic® glazing from frame pressure was problematic. By then, it was too late to disassemble and remedy. Finally, white or off-white colored exhibition fabric was not a good choice. Staff noticed visible smudges and fingerprints on the cotton percale covering the frame once the ensign returned to the CMF. Although the white percale was an aesthetically pleasing background for the ensign, it was not ideal for long-term maintenance and re-use.

The regrettable misplacement of the USS Taylor national ensign became an important catalyst for positive transformation within the Naval History and Heritage Command. The Taylor veterans’ persistence in requesting NHHC to locate their flag during a 20-year period rightfully challenged Navy accountability, which resulted in necessary course corrections to collection management practices. Additional improvements to the care and handling of the Navy’s collection will continue indefinitely, but this chapter concluded with a positive outcome.

ENDNOTES

1 NHHC’s Conservation Lab officially opened May 2019, seven months after the USS Taylor Reunion Association’s gathering in October 2018. Conservators performed the entirety of this technical, time-sensitive treatment and mount fabrication without a formal conservation lab.

2 Aluminum U-channel is soft enough to allow the use of common handheld tools to fabricate frame components. Hacksaws and battery-powered reciprocating saws with metal-rated blades are effective cutting tools. Handheld, battery-powered drills and impact drivers are viable options for drilling. Appropriate eye and hand protection are required while cutting and drilling.

natcc 13 141

ACKNOWLEDGMENTS

Thanks are due to Frank V. Thompson for his involvement and desire to create a positive resolution for USS Taylor veterans; Melissa Weissert for crating, shipping, and delivering the ensign; and Abigail Preston for skillfully purchasing required materials to complete this project successfully. Special thanks go to the Commander and personnel at the Naval Operation Station Center at Fort Carson, Colorado, for logistical and transportation expertise. We would also like to acknowledge NHHC’s Curator Branch and ABR contractors at the CMF. Most importantly, we would like to thank and acknowledge the USS Taylor Veterans Group and all USS Taylor veterans for their service and sacrifice.

This article is printed in its entirety with the permission of the U.S. Navy. The U.S. Navy is responsible only for the content of this article, and does not endorse any other content, opinions, comments, services, or products in this volume.

BIBLIOGRAPHY

Knauer, Karl. 2019. “Strut Your Stuff: The Use of Strut Channel as a Support System for Objects.” In Objects Specialty Group Postprints, Volume Twenty-Four, 2017. Washington, DC: AIC. 413–420.

Naval History and Heritage Command. 2018. “Flag Sizes.” March 27, 2018.https://www.history.navy.mil/content/history/nhhc/research/library/online-reading-room/title-list-alphabetically/f/flag-sizes.html

Thompson, Frank V. 2018. “Journey’s End – Finding Taylor’s Flag.” The Sextant. October 16, 2018. https://usnhistory.navylive.dodlive.mil/2018/10/16/journeys-end-finding-taylors-flag/

FURTHER READING

Cutler, Thomas. 2009. The Bluejacket’s Manual. 24th ed. Annapolis, MD: United States Naval Institute.

Dear, I. C. B., and Peter Kemp, eds. 2006. Oxford Companion to Ships and the Sea. New York: Oxford University Press.

McComb, David W. 2006. “Destroyers at Tokyo Bay.” Naval History Magazine 20 (1). https://www.usni.org/magazines/naval-history-magazine/2006/february/destroyers-tokyo-bay

natcc 13 142

Naval History and Heritage Command. 2019. “Taylor II (DD 468).” June 28, 2019. https://www.history.navy.mil/research/histories/ship-histories/danfs/t/taylor-ii.html

Office of Chief of Naval Operations. 2014. Department of the Navy: General Policy for Inactivation, Retirement, and Disposition of U.S. Navy Vessels. OPNAVINST 4770.5H. Washington, DC: Department of the Navy.

Office of the Secretary of the Navy. 2019. Ship Naming, Sponsor Selection, Crest Development, Keel Layings, Christenings, Commissionings, and Decomissionings. SECNAVINST 5031.1D. Washington, DC: Department of the Navy.

MATERIALS AND SUPPLIERS

Aluminum honeycomb panel, ½-inch thick, 0.032 thick aluminum skin, basswood closeout Museum Services Corporation385 Bridgepoint WaySouth Saint Paul, MN 55075, USAhttps://museumservicescorporation.com/

Aluminum U-channels, 6063, 1 1/4” W X 8 ft.EZ-LOK Threaded insert SS10-30, Self-locking, Internal thread size 10-32, External thread size 3/8-16 Thread type UNC Internal/UNC External length 13/32 Tap sizes 3The Office Group, Inc.372 Wythe Creek Rd., Suite C Poquoson, VA 23662, USAwww.theofficestore.com

AATCC standard detergent WOB Cotton percale, 439UXWTestfabrics, Inc.415 Delaware Ave.P.O. Box 3026West Pittston, PA 18643, USAwww.testfabrics.com

Epoxy, Epo-Tek 301 A and B (2-part epoxy)Epoxy Technology, Inc.14 Fortune DriveBillerica, MA 01821, USAwww.epotek.com

natcc 13 143

3M glass bubblesTalas330 Morgan AveBrooklyn, NY 11211, USAwww.talasonline.com

Optium Museum Acrylic®, TruVue, Inc. 4.5 mm thick, antistatic, 99%- UV filtering, anti-reflective Gaylord ArchivalP.O. Box 4901Syracuse, NY 1322, USAwww.gaylord.com

Security screws, spanner, 10-32 size #10Grainger100 Grainger ParkwayLake Forest, IL 60045, USAwww.grainger.com

Flat Corner Brace, 2-1/2 inch (4-pack)The Home Depot2455 Paces Ferry Rd SEAtlanta , GA 30339, USAwww.homedepot.com

natcc 13 144

BIOGRAPHIES

Yoonjo Lee is the current Senior Conservator for Naval History and Heritage Command in Richmond, VA. She received her B.F.A. in Apparel Design from RISD, and a B.A. in Art History from Virginia Commonwealth University. She graduated from Buffalo State College, NY with an M.A. in Art Conservation specializing in textiles and costumes.

Karl Knauer is an objects conservator with the Conservation Branch of the Naval History and Heritage Command. He was previously at George Washington's Mount Vernon and the American Museum of Natural History, and is a graduate of the Winterthur/University of Delaware Program in Art Conservation.

David Krop is the Conservation Branch Head for the Naval History and Heritage Command in Richmond, VA. He received his M.A. in underwater archaeology and maritime history from East Carolina University. He has worked with dynamic teams of conservation professionals for over 15 years to preserve and conserve objects of maritime and naval significance.

Yoonjo LeeNaval History and Heritage CommandConservation BranchDefense Supply Center Richmond8000 Jefferson Davis HighwayBldg. 54, South Tower, First FloorRichmond, VA 23297-5770, USA+ 1 804 279 3711Yoonjo.Lee@dla.mil

natcc 13 145

RESUMEN

La Escuela Académica Profesional de Conservación y Restauración de la Universidad Nacional Mayor de San Marcos, tiene una antigüedad de nueve años, su finalidad es formar profesionales dedicados a la proyección y ejecución de tratamientos para la preservación de los bienes integrantes del patrimonio cultural del Perú. Uno de los cursos troncales es la Conservación Preventiva radicando su importancia en crear estrategias y metodologías que disminuyan los procesos de deterioro de los objetos culturales. Los diversos factores de deterioro están presentes continuamente en nuestra realidad, por una falta de consistencia en la identidad cultural y del patrimonio que lo representa; este está determinado por problemas de nivel socioeconómico, político, legal e institucional.

La escuela, se esfuerza por formar profesionales altamente capacitados para resolver problemas tangibles; sin embargo, nuestras instituciones que albergan y custodian patrimonio no están preparadas totalmente en asumir este reto. El ámbito de la flexibilidad ética debe estar sustentada en base a cada realidad territorial. Sí, la formación de un conservador debe estar regida bajo estándares universales; sin embargo, prevalecerá los criterios técnicos y científicos que se adapten a gestiones que aseguren el sostenimiento de las colecciones de objetos culturales.

La Formación de la Conservación Preventiva en la Realidad Peruana

María Ysabel Medina Castro

Universidad Nacional Mayor De San Marcos, Lima, Perú

natcc 13 146

Preventive Conservation Training within the Peruvian Reality

ABSTRACT

The Professional Academic School of Conservation and Restoration at the Universidad Nacional Mayor de San Marcos is nine years old and is aimed at training professionals dedicated to the planning and execution of treatments for the conservation of artifacts of Peru's cultural heritage. One of the most important courses is the one on preventive conservation. Its emphasis is to create strategies and methodologies that reduce the damaging processes that affect cultural artifacts. Different damaging factors are continuously present in our reality due to the lack of consistency of a cultural identity and the heritage that represents it, which is determined by socioeconomic, political, legal, and institutional issues.

The school makes an effort to train highly qualified professionals who are able to solve tangible problems. However, our institutions that house and take care of our heritage are not fully prepared to take on this challenge. Ethical flexibility must be grounded on the basis of each territorial reality. Yes, the training of any conservator must be governed by universal standards. However, the technical and scientific criteria that will prevail are those that best adapt themselves to the situation that guarantees the preservation of the collections of cultural objects.

1. HISTORIA DEL USO DE LA CONSERVACIÓN PREVENTIVA

El uso del término de conservación preventiva surge históricamente hacia el año de 1950 en el ámbito anglosajón, debido a las publicaciones que iban surgiendo en razón al reconocimiento del patrimonio cultural de las naciones y su diversidad. Se comenzó a objetivar sobre el mantenimiento de las colecciones científicas, arqueológicas, artísticas, de historia natural, etc., a través del conocimiento y comprensión de sus procesos de deterioro y la búsqueda de soluciones para evitar que las colecciones se perdieran con el tiempo.

Uno de los primeros museos en considerar un adecuado clima en sus instalaciones fue el Museo de Bellas Artes de Boston, en 1905 trató de mantener unos parámetros de 50% de humedad relativa y una temperatura de 16°C (García 2013). Por su parte Friedrich Rathgen en 1905 redacta un manual: “La preservación de antigüedades, un Manual para Curadores”. A partir de 1930 se generan rápidamente la inclusión del manejo del clima en los museos o establecimientos con objetos culturales, son las propuestas de personajes reconocidos en su medio: P. Coremans, Director del Instituto Real del Patrimonio Artístico en Bruselas;

natcc 13 147

G. Rosenberg, Conservador del Museo Nacional de Copenhague; G. Rawlins, Asesor Científico de la Galería Nacional de Londres; y hacia 1940 Estados Unidos se suma al uso de sistemas de control medioambiental en las galerías y museos del estado. Es tal vez durante los acontecimientos bélicos de la Segunda Guerra Mundial, cuando se utilizan estrategias ligadas al campo de la prevención como fueron la evacuación de museos, como el Louvre, frente a una evidente expoliación de obras de arte por parte de Alemania.

Es hasta 1972, en la Carta Italiana del Restauro, que se exponen normas y criterios de intervenciones sobre los bienes culturales. En el artículo 4 define a la salvaguardia como: “Se entiende por salvaguardia cualquier medida conservadora que no implique la intervención directa sobre la obra” (García 2013). Aquí utiliza el término “salvaguardia” como lo que hoy conocemos como conservación preventiva.

De 1975 a 1990 el ICCROM da el curso “Prevención en los Museos” (Gómez y De Tapol 2009), con lo que se reconoce la importancia del manejo del clima, la luz, el robo, el fuego y la organización de las colecciones. Es entre 1990 y el 2005 que los conservadores-restauradores dan relevancia a la conservación preventiva.

2. CONCEPTO DE CONSERVACIÓN PREVENTIVA

La conservación preventiva es un elemento importante de la política de los museos y la protección de las colecciones. A los profesionales de museos les incumbe la responsabilidad fundamental de crear y mantener un entorno adecuado para la protección de las colecciones a su cargo, ya se encuentren almacenadas, expuestas o en tránsito (ICOM 2006). Es en Seúl en el 2004 durante la XXI Asamblea General del ICOM, que se aceptó por primera vez el término de “conservación preventiva” y en la conferencia trianual en Nueva Delhi, en septiembre del 2008, se da la terminología para definir la conservación del patrimonio cultural tangible, definiéndose los términos: conservación, conservación preventiva, conservación curativa y restauración.

3. PATRIMONIO

Según la UNESCO: “El patrimonio cultural en su más amplio sentido es a la vez un producto y un proceso que suministra a las sociedades un caudal de recursos que se heredan del pasado, se crean en el presente y se transmiten a las generaciones futuras para su beneficio” (UNESCO 2014, 132).

natcc 13 148

En el Perú, en julio del 2004 se promulgó la Ley General del Patrimonio Cultural de la Nación N° 28296 que consta de siete artículos preliminares; siete capítulos cada uno con sus propios artículos. La definición de patrimonio expresa en el Artículo II:

Se entiende por bien integrante del Patrimonio Cultural de la Nación toda manifestación del quehacer humano -material o inmaterial- que, por su importancia, valor y significado paleontológico, arqueológico, arquitectónico, histórico, artístico, militar, social, antropológico, tradicional, religioso, etnológico, científico, tecnológico o intelectual, sea expresamente declarado como tal o sobre el que exista la presunción legal de serlo. Dichos bienes tienen la condición de propiedad pública o privada con las limitaciones que establece la presente Ley. (Diario Oficial El Peruano 2004)

En el Perú existen seis tipos de categorías de Patrimonio Cultural de la Nación:

• Patrimonio material inmueble• Patrimonio material mueble• Patrimonio inmaterial• Patrimonio cultural sub acuático• Patrimonio industrial• Patrimonio documental

4. LEYES DE PROTECCIÓN DEL PATRIMONIO CULTURAL DE LA NACIÓN EN PERÚ

El Instituto Nacional de Cultura (INC) fue creado en 1972 como un organismo público descentralizado con personalidad jurídica. Su finalidad era la de reafirmar la identidad nacional mediante la acción descentralizada de acciones de protección, conservación y promoción, puesta en valor y difusión del patrimonio y manifestaciones culturales de la nación.

Hacia el 21 de julio del 2004 la Comisión Permanente del Congreso de la República y el poder Legislativo, da la Ley General del Patrimonio Cultural de la Nación, Ley N° 28296:

Artículo I. Objeto de la Ley: La presente Ley establece políticas nacionales de defensa, protección, promoción, propiedad y régimen legal y el destino de los bienes que constituyen el Patrimonio Cultural de la Nación. (Diario Oficial El Peruano 2004)

Hacia el 21 de julio del 2010 se fusiona el INC con la Biblioteca Nacional, el Archivo General de la Nación y otras dos instituciones del Estado y se convierte en la estructura del Ministerio de Cultura, Ley N° 29565:

natcc 13 149

Artículo I. Objeto de la Ley: La presente Ley crea el Ministerio de Cultura, define su naturaleza jurídica y áreas programáticas de acción, regula las competencias exclusivas y compartidas con los gobiernos regionales y locales, y establece su estructura orgánica básica. (Diario Oficial El Peruano 2010)

Esta Ley N° 28296 continúa vigente después de la creación del Ministerio de Cultura y hace partícipe a las entidades estatales como gobiernos regionales y municipales en torno al Patrimonio Cultural de la Nación, debiendo prestar asistencia y cooperación para la ejecución de proyectos de investigación, restauración, conservación y difusión de los bienes que integran el patrimonio de la nación; debiendo pertenecer a su jurisdicción y aprobados por el Ministerio de Cultura.

5. UNIVERSIDAD NACIONAL MAYOR DE SAN MARCOS: ESCUELA ACADÉMICO PROFESIONAL DE CONSERVACIÓN Y RESTAURACIÓN

La Escuela Académica Profesional (EAP) de Conservación y Restauración fue creada con Resolución Rectoral N° 04329-R-09 en 2009 y se ratificó al siguiente año, iniciando sus actividades académicas el año 2011; constituyéndose en el primer programa universitario dedicado a la formación de profesionales de la conservación y restauración de bienes muebles. Junto con la Escuela Profesional de Danza, pertenece al Departamento Académico de Arte de la Facultad de Letras y Ciencias Humanas de la Universidad Nacional Mayor de San Marcos. En la actualidad cuenta con siete profesores nombrados, siendo cinco de tiempo completo y dos a tiempo parcial. Tenemos cuatro promociones egresadas siendo bachilleres con una población de 90 estudiantes.

El régimen de estudios es semestral con una duración de diez semestres. Otorga el grado de bachiller en Conservación y Restauración y el título de Licenciatura en Conservación y Restauración.

La malla curricular inicial del 2011 fue modificada y en casos simplificada hacia la nueva planteada a partir del 2018, siendo 30 cursos de formación y 8 electivos en donde lo fuerte de la carrera es una combinación de ciencia y teoría en una Facultad de Humanidades. Por ello, desde sus inicios de la formación en la Escuela de Conservación se contó con el apoyo de los profesores del área de las ciencias químicas, ciencias biológicas y ciencias físicas que vienen de otras facultades; asimismo, la formación se da en:

natcc 13 150

• Nueve talleres de restauración: cerámica, textiles, materiales pétreos, metales, pintura de caballete, escultura policromada y dorada, pintura mural, escultura y talla en madera, papel y acervos• Las teorías de: Restauración, Historia del arte I–V, Patrimonio Cultural• Seminarios de: Conservación y arqueología, Conservación histórica, Investigación en conservación y restauración arquitectónica, de tesis I y II• Prácticas Pre profesionales I y II• Ocho cursos electivos complementos a su formación• Conservación Preventiva I y II

Es este último punto en el que me enfocaré, porque viene a constituir el pilar importante de la formación de los estudiantes, es el curso en donde se imparte según la malla:

CONSERVACIÓN PREVENTIVA I y II

El curso de Conservación Preventiva II corresponde al área científica en el nivel de especialidad. Tiene como competencia general evaluar y resolver los problemas de conservación preventiva de los bienes culturales, conociendo, analizando y determinando los procesos químicos del deterioro que afectan los bienes culturales, comprendiendo los procesos de deterioro intrínseco y extrínseco de los bienes culturales con actitud crítica y creativa.

Los contenidos del curso abarcan, realizar las propuestas de gestión que conlleven a crear estrategias para el buen recaudo de los objetos culturales, basándonos en las normativas sobre la buena praxis y el buen custodio de los mismos; asimismo, la creación de los protocolos que generen una dinámica en el trabajo del restaurador, haciéndose esta extensiva y aplicativa a las distintas realidades para el buen manejo de las labores de los restauradores. (EAP de Conservación y Restauración 2018)

En condiciones regulares, los alumnos del curso de Conservación Preventiva durante el primer semestre realizan la investigación de los factores intrínsecos de un material cultural que eligen libremente o con el tipo de material que se sienten identificados para su formación y luego exploran los factores extrínsecos que afectan al material cultural analizado. Para este trabajo eligen una entidad cultural: museo, galería, repositorio, coleccionista, museo de sitio, museo histórico, museo militar, etc. En el segundo semestre continúan con el proyecto iniciado en Preventiva I; en donde a partir de la investigación generada, continúan con las propuestas de creación de protocolos, propuesta de un plan de conservación preventiva para el sostenimiento de colecciones afines al estudio de cada alumno, utilizando las características y normativas

natcc 13 151

institucionales de los lugares en donde realizan la investigación. Esta etapa es muy importante sobre todo porque la Escuela de Conservación ha establecido lazos de convenios con grupos de interés, realizando reuniones para compartir opiniones sobre la formación de los alumnos que realizan prácticas en sus instituciones sean privadas o estatales y nos ayudan a objetivar en que cursos debemos de fortalecer para la aplicación de conocimientos y que sirvan en su práctica laboral. Son en estas instituciones en donde los alumnos desarrollan sus propuestas directamente con el material que se custodia, aplicando el uso de la conservación preventiva, pudiendo de una manera real y consistente al final de sus logros entregar las propuestas resueltas como tema de investigación del curso y a estas entidades para su buen uso en la protección y sostenimiento de sus colecciones a nivel preventivo.

Sin embargo, desde el año 2020, el curso ha tenido que reinventarse y ver la mejor opción de cómo adecuarlo para que los estudiantes puedan lograr concretar los proyectos que se deben realizar. Para ello, comprendiendo que estuvimos en cuarentena radicalmente sin salir por casi cuatro meses de corrido, en este ámbito se iniciaron las clases y la propuesta fue la siguiente:

• Si antes analizábamos los factores de riesgo de las instalaciones de los museos, galerías u otros lugares que albergaran patrimonio; ahora, analizaríamos la vivienda de cada uno de los alumnos.• La propuesta de solución o cambio favorable se realizaba en función a las características de la vivienda, las deficiencias asociadas a factores de riesgo y cuáles serán las alternativas para subsanarlas.• El alumno elige un material cultural afín para que realice el análisis de factores intrínsecos del mismo y a través del conocimiento de los factores extrínsecos pueda evaluar de qué forma establecer programas de control preventivo para el buen recaudo del bien.• Con la evaluación de la vivienda, ésta se volverá el recinto que albergará el bien cultural. Para ello deben como mínimo seleccionar dos espacios; uno como depósito y otro como área expositiva. Organizarán el depósito ideal que debería albergar el bien cultural que trabajan. Asimismo, un área expositiva en donde implementarán con todo el conocimiento que han generado a través de la investigación, el adecuar los mejores implementos y mobiliario para exhibir el bien cultural trabajado.• Para tener un mejor respaldo de lo procesado, deberán crear protocolos de acuerdo a la diversidad del manejo de la conservación preventiva en los objetos culturales elegidos y el espacio que los contiene.• Crearán un Plan de Conservación Preventiva, el cual observarán y tratarán de poner en práctica y en función a ello, replantearlo o modificarlo para hacerlo cada vez más eficaz en el logro de nuestros objetivos.

natcc 13 152

6. FALENCIAS PARA EL USO DE LA CONSERVACIÓN PREVENTIVA EN EL PERÚ

Para el reconocimiento de cuáles son las causas por las que la conservación preventiva no ocupa un lugar importante en nuestro medio cultural, puede ser:

• Falta de inversión en la conservación• Falta de actualización del uso de la conservación preventiva

Para responder a estas falencias mencionadas, tomaremos textualmente algunas de las opiniones dadas por el Director General de Museos, el Licenciado Carlos Del Águila Chávez, del Ministerio de Cultura en Perú, en una charla virtual a alumnos en diciembre del 2020:

Hacia los años 60 y 70 hubo gran demanda en la formación de la conservación en Perú por parte de Unesco y OEA, dándose a nivel de arquitectura de barro, a nivel de pintura de caballete, a nivel de textiles, como una manera de convertir al Perú en la necesidad de tener un rol en la atención del patrimonio. Sin embargo, menciona que, hacia los años 90 el uso de la conservación estaba venida a menos, ya que esta responsabilidad se le había cedido al sector privado como el Banco de Crédito del Perú, el cual trabajó con talleres particulares de las iglesias del centro de Lima como: San Pedro, San Agustín, la Catedral y la Merced; y al interior del país con Ayacucho, en donde se trabajó la serie de Bernardo Bitti; De esta manera se instalaba hacia finales de los 90 un staff de conservadores del estado hacia los talleres de conservación de estas entidades religiosas.

Personalmente recuerdo que hacia la primera década del año 2000 se proyectó realizar el Gran Centro de Conservación en el edificio que albergaba al Instituto Nacional de Cultura (hoy Ministerio de Cultura), en donde se integraría a la par de la modernidad científica a los especialistas del medio para que formaran parte de este gran proyecto. Sin embargo, hacia el 2007 aproximadamente, esta institución da un giro en torno a este ámbito y desiste del convenio que tenía trazado con el gobierno de Italia, creando incertidumbre y dejando el proyecto inoperativo. Lo que se decidió posteriormente, fue desarraigar a los conservadores de este centro y enviarlos al Museo Nacional de Arqueología, Antropología e Historia del Perú, en donde permanecieron y a medida que ha pasado el tiempo se han ido retirando gradualmente, desapareciendo toda expectativa de lograr tener un Centro de Conservación de Patrimonio Mueble.

Tomando en cuenta lo anteriormente mencionado, debemos deducir que si nuestra institución que regula lo concerniente al patrimonio de la nación no posee una Dirección de Conservación, como sí lo

natcc 13 153

tienen las áreas de Registro o Museografía, entonces no existe una real preocupación de organizarnos en torno al sostenimiento de las colecciones a través del campo de la conservación, pues esta instancia está supeditada al área de registro y manejo de colecciones sin considerar que la mayoría de los profesionales en esta rama son arqueólogos o historiadores, pero no conservadores.

Existe en nuestro país un problema real de identidad: ésta se ha tratado de construir de diversas formas y en el ámbito de la cultura se ha manejado de una manera tradicional, sosteniendo a través del tiempo las mismas políticas y gestiones en el mantenimiento de los lugares que custodian patrimonio. Quiere decir que la mayoría de los museos logra una reputación positiva dentro de su comunidad, sostienen el mismo discurso y no acceden a las posibilidades de acercarse más a la diversidad del público.

En su charla (2020) Del Águila menciona que:

Antes de la pandemia un aproximado de 25 a 30 mil personas eran recurrentes consumidores del país en los museos públicos, siendo esta estadística muy baja ya que se encuentra enfocada a mostrar cosas antiguas, sin propuestas innovadoras. En el país hay más de 800 instituciones museables mapeadas en un catastro: museos, centros culturales, centros de interpretación, galerías expositivas, casas de cultura, etc. No hay cifras precisas, pues estos espacios van abriendo y cerrando y por ello la cifra estándar es de 800 instituciones museables. De estas, 372 son museos catastrados por la sociedad nacional de museos entre públicos y privados; 56 de estas 372 son museos administrados por el ministerio de cultura y no están generando alianzas con toda esta institucionalidad; 70 museos están a cargo de los gobiernos regionales; 186 son museos públicos a cargo del estado, gobiernos regionales, municipales, poderes del estado, otros ministerios; y 130 son iniciativa privada. Finalmente, de los 372 museos registrados, 259 están fuera de Lima. Por ello surge la necesidad de una Ley General de Museos, que considera cinco componentes:

• Proteger• Investigar• Mantener colecciones• Difundir• Gestionar

Según esta organización se ve posicionada a la conservación en el centro, ya que está casi siempre sujeta al ámbito económico; quiere decir que, si hay presupuesto, se puede realizar; de lo contrario, se suspende. La pretensión del Centro de Conservación y Restauración de Bienes Culturales tenía como base fundamental al departamento de Conservación y acorde con la investigación la difusión de sus resultados.

natcc 13 154

Del Águila remarca que hubo una despreocupación por el antes INC y ahora por el Ministerio de Cultura por forjar y empoderar esta área. Además, menciona que siendo necesario dar la relevancia a la conservación, observamos que, a nivel formativo, la Universidad de San Marcos es la única que tiene esa responsabilidad, lo que él considera un error porque la Universidad necesitaría de alianzas académicas mucho más amplias, debido a que el panorama que afrontará el ámbito de la cultura, es prometedor y problemático a la vez.

Tenemos entendido que actualmente hay universidades que están acoplando el tema de la conservación como parte de su oferta académica. Son los casos de UTEC (Universidad Tecnológica de Ciencias), la cual está creando una maestría en conservación y la Universidad Científica del Sur lo está planteando a nivel tecnológico. Asimismo, el Ministerio está gestionando alianzas de colaboración no sólo para el Nuevo Museo Nacional (MUNA) sino para todos los museos del país.

Las estadísticas que maneja el Ministerio de Cultura indican que un 60% de las colecciones existentes en el país se encuentran en las casas o depósitos de los investigadores, esperando que el estado les diga que ya tiene los espacios para recibir sus colecciones. Sólo el 40% se encuentra en museos del estado; de ese 40%, el 80% está albergado en el Museo Nacional de Arqueología, Antropología e Historia del Perú. Estas custodias fuera de las instituciones del Ministerio pueden ser problemáticas, ya que no se asegura que se encuentren en buenas condiciones. Por ello existe la propuesta para generar el sistema de colecciones y así evitar generar un pasivo patrimonial, descartando colecciones en el campo que no son patrimoniales o no son documentales para la investigación.

El Ministerio, a través de la creación de la Ley General de Museos, involucraría un capítulo de conservación en donde plantearía la problemática del sostenimiento de las colecciones e involucraría a un staff de profesionales de conservación, dando alcance a todos los museos estatales y privados.

Como hemos podido observar rápidamente, este es el contexto real en donde se desarrollan las actividades ligadas al plano de la conservación. Tenemos que ser conscientes que lo que se enseña en aula a los estudiantes de la Escuela de Conservación y cuando ellos se acercan a la realidad en las instituciones del estado que albergan patrimonio, descubren que el uso del sostenimiento de colecciones es básica y a veces ausente, que las instituciones carecen de profesionales en este ámbito, que no usan guías o protocolos sobre los procedimientos que se ejecutan en función al buen resguardo de sus colecciones y que inclusive no cuentan

natcc 13 155

con equipos necesarios para manejar estadísticamente el control del clima o los factores de riesgo. En resumen: no existe un Plan de Conservación Preventiva puesto en ejecución.

7. CONCLUSIONES

• Ha sido importante que en el Perú se dé una formación académica en el ámbito de la conservación y restauración, considerando que somos un país con una gran diversidad de desarrollos históricos y de variados tipos de patrimonio cultural.• Es importante reconocer a la conservación preventiva como el pilar en la formación de los conservadores dentro de la Universidad Nacional Mayor de San Marcos.• La Universidad se ha preocupado a través de su Escuela de Conservación y Restauración de establecer lazos con los grupos de interés, en un continuo trabajo de coordinación en beneficio de los estudiantes y de sus instituciones.• El Ministerio de Cultura, como entidad reguladora del buen recaudo del Patrimonio Cultural del País, está realizando las evaluaciones pertinentes para proponer el cambio en sus estrategias hacia el uso de la conservación como medio eficaz para el sostenimiento de las colecciones.• Mientras el estado no invierta en el campo de la conservación, no existirá por completo un nexo entre la formación académica y la propuesta laboral para este sector.

natcc 13 156

BIBLIOGRAFÍA

Del Águila, Carlos. 2020. Charla virtual con alumnos. EAP de Conservación y Restauración, Universidad Nacional Mayor de San Marcos. Perú.

EAP de Conservación y Restauración. 2018. Plan de Estudios. Universidad Nacional Mayor de San Marcos. Perú.

García Fernández, Isabel María. 2013. Historia de la Conservación Preventiva. Parte I. Ge-Conservación 5: 27–41. https://doi.org/10.37558/gec.v5i0.195

Gómez, Marisa, y Benoit De Tapol. 2009. Medio siglo de Conservación Preventiva. Entrevista a Gaël de Guichen. Ge-Conservación 0: 35–44. https://doi.org/10.37558/gec.v0i0.62

ICOM. 2006. Código de Deontología para los Museos. París: ICOM.

ICOM-CC. 2008. Terminología para definir la conservación del patrimonio cultural tangible. XVa Conferencia Trianual, Nueva Delhi, 22–26 de septiembre. http://www.icom-cc.org/54/document/icom-cc-resolucion-terminologia-espanol/?id=748#.YNzC_ehKiUk

Ley N° 28296. 2004. Diario Oficial El Peruano. 22 de julio. 272925–272932.

Ley N° 29565. 2010. Diario Oficial El Peruano. 22 de julio. 422589–422595.

UNESCO. 2014. Indicadores UNESCO De Cultura Para El Desarrollo: Manual Metodológico. París: UNESCO.

natcc 13 157

BIOGRAFÍA

María Ysabel Medina Castro es Historiadora de Arte, Licenciada en Educación, Maestría en Arqueología Andina. Docente universitaria en la Escuela Académica Profesional de Conservación y Restauración de la Universidad Nacional Mayor de San Marcos; Conservadora de la Colección Textil del Museo Nacional de Arqueología, Antropología e Historia del Perú. Ha trabajado en proyectos con diferentes museos y particulares que albergan colecciones textiles, así como en capacitaciones a nivel de conservación preventiva y curativa con el Ministerio de Cultura.

María Ysabel Medina CastroJr. Chamaya 237 Breña 15082, PerúTeléfonos: 4244065 – 999074631maribelmedinaca@gmail.com

natcc 13 158

RESUMEN

Con el marco actual de un nuevo centenario de la Real Fábrica de Tapices, fundada en 1721 por el rey Felipe V, se plantean para esta institución varios retos y proyectos de futuro. Uno de ellos es avanzar en la consecución del máximo nivel técnico y metodológico de la profesión de restauración, garantizando la calidad de cada uno de sus procesos, consiguiendo ser un referente en este campo. Reto que a su vez se enmarca en uno de sus fines fundacionales, la conservación y el mantenimiento de las colecciones de patrimonio histórico español.

La restauración de tapices, así como de todo tipo de tejidos ha tenido un desarrollo particular dentro de la institución, marcado por la interrelación con las diversas áreas y actividades de la Fábrica, así como del devenir histórico de la misma profesión. Una particularidad de este singular escenario es la combinación en el taller del saber hacer secular de los artesanos con las modernas metodologías de intervención y los principios éticos dictados por la ciencia de la conservación. Otro de los retos es la formación especializada que garantice la pervivencia del oficio y de la institución.

The Royal Tapestry Factory: Definition and evolution of a profession

ABSTRACT

Within the framework of a new century for the Royal Tapestry Factory, founded in 1721 by King Philip V of Spain, several challenges and forward-looking projects for the institution are considered. One of them is to advance the technical and methodological excellence of the restoration

La Real Fábrica de Tapices: Definición y Evolución de una Profesión

Verónica García Blanco

Real Fábrica de Tapices, Madrid, España

natcc 13 159

profession in order to guarantee the quality of its processes and thus continue to serve as a model for the field, a challenge that is, in turn, one of the institution’s founding purposes: the conservation and maintenance of Spanish historical heritage collections.

The restoration of tapestries and all types of textiles has had a particular development at the institution, combining all of the knowledge of the Factory’s different departments and activities, framed within the historical evolution of the profession. A distinctive feature of this unique setting is the combination of artisans' traditional know-how with modern methodologies of intervention and ethical principles of conservation. Another of the challenges is the specialized training of artisans and professionals in order to guarantee the survival of the different trades and of the institution itself within the current socio-economic climate.

1. INTRODUCCIÓN: LA HISTÓRICA MANUFACTURA MADRILEÑA La Real Fábrica de Tapices es una manufactura histórica fundada en el año 1721 por el rey Felipe V, siguiendo el modelo de los talleres reales establecidos en Francia desde comienzos del siglo XVII. A lo largo de sus trescientos años de vida, la Fábrica ha pasado por numerosas vicisitudes históricas manteniendo activa su producción de tapices, alfombras y reposteros hasta el momento presente.Durante el siglo XVIII la Real Fábrica de Tapices vive su período de máximo esplendor al amparo y bajo la decidida promoción de los primeros monarcas de la dinastía borbónica. Los pintores del rey se ponen al servicio de la manufactura, nombres tan ilustres en la historia de la Pintura como Houasse, Van Loo, Procaccini, Amiconi, Giaquinto o Francisco de Goya.

El siglo XX supone la consolidación de una tendencia iniciada en el siglo anterior hacia una mayor privatización de la actividad de la Real Fábrica. Dado que la demanda por parte de la Corona y de los poderes públicos es cada vez más escasa, los trabajos para la clientela particular adquieren progresivamente más importancia y el tejido de tapices va quedando relegado a un segundo plano en favor de la restauración textil y la fabricación de alfombras.

En el año 1996 la manufactura real se transforma jurídicamente y surge así la Fundación Real Fábrica de Tapices (RFT), una entidad sin ánimo de lucro cuyo fin es ser un referente en la conservación del patrimonio textil tanto material como inmaterial. De este modo, y según sus objetivos fundacionales, la RFT se vuelca sobre todo en la divulgación, la protección y el fomento de los oficios artísticos que históricamente se realizaban en

natcc 13 160

la manufactura (tejido de alfombras, tapices y confección de reposteros) y en la consolidación de un departamento de conservación-restauración de tapices y tejidos históricos

Figura 1. Vista del taller de tejido de tapices. Archivo documental RFT.

2. ANTECEDENTES HISTÓRICOS DE LA ACTIVIDAD RESTAURADORA EN LA REAL FÁBRICA

Si bien es cierto que haría falta un análisis histórico de la profesión como apunta Antonio Sama, existen datos históricos claros y determinantes que sirven de antecedentes del desarrollo de la profesión.

Bajo el reinado de Carlos III en la época de máximo esplendor de la Fábrica, se firman los primeros encargos para la restauración de los antiguos paños de la Corona, lo que también coincide con los primeros encargos reflejados por escrito de fabricación de alfombras de nudo.

La preocupación por la conservación de la colección de tapices no es una novedad, obedecía a la necesidad práctica de mantener en uso las colgaduras, de la que era plenamente consciente la Corona, llegando

natcc 13 161

a tener en Palacio un Oficio de la Tapicería, compuesto por algunos oficiales y a los que se unieron los Vandergoten (familia de tejedores traída especialmente a la RFT en 1720), posición que permitió conseguir mejores encargos de restauración que mejoraron la situación de la manufactura.

Hay que resaltar las especificaciones que ya se hacen en la contrata de 1750 referentes a la certificación de los trabajos, efectuadas a cargo del Jefe de Tapicería del Rey, del veedor y contador del Retiro, para lo cual debían hacer relaciones del número, peso colores y valores de los materiales y las especies de trabajo que se han hecho. También se habla de un “reconocimiento del estado de cada paño con declaraciones delas composturas que necesita: estos es, si ay roturas, quantas y deque tamaño o medida: si ay descoseduras, si el paño está aumado: si los forros están descosidos, rotos o maltratados, y loque corresponde, y debe hacerse: porque aunque Su Mag.cree, que Vms executarán en cada Paño todo lo que deban según este, conviene que lleven y dejen esta noticia” (Sama García 2012).

Esta contrata que se mantuvo hasta 1815 también se empleó para la restauración de alfombras, constituyéndose para mediados del s. XVIII en una actividad habitual, tanto la restauración de tapices como de alfombras. Así pasaron numerosos paños y colecciones de tapices de las colecciones reales, como por ejemplo, “Los Pecados Capitales,” “El Apocalipsis,” ”Los Honores” o “La conquista de Túnez”, entre otros, por los obradores de la Fábrica.

Otro punto de inflexión en la historia de la restauración puede situarse en los años 30 del siglo XX cuando se solicita ayuda a la República pidiendo que se realicen restauraciones que den trabajo a la institución y a su vez redunden en la conservación del patrimonio histórico español. Se escogieron los tapices que representan las conquistas de Alfonso V de Portugal, “El desembarco de Arcila,” “El cerco de Arzila” y “la entrada en Tánger”, el proyecto implicaba la restauración de los paños y otro tanto para la reproducción de las mismas, por lo que en 1933 la Dirección general de Bellas Artes del gobierno de la República encomienda los trabajos de “retupido” y fabricación “de nuevo”, los trabajos se prolongarían hasta 1948. Ya en esta intervención hay una prescripción expresa en la que se debía prescindir de cualquier operación de reconstrucción no documentada; como muchas estaban cortadas, no se retejieron las partes faltantes, aunque en las réplicas sí se hizo una reproducción de las cartelas faltantes apoyados en los datos históricos.

Años más tarde se acometió la restauración de los otros tapices góticos de Pastrana que narran la conquista de la ciudad del norte de África Alcázar-

natcc 13 162

Segueren; se aconseja un tratamiento de estricta consolidación sobre un soporte total en vez de las lagunas vistas.

Hacia la mitad del siglo XX las principales actividades que sustentan la institución son la fabricación de alfombras de nudo y la restauración de tapices, sin embargo, en los años 90 la actividad decrece, por lo que para evitar una desaparición las instituciones la convierten en una fundación sin ánimo de lucro con vocación cultural.

3. FINES FUNDACIONALES DE LA REAL FÁBRICA DE TAPICES

Dentro de los estatutos de la Fundación Real Fábrica de Tapices de 1996, se establecen algunos de los fines específicamente relacionados con la conservación del patrimonio textil:

• Potenciar la Real Fábrica de Tapices como institución que encarna la tradición histórica de las Manufacturas Reales españolas, en el marco de la cultura europea.

• Contribuir a la conservación y restauración de los tapices y alfombras que constituyen el legado histórico de la Corona española y se conservan en las diferentes Residencias Reales, Edificios y Museos dependientes del patrimonio Nacional y de los poderes públicos y en general de los bienes de ese carácter que forman parte del Patrimonio Cultural.

• Mantener viva la actividad textil de alfombras y tapices que ha sido clásica de la Real Fábrica de Tapices, las técnicas tradicionales, crear y sostener programas de investigación de nuevas formas y técnicas de tejido de tapices, alfombras y similares, de fabricación en el marco de las nuevas corrientes estéticas y sobre cartones de artistas contemporáneos.

• Facilitar la transmisión y enseñanza de los oficios relacionados con el tejido, conservación y restauración de tapices y alfombras.La creación de laboratorios para la investigación de nuevas técnicas de restauración y análisis de tejidos.

• Organizar congresos, seminarios y reuniones, tanto a nivel nacional como internacional, sobre temas relacionados con la historia y producción de la Real Fábrica de Tapices y otras manufacturas semejantes.

natcc 13 163

4. ANTECEDENTES METODOLÓGICOS E HISTÓRICOS DEL TALLER DE RESTAURACIÓN DE TAPICES

Después de este rápido recorrido histórico por la historia de la restauración de tapices y alfombras en la Real Fábrica quiero resaltar el aspecto metodológico y técnico de dichas intervenciones que se constituyen en el origen de la profesión. La actividad restauradora en aquellos tiempos venía aparejada con el oficio del tejedor. Concha Herrero habla del oficio del “retupidor”, quien se ocupaba de mantener en buenas condiciones de conservación los tapices de la colección real; de hecho, el oficial bordaba con aguja sobre los hilos de urdimbre las tramas desaparecidas. El retupido y el encañonado eran las labores que desarrollaban estos artesanos y se daba por hecho que para poder ser retupidor era necesario conocer la fabricación de tapices. Las operaciones de restauración que se hacían obedecían a la necesidad de “completar” y “sanear” las zonas deterioradas, la preocupación por la lectura estética y la invisibilidad de la intervención. También es muy importante resaltar los antecedentes de lo que sería hoy en día la figura actual de la dirección técnica, el veedor y contador del Reino que debía verificar los trabajos efectuados y el material utilizado (Herrero Carretero 2008).

Figura 2. Vista actual del taller de tejido de tapices. Fuente RFT.

natcc 13 164

En la contrata de 1750 se habla claramente del reconocimiento del estado de cada paño en lo que serían los precedentes de la documentación del estado de conservación, detallando si había roturas, tamaño y medida, estado de los forros, rotos o maltratados, es decir: hay un planteamiento de reconocimiento de los deterioros como paso preliminar para poder efectuar la intervención, no hace falta resaltar la importancia que tiene hoy en día el diagnóstico para abordar cualquier proyecto de intervención.

En un memorial presentado al rey con motivo de la visita real en 1760, se describe la nueva sección de retupido con cinco telares “de compostura” con ventiocho oficiales y 5 aprendices. Ya se denomina como un oficio claramente diferenciado la operación de retupido que, como su palabra lo indica, buscaba volver a tupir las zonas que lo necesitaren. Otro punto a destacar es el funcionamiento de oficiales y aprendices característico de este tipo de instituciones de la época en el que el carácter educativo se mezclaba e interrelacionaba claramente con el oficio (Sama García 2012).

Las labores de restauración siguieron ejecutándose en el tiempo, continuando los lineamientos previamente descritos aunque con algunos cambios de metodología y materiales según las modas y requerimientos propios de coleccionistas, custodios o propietarios de las obras, pero siempre enmarcados en la necesidad de conseguir la invisibilidad de la intervención y la recomposición estética sin preocupación por la estabilidad e interacción de los materiales nuevos con el original, ni tampoco de los efectos de la metodología misma en la estabilidad estructural de la zona.

Es con el advenimiento de la profesión de conservador-restaurador en la academia cuando empieza a replantearse la metodología, los materiales y los resultados de las intervenciones desarrolladas en la Real Fábrica de Tapices.

Un punto de inflexión son las jornadas celebradas durante los días 19, 20 y 21 de octubre de 2006 en el Instituto del Patrimonio Cultural de España con la reunión de expertos de restauración de tapices procedentes de Europa y EEUU, historiadores, científicos y restauradores de diecinueve centros e instituciones.

Esta reflexión metodológica vino a completar el proceso de cambio que ya se había iniciado con el planteamiento y fabricación de una instalación de lavado especializada en tapices por el procedimiento de inmersión controlada en el año 2004 con el que se apostaba claramente por este tipo de metodología para el lavado acuoso de los tapices y entre

natcc 13 165

cuyas ventajas se encuentra la poco o nula manipulación del tapiz en el momento en el que se encuentra más vulnerable, es decir, cuando está completamente humedecido.

Figura 3. Proceso de lavado por inmersión controlada. Fuente RFT.

5. PLANTEAMIENTO DE PROCESOS DE INTERVENCIÓN. DE FINALES DEL S.XX A LA ACTUALIDAD

En el momento en el que se asumen estos nuevos retos y se apuesta por la profesionalización del oficio teniendo en cuenta los lineamientos de la teoría de la restauración de bienes culturales, la interdisciplinariedad como punto de partida en el planteamiento de estados de conservación, propuestas de intervención y finalmente proceso de intervención es cuando se empieza a desarrollar una metodología más acorde con la definición de la profesión de restauración de tapices y textiles.

A continuación se describen algunos procesos que hacen parte de esta metodología de intervención que hoy en día abarca no sólo la intervención de tapices, también alfombras de nudo o cualquier tipo de tejido que puede intervenirse en el taller de restauración de la Real Fábrica:

natcc 13 166

• Documentación por cuadrícula. Permite realizar la documentación localizada y a su vez se hace de todos los procesos de restauración, desmontaje/montaje. Eliminación de antiguas restauraciones. Es fundamental aprovechar el momento de la intervención para recoger el máximo de información sobre la obra. La documentación debe incluir tres aspectos fundamentales como son el estudio histórico artístico, la comparación estilística con otras piezas y el análisis físico-químico de los materiales y colorantes. Toda esta documentación se refleja en la propuesta de intervención e informe de la restauración que está acompañada de fotografías para poder realizar un adecuado estudio de los deterioros y poder así formular una adecuada propuesta de intervención.

Figura 4. Parte del proceso de documentación técnica. Fuente RFT.

• Eliminación de suciedad con plenas garantías para la conservación de los tapices. Limpieza que en el caso de los tapices se realiza por medio de un lavado acuoso y en nuestro caso utilizando la inmersión controlada, garantizando la eliminación de todo el tensoactivo que debe ser compatible con los materiales de los que está compuesto el tapiz. De igual manera la importancia de la realización de pruebas de color previas que sirvan de precedente para asegurar un lavado sin problemas de alteración de los tintes.

• Consolidación reversible y reintegración minimalista. Si bien es cierto que aún se pueden encontrar sistemas de consolidación realizados con artesanos tejedores que buscan reponer pérdidas y llevan aparejados criterios de creación, en la Real Fábrica se ha apostado por metodologías que buscan sostener el tapiz y ayudar a soportar su peso, son reversibles, respetuosas con el original con materiales compatibles y buscan aliviar tensiones y acompañar el movimiento del tapiz.

• Forrado, montaje y recuperación de los principios estéticos de la exposición original.

natcc 13 167

6. BENEFICIOS Y RETOS DE LA INTERRELACIÓN DE OTROS DEPARTAMENTOS CON LA RESTAURACIÓN DE TAPICES

El tejido de tapiz nuevo hoy en día combina encargos nacionales e internacionales de gran relevancia, como es el caso del encargo de los tapices del Palacio de Dresde en Alemania. En este contexto el tejido de tapiz está influenciado no sólo en la etapa de planeación y elección de materiales por la evolución del taller de restauración, sino también en el proceso de fabricación.

Los materiales se eligen buscando calidad y perdurabilidad en el tiempo. La preparación de los mismos se hace mediante procesos de descrudado, desengomado y tinción replicando los mismos utilizados en la restauración de tejidos, garantizando así la estabilidad en el tiempo. La sala de tintes está sufriendo un proceso de modernización que incluye la generación de una base de datos de la producción de tintados, así como la implementación de una nueva metodología innovadora utilizando un espectrofotómetro que permita la creación de dicha base de datos y a su vez mejore el proceso de formulación de los tintes redundando en la productividad a nivel general, combinando también el saber artesanal con la los avances técnicos y el conocimiento científico.

Figura 5. Ejemplo de intervención en un tapiz, fotografía final y original de la misma zona. Fuente RFT.

natcc 13 168

Figura 6. Vista de la sala de tintes de la Real Fábrica de Tapices. Fuente RFT.

natcc 13 169

Otro ejemplo de interrelación e influencia entre dos actividades complementarias ha sido la metodología de cosido de relés y remates de los tapices una vez terminados: se utilizan materiales y procedimientos acordes a la restauración de tapices, ya que se tiene en cuenta el amplio conocimiento del deterioro de esos puntos que son los más vulnerables en la historia del tapiz.

La aprobación de la norma de calidad ISO 9001 recientemente adquirida, es otro de los retos conseguidos y que ordena y define la interacción entre el departamento de traslado y montaje perteneciente a su vez al departamento de mantenimiento de alfombras en uso. Las propuestas de montaje para tejido de gran formato implican una logística y un desarrollo que combina personal de diferentes perfiles y cualificaciones para poder conformar un equipo que desarrolle trabajos con una calidad garantizada y de cierta dificultad. La propuesta de montaje y exhibición de este tipo de tejidos responde a la necesidad de repartir el peso de todo la pieza no sólo en la cabecera sino en el resto de su área, para lo cual hemos conseguido plantear un montaje de plano inclinado con el que se han realizado montajes como el de las dos salas de tapices de la Catedral de Sigüenza y que han conseguido responder a esta necesidad planteada por los restauradores de tapices desde hace tiempo y con pocas alternativas de solución hasta ahora.

Figura 7. Montaje de tapices con metodología de plano inclinado. Sala de Tapices Catedral de Sigüenza. Fuente RFT.

natcc 13 170

Un último punto fundamental es la formación. Si bien es cierto que desde el inicio del oficio esta preocupación se fue solucionando por el modelo de oficial-aprendiz que funcionó por varios siglos, desde el siglo XX empezaron a plantearse alternativas a este modelo con distintos tipos de resultados. El cambio de modelo pasó por escuelas que formaban jóvenes en el oficio con apoyo de instituciones del estado en algunos casos e incluso, en el caso de las escuelas-taller con apoyo europeo. Estos artesanos se formaban en el oficio mismo, interactuando continuamente con los distintos departamentos, realizando prácticas en obras reales que se encontraban en los talleres. En un primer momento la formación corría a cargo de artesanos con cierta experiencia, posteriormente en las últimas etapas de la escuela-taller se fueron incorporando profesionales de distintas disciplinas para complementar y actualizar la formación, restauradores de tejidos titulados y con contrastada experiencia, historiadores del arte químicos, diseñadores gráficos, entre otros, y de igual forma se fue conformando un corpus académico más acorde a las necesidades que planteaban los nuevos retos de la profesión.

Figura 8. Montaje de tejido de gran formato. Ayuntamiento de Alcalá de Henares. Fuente RFT.

natcc 13 171

Actualmente la Real Fábrica, en convenio con la Escuela superior de conservación y restauración de bienes culturales de Madrid, imparte la especialidad en restauración de tapices y alfombras de nudo del Máster en enseñanzas artísticas: conservación y restauración de bienes culturales en Europa. De esta manera se garantiza una profesionalización a nivel de máster de los restauradores y se constituye a su vez en uno de los pocos talleres en Europa en los que se tiene esta posibilidad de participar directamente en la formación de los futuros profesionales.

7. CONCLUSIÓN

La profesión de restauración de tejidos y tapices en una institución como la Real Fábrica de Tapices ha sufrido diversas vicisitudes a lo largo de la historia pero es innegable la influencia de las diversas actividades tradicionales que conforman el conjunto del quehacer de la Fábrica y que han ido conformando poco a poco la profesión que sigue enfrentándose a retos diversos, al igual que el conjunto de la institución que busca hoy en día en la innovación un profesionalismo que brinde una mayor proyección geográfica al tiempo que permita seguir avanzando en el camino de la protección del patrimonio textil español.

natcc 13 172

AGRADECIMIENTOS

El autor quiere expresar sus agradecimientos a la Real Fábrica de Tapices.

BIBLIOGRAFÍA

Fundación Real Fábrica de Tapices. 2008. Hilos de modernidad: tapices y alfombras de la Real Fábrica de Tapices (catálogo de exposición) Madrid. Fundación Real Fábrica de Tapices -Ministerio de Cultura.

Herrero Carretero, Concha. 2008. Vocabulario histórico de la tapicería. Madrid: Patrimonio Nacional ed.

Sama García Antonio. 2008. La Real Fábrica de tapices hoy en La Fábrica de Tapices. Una historia que crece. Madrid. Fundación Real Fábrica de Tapices.

OTRA LECTURA

De la calle Vian, Laura. 2009. Cien años del tapiz español. La Real Fábrica de tapices 1900-2000. Madrid. Fundación Universitaria Española.

Lennard, Frances and Hayward Maria. 2006. Tapestry Conservation principles and practice. Oxford. Butterwoth-Heinemann.

Ministerio de Cultura. Secretaría General técnica. 2010. Reflexiones sobre conservación de alfombras y tapices. Madrid: Subdirección general de publicaciones información y documentación.

natcc 13 173

BIOGRAFÍA

Verónica García Blanco es restauradora de bienes culturales muebles- Universidad Externado de Colombia, homologado por el Ministerio de Educación de España al título de restauración en textiles. Máster en Restauración y Rehabilitación de patrimonio - Universidad de Alcalá de Henares. Desde 2017 es docente del Máster en Conservación y Restauración de Bienes Culturales en Europa de la Escuela Superior de Conservación y Restauración de Bienes Culturales de Madrid. Vinculada desde 2001 a la Real Fábrica de Tapices como docente y restauradora en diversos periodos de tiempo y desde 2017 como Jefa del Departamento de Restauración de tapices y tejidos.

Verónica García BlancoReal Fábrica de Tapicesc/Fuenterrabía,2 28014 Madrid, España+34914340550vgarcia@realfabricadetapiceswww.realfabricdetapices.com

natcc 13 174

ABSTRACT

The Field Museum is currently involved in a multi-year renovation of its 70-year-old permanent Native North America Hall. The Field's North American collection is one of the world's largest and most comprehensive. This project is divided into deinstallation and reinstallation phases; each offering opportunities to confront and re-envision outdated museum practices. This paper addresses issues encountered during the deinstallation of a variety of textiles, involving interdepartmental coordination. The conservation team encountered out of date mounts, materials, labels, and displays including 44 fully dressed mannequins, some with cultural inaccuracies.

An essential element of this project was collaboration with community members. An Advisory Committee of 12 representatives from tribes across the US and Canada, including scholars, artists and museum professionals, formed the core of this outreach effort. The conservation team worked closely with a sub-committee of these Advisors on recommendations for responsible care, display, and storage. The team also relied on their expertise to collaboratively meet internal challenges and update museum and conservation practices. The conservation team found that cross-cultural negotiations with Indigenous stakeholders were flexible, open, and effective. Internal issues impacting inclusion of Conservation sometimes proved challenging.

Dismantling Antiquated Practices at The Field Museum: Stakeholders, Challenges, and Solutions Erin E. Murphy, Nicole Passerotti, Stephanie E. Hornbeck

Field Museum, Chicago, IL, USA

natcc 13 175

Desmontando prácticas anticuadas en el Museo Field: involucrados, desafíos y soluciones

RESUMEN

Actualmente, el Museo Field se encuentra en un proceso de renovación de varios años de su sala permanente Norteamérica Nativa que tiene 70 años de existencia. La colección norteamericana del Museo Field es una de más extensas y completas del mundo. El proyecto está dividido en una fase de desmontaje y reinstalación, donde cada una ofrece la oportunidad de confrontar y reimaginar prácticas museales obsoletas. Este artículo se refiere a las problemáticas surgidas durante la fase de desmontaje.

En un proyecto de gran envergadura como este, era de esperar la existencia de limitaciones de presupuesto, de espacio y de tiempo. Asuntos internos no previstos resultaron ser más desafiantes de lo esperado. El equipo de conservación se encontró con materiales, cédulas, sistemas de montaje y exhibición obsoletos, incluidos 44 maniquíes completamente vestidos, algunos de ellos con imprecisiones culturales.

Un elemento fundamental de este proyecto fue la colaboración con miembros de la comunidad. Un Comité Consultivo de doce representantes de pueblos a lo largo de EEUU y Canadá, incluyendo académicos, artistas y profesionales de museos, formaron el núcleo de este esfuerzo participativo. El equipo de conservación trabajó estrechamente con un subcomité de estos consejeros en recomendaciones para prácticas responsables de cuidado, exhibición y almacenamiento. El equipo también se apoyó en su propia experiencia para, de un modo colaborativo, cumplir con los desafíos de poner al día las prácticas museológicas y de conservación. El equipo de conservación consideró que las negociaciones interculturales con los involucrados de pueblos indígenas fueron flexibles, abiertas y efectivas.

1. INTRODUCTION

The Field Museum is currently renovating its outdated Native North America Hall (NNAH), largely unchanged for nearly 70 years. The Museum’s renowned Native North American collection of approximately 770,000 items, representing nearly half of all the anthropology holdings, ranks among the world’s largest and most comprehensive. From the late 19th- through mid-20th century, the Museum’s expeditions and field research in North America resulted in broad and diverse collections. The significant Plains collections (including among others the Apsaalooke, Arapaho, Assiniboine, Cheyenne, Cree, Kiowa, Lakota, Dakota, and

natcc 13 176

Pawnee) acquired mainly during the museum’s early years of 1895-1910, document the diversity and history of the Plains people.

Notwithstanding some later cases in the 1990s, the NNAH displays were unaltered since their original installation from 1951-56. In prevailing anthropological display styles of the period, case content was arranged by object type and function. While individual items are powerful historical documents and often aesthetic masterworks, the hall had outdated presentation and conservation methodologies. In recent years, the Museum has made efforts to increase the acquisition of contemporary Native American art to stimulate dialogue with the older tradition-based items on view.

Figure 1. Field Museum Native North American Gallery before deinstallation began. ©The Field Museum, Photograph by John Weinstein.

This renovation will reimagine one of three large permanent multi-gallery areas devoted to material culture of the Americas, joining the Hall of Ancient Americas and Hall of the Northwest Coast and Arctic Peoples. The new hall will focus primarily on Native material culture of the Plains, Great Lakes and Southwest regions. The renovation involves two large conservation stages: deinstallation of 1500+ items, representing more than 80 tribes, and preparation for installation of approximately 300 items. Due

natcc 13 177

to the volume of objects and deadlines for completion of the deinstallation phase, conservation treatment was limited to vacuuming and mount removal (when possible). Custom storage housing was fabricated for each object to provide good support. The removed items included flat textiles, apparel, and accessories, many of which were layered onto 44 fully dressed mannequins. Select case studies illustrate challenges, lessons, and stakeholder concerns encountered over the 18-month dismantling period.

2. STAKEHOLDERS

The renovation of the NNAH represents the Museum’s largest collaborative initiative in its history, involving many partners and stakeholders. The Conservation, Collections and Curatorial project teams include Native American staff members engaged in updating Museum practices. The Field has formed a 12-person advisory committee of community leaders, scholars, and museum professionals, representing tribes across North America. The selection of items for the new presentation involves 120 Native American collaborators. Since Illinois is home to more than 100,000 Native Americans, including a large community in Chicago, local, regional, and national Native American communities are watching with anticipation to see how the Field will reimagine the Native American collection in the updated permanent exhibition.

At The Field, 1.2 million annual visitors experience the largest collection of Native North American items in the Midwest. These galleries are the most visited Anthropology galleries by Chicago area school students. Since the Museum plays a vital role in the local educational curriculum, accurate representation in the Native North American galleries is critical.

The Museum is committed to caring for the collections with an emphasis on collaborative conservation with source communities. The NNAH renovation is an incredible opportunity to study and document the collection, learn from the past, forge new relationships and update care and stewardship practices. These efforts will increase access for visits, study, loan, and at times, repatriation.

3. DEINSTALLATION CONDUCTED ON PUBLIC VIEW

Designated an egress pathway, portions of the NNAH remained open throughout renovation. The 51 cases of the Hall were deinstalled in nine sections over the period August 2018 – March 2020. The stages involved multi-department coordination of Conservation, Collections, mount shop, and exhibition registration. Effective communication and constant planning were critical for efficient workflow. For one year, the conservation and

natcc 13 178

collections teams worked in a 2,400 square foot temporary space erected within the gallery. The Field’s then-president, promoting a “Science-On-View” initiative, directed the creation of viewing windows to allow visitors to observe the work in progress. This opportunity allowed visitors to observe museum professionals interacting with objects outside of an exhibition-display setting. Signage along with an eight-minute continuous looping video described the work in progress. Three viewing windows allowed observation of processing activities such as object photography, vacuuming, and customizing housings. When sensitive materials, like ceremonial or sacred items were present, curtains were drawn across the viewing windows. Requests for behind-the-scenes tours were routine and Native American collaborators, Museum trustees, donors, staff, professional colleagues, visiting researchers, and student groups all learned directly from the team about the work underway.

4. PESTICIDES A 2005 survey documented arsenic on 26% of 40,000 items and raised awareness of the likelihood of pesticide residues. Consequently, personal protective equipment (PPE) was secured, and staff, museum visitors and community members were warned of the possibility. Depending on the task, PPE ranged from plastic sheeting, cuffed lab coats, nitrile gloves, Tyvek sleeves, hair nets, shoe booties, to N-95 ventilators. As no running water was available while working on view, individually wrapped wet wipes were used to clean hands, surfaces, and control transfer of contamination from the workspace. Working with the Museum's safety manager was key to making decisions about overall safety and disposal of contaminated materials. While time and resources were limited during the deinstallation phase, each item coming off display was methodically swabbed and cataloged in preparation for future arsenic tests. Information gathered from the 1,500 items presents a rare opportunity to better understand and document the extent of pesticide use on the collection. A recently discovered archival book documenting past pesticide applications provides historical information to include in online records. 5. COLLABORATION AND OUTREACH EFFORTS 5.1 TIME

One of the most fundamental aspects of collaboration is the allocation of time. Allowance for the extra time necessary to include community members in the decision-making process is essential. In support of building relationships and in accordance with the School for Advanced Research

natcc 13 179

Guidelines for Collaboration1 making time for meals together was also important. Some key components of outreach include accommodating scheduling conflicts, communicating transparently, and demonstrating that the work together will not be pro-forma posturing.

5.2 COMMUNICATION

Another important aspect of successful collaboration is consistent and clear communication. Responsive planning and proactive communication ensure that everyone knows what to expect. As priorities and expectations evolved, it was helpful to establish a method for all participants to access and share notes that could be amended by everyone. For this project, this was accomplished through a shared Google document, later attached to our database KeEMu. Participants could add, subtract, or restrict access to the information at any time. Sharing this responsibility helped to foster trust.

5.3 NATIVE ADVISORS

All aspects of deinstallation, as well as planning for the renovated gallery, were guided by the previously mentioned Advisory Committee. In addition, a Conservation and Collections Sub-Committee of five NNAH advisors with extensive museum experience focused on care and stewardship; collaborative communications, process, and documentation; reaching communities with museum loan programs, and conservation training to assist communities with their own collections.

The advisory board met regularly with museum staff, which made it easy to incorporate their views; however, it was also important to communicate directly with many more tribal communities. The Collection team sent letters to representatives of 82 tribes whose items were displayed in the old hall. This letter shared information about the items and invited the tribe’s input on care concerns and requests. This process affirmed the Museum's willingness to listen to and work with source communities.

5.4 WORKING DIRECTLY WITH COMMUNITIES

In the summer of 2019, the deinstallation team worked side by side with community members to remove Acoma and Hopi items from cases. Representatives Acoma Governor Brian Vallo and Hopi Historic Preservation Officer, Stewart Koyiyumptewa, who are both from the Advisory Committee, participated in the planning for and deinstallation of their communities’ cultural heritage. In this instance we had the opportunity to slow down an otherwise typically fast paced process to listen, take note, photographs, and record valuable information about

natcc 13 180

materials, the construction of the items, and storage preferences. When the team observed corn husk fragments, we learned that sometimes offerings were placed in the Acoma woven textiles. Museum staff from across multiple departments also facilitated a same day request to bring an Acoma textile and ceramic outdoors for a blessing, the first time in decades that these ancestral items were in fresh air. The team’s community collaboration efforts have been an intensive aspect of the deinstallation process. However, these were also incredibly informative and fulfilling facets of the project. To accommodate and work with community members it was clear that the team needed to be open-minded and flexible.

Figure 2. Conservation and Collections deinstall team working with community members Acoma Governor Brian Vallo and Stewart Koyiyumptewa, to remove items from cases. ©The Field Museum, Photograph by Field Museum Conservation Department.

5.5 UPDATED PRACTICES AND RESEARCH

To ensure that current best practices informed the project, we engaged in a concerted effort to both learn from others and to share our work. We routinely visited with colleagues at community centers and museums and traveled to 11 institutions around the country while undertaking this

natcc 13 181

work. Committed to a transparent approach, we have shared our work practices with community collaborators and visiting researchers, university students, colleagues, donors and trustees, behind-the-scenes tours and at professional conferences.

In addition to working on view, giving tours, sharing the project via the Museum’s social media platforms, the team planned and participated in many presentations and workshops. Of note were workshops given at the annual conference of the Association of Tribal Archives, Libraries and Museums, an organization dedicated to preserving and advancing the language, history, culture, and lifeways of indigenous peoples. Our workshop topics included: Caring for Feathers, Mold Remediation, and Photography. This yearly conference draws approximately 2,600 people from 352 tribes across the U.S. and the hands-on workshops are highly attended.

6. MANNEQUIN DEINSTALLATION

Of the 1500+ items deinstalled, 44 fully dressed mannequins were on display. Each mannequin presented a challenge in its own right due to varying shape, size, and mount materials (ceramic, papier mâché, wire, hard rolled canvas, newsprint, paint, cardboard, straw, etc.). The complexity of layering and the differing levels of damage to each item on the mannequin added to the challenge of moving, documenting and undressing them. Each time a small team was needed.

Figure 3. The removal of a mannequin from a case using a pallet and jack while wearing full PPE. ©The Field Museum, Photograph by John Weinstein.

natcc 13 182

Each mannequin had a single, middle post bolted to the display deck. Once freed from the case, the mannequin was gingerly transferred to a large palette and bolted down for transport. The palettes became useful tools for handling, documenting, and undressing. Time for processing and space for storing and undressing were constantly negotiated. Many decisions concerning the overall workflow of the deinstallation were determined by mannequin processing constraints.

All mannequins were photographed in the round before they were undressed, with one notable exception that was not photographed at the Tribe’s request. The many layers of clothing, headdresses and moccasins were attached with nails, wire, posts and other intrusive mounting techniques. In many cases, mounts were threaded through holes cut into the bottoms of moccasins or clothing. Undressing one mannequin generally required 2-4 people, a long list of tools (pallets, pallet jack, car detailing plastic tools to pry nails, electric saw for removing heads, lighting, step stool), and extra PPE. This process was physically exhausting but, with 44 opportunities to refine the workflow, repetition honed efficiency.

Figure 4. Mannequins of the old NNAH. ©The Field Museum, All photographs by FM Conservation Department

natcc 13 183

natcc 13 184

A subset of 13 mannequins wearing dresses with glass beadwork were particularly challenging because of their weight, fragility, and storage space limitations. The solution was to create an internal support allowing in situ vacuuming on the mannequin.

Each individual item was photographed, documented, vacuumed. Beyond updating internal records with written condition reports and high-resolution photos, an additional objective was to share the high quality images with community members who want to learn more about the collection. The mannequins were frequently mislabeled as depicting a single tribe’s apparel assemblage, when in actuality, multiple cultural groups were represented. Additional inaccurate interpretations include separate instances of a Ho-Chunk sash and Seminole dress used as turbans, and the improperly mounted Arikara war shirt described below.

6.1 CASE STUDY: ARIKARA WAR SHIRT

The case of an Arikara war shirt illustrates inaccurate cultural-use display as well as damage from mounting and long display. Additionally, most of the items on this mannequin were labeled as Pawnee, not Arikara. This semi-tanned deer hide shirt decorated with quillwork, painted lines, dyed fur, horsehair and silk fabrics was installed in the 1950’s as part of the “Buffalo Skin Ceremonial Costumes of Indians of the Western Prairies” display. The shirt was turned 90 degrees, with the shirt’s left arm hole positioned at the neck and the right mannequin arm protruding through the shirt’s neckline. Further, the too-small mount necessitated wadding the shirt back and securing it with a belt. The mounting consequently presented incorrect information and obscured the full design composition and shirt construction. Structural conservation issues resulted from inadequate internal support, stiffening and distortion of the skin, tears at the arm and neck lines, loss of fur elements, fading of silk components, and extensive breakage and loss of quillwork.

Figure 5. Arikara war shirt on the mannequin (left) and off the mannequin in the proper orientation (right). ©The Field Museum, Cat. No. 63715, Photograph by Field Museum Conservation Department.

natcc 13 185

Once removed, the shirt was placed flat and padded with internal Tyvek-covered pillows. The shirt is currently undergoing extensive treatment to relax distortions, repair tears, back holes, and reattach and repair quill strips. Photography documents the shirt laid out in the correct orientation, allowing for accurate interpretation and understanding of the item.

6.2 CASE STUDY: MENOMONEE SHIRT

Once this Menomonee shirt was removed from the mannequin, dramatically extensive light damage was revealed. What appeared to be a tan shirt on the mannequin was actually a badly faded dark blue shirt, with blue areas remaining in folds protected from light exposure. This striking example illustrates the effect of accumulated light exposure over 70 years. The shirt is an unfortunate victim of outdated display practices and an illustration of what to avoid; it is now an ambassador for making informed decisions about light type and exposure levels and duration. The reinstallation phase of the project is incorporating light exposure and rotation parameters based on microfade testing on all selected textiles.

Figure 6. Light damaged Menomonee shirt while on the mannequin (left) and after removal (right). ©The Field Museum, Cat. No. 155877, Photograph by Field Museum Conservation Department.

natcc 13 186

7. TIPI LINER DEINSTALLATION

In 1904 the Field Museum commissioned Kiowa artist Silver Horn to paint a tipi liner, constructed of sewn semi-tanned hide sections. Small wood letters and numbers, attached to the hide, keyed to a legend describing the battle scenes depicted. The deinstallation of the liner presented many challenges and is illustrative of the internal, collaborative effort across museum departments that was necessary. Exhibition production opened the case, mountmakers removed the piece, Collections worked on storage requirements, and Conservation documented, vacuumed, and removed nails and labels. From examination from the front, it was unclear how the liner was attached to the supporting board and how the board was secured in the case. Multiple contingency plans to remove and store the liner were developed to deal with potential issues that might arise during the deinstallation. Coordination and clear communication were essential to deinstallation of this large-scale item.

Figure 6. Light damaged Menomonee shirt while on the mannequin (left) and after removal (right). ©The Field Museum, Cat. No. 155877, Photograph by Field Museum Conservation Department.

Once the team was assembled to remove the liner and the side of the case opened, the backing board slid out readily and examination confirmed the liner was only attached onto the board via small nails around the perimeter. This simplified the deinstall plans greatly, allowing the removal of the liner on its backing board from the case in a safe and controlled way. After transporting the liner on its board to a large working area, the board was placed face-up in a horizontal orientation; the nails and

natcc 13 187

labels were removed, and the surface vacuumed. Conservation then used photogrammetry to take a high-quality photograph. To do this, multiple photographs were taken from at least two different vantage points to create a composite, undistorted image. The Collections team covered a 12-inch diameter Sonotube with a Marvelseal barrier to store the liner, rolled paint-side out.

8. PHYSICAL STORAGE SPACE AND SPECIALIZED MOUNTS

Collection storage space was a challenge for this huge deinstall project. These items had been on display for so long that no additional space had ever been allocated to accommodate them off display. The Conservation team worked closely with the Collections team to control the flow of items moving into storage. This allowed time for assessment of physical space availability, adjustments, as well as consultation on custom storage mounts. Special storage mounts included custom Tyvek moccasin inserts and multi-tiered flat supports for bandolier bags and straps with heavy glass beadwork. Flat textiles were rolled on tubes. Feathered headdresses were stored on slide-out trays in custom boxes with Mylar viewing windows.

Figure 6. Light damaged Menomonee shirt while on the mannequin (left) and after removal (right). ©The Field Museum, Cat. No. 155877, Photograph by Field Museum Conservation Department.

natcc 13 188

As previously discussed, special requests from the community were accommodated whenever possible. Collections designed custom storage solutions in response to collaborators’ suggestions that some items are supposed to be seen and admired; therefore, special boxes with enhanced viewability were designed. Following community suggestions, an enhanced viewing box was designed for Acoma ceramics. Alternatively, any suggested viewing restrictions were also reflected in an item’s storage solution. For example, items designated as ‘sensitive’ were stored in covered boxes. Hopi kachinas were stored in a standing position, not laying down as originally planned, and oriented facing west toward Hopi country in storage.

9. INTERNAL COLLABORATION AND COMMUNICATION

While collaborative efforts with external communities resulted in meaningful and productive exchanges, these efforts have at times been impeded by internal forces. In some instances where Conservation would be a productive partner with collaborators, the team was excluded. Fundamental misunderstandings about Conservation’s role, contemporary conservation practices, and the need for direct conservator-to-collaborator discussions manifested early during the project. The siloed museum departments with competing timelines and priorities created internal tensions and consensus could be elusive. This internal strife could possibly have been mitigated if discussions addressing professional roles and responsibilities, what collaboration means for different departments, and the importance of respectful and tolerant interpersonal interactions had addressed these issues early on.

10. CONCLUSIONS

Building and fostering both external and internal relationships should be a priority on a project of this scale and scope. The efficient and timely completion of the deinstallation phase relied heavily on teamwork and relationship building. As highlighted during the tipi liner deinstallation, the team worked together across Museum departments to find solutions to a broad array of challenges. This paper shared examples of successfully building trust and developing ongoing, mutually beneficial relationships.

Native American community members have expressed interest in continued discussions with conservators, collection managers, and other staff about care of objects in the Museum’s collections. Drawing on these relationships, conservators will continue to collaborate with descendant community members to incorporate traditional knowledge and preferences for care. We also aim to share current museum conservation practices with our collaborators and will continue to document these efforts.

natcc 13 189

Allowing for the extra time needed to truly foster relationships is essential; museum departments working with communities for the first time might not be aware of the time commitment. It is hoped that the relationships we built, and continue to build, over the course of this project will be nourishing for both the Museum and Native communities. Physically dismantling a large, outdated and misrepresentative gallery while subsequently re-imagining the new space is a once in a generation opportunity. The navigation of complex ongoing challenges with the inclusion of stakeholder voices has been a humbling and enriching experience. We intend to maintain these new approaches to conservation at the Field Museum into the future.

ENDNOTES

1 Indian Arts Research Center. 2019. Guidelines for Collaboration (website). Facilitated by Landis Smith, Cynthia Chavez Lamar, and Brian Vallo. Santa Fe, NM: School for Advanced Research. https://guidelinesforcollaboration.info/.

ACKNOWLEDGMENTS

The Field Museum is the recipient of a major grant from the Andrew W. Mellon Grant for conservation and community engagement for this project. The Julian Grace Foundation and the Elizabeth F. Cheney Foundation have contributed significant additional funding for project conservation needs. We appreciate the guidance of our Advisory Sub-Committee for Conservation and Collections. We’d like to acknowledge Governor Brian Vallo and Stewart Koyiyumptewa for their continued contributions to the project. Rewarding collaborations with our Field colleagues in Anthropology Collections and Exhibition Production ensured the successful deinstallation and protection of more than 1500 items on long term display. We also appreciate the extensive contributions of the additional Conservation staff J. Kae Good Bear and Ellen Jordan as well the Collection Department Michelle Brownlee, Katie Hillson, and Emily Starck. Conservators Samantha Alderson, Susan Heald, Kelly McHugh, Emily Kaplan, Nancy Odegaard and Landis Smith have offered helpful insights to the project.

natcc 13 190

BIOGRAPHIES Erin E. Murphy, Assistant Conservator for Anthropology Collections, Field Museum. Previously, she was Marshall Steel Senior Conservation Intern, Archaeological Collections at the Colonial Williamsburg Foundation. Erin earned her MSc in Conservation for Archaeology and Museums and her M.A. in Principles of Conservation at University College London. Her thesis project was "Decolonization and Conservation of Australian Aboriginal Art and Artifacts". She earned her B.A. in art history and studio art at St. Olaf College.

Nicole Passerotti, Objects Conservator and Program Associate for the Andrew W. Mellon Opportunity for Diversity in Conservation at the UCLA/Getty Graduate Program. She was an Assistant Conservator at the Field Museum from 2018-2020 and a Sameul H. Kress Fellow at the Philadelphia Museum of Art 2017-18. Nicole holds an M.A. and Certificate in Advanced Study in Art Conservation from SUNY Buffalo State College. Nicole earned her B.A. in English from Oberlin College.

Stephanie E. Hornbeck, McCarter Chief Conservator for Anthropology Collections, Field Museum. From 2010-2017 she was Director of Conservation at Caryatid Conservation Services, based in Miami. From 2010-2012, as Chief Conservator for the Smithsonian Haiti Cultural Recovery Project, Stephanie directed recovery efforts of cultural patrimony damaged in the 2010 earthquake. In recognition of this work, she received the Smithsonian Secretary’s Gold Medal for Exceptional Service. From 1998-2009, Stephanie was Conservator, Smithsonian National Museum of African Art.

natcc 13 191

Erin MurphyStephanie Hornbeck Field Museum1400 S. Lake Shore Dr.Chicago, IL 606051 USAFieldmuseum.orgemurphy@fieldmuseum.org Nicole PasserottiAndrew W. Mellon Opportunity for Diversity in Conservation UCLA/Getty Conservation ProgramLos Angeles, CA 90095 USAnpasserotti@ucla.edu

natcc 13 192

ABSTRACT

The paper will deal with the problems of climate management in home museums, present the climate analyses carried out, the results, and two mitigating actions - one in the medium term and the other in the long term - that seek to solve the structural limitations of the museum.

Retos y posibilidades del Museo Casa Histórica Rui Barbosa: preservación de colecciones textiles

RESUMEN

La ponencia abordará la problemática de la gestión climática en los museos de origen, presentará los análisis climáticos realizados, los resultados y dos acciones mitigadoras -una a medio plazo y otra a largo plazo - que buscan resolver las limitaciones estructurales del museo.

1. THE RUI BARBOSA HISTORIC HOUSE MUSEUM

The Rui Barbosa Historic House Museum is a division of the Casa de Rui Barbosa Foundation, a federal institution linked to the Ministry of Citizenship. The institution is a house-museum, an entity allocated in a

Challenges and Possibilities at the Rui Barbosa Historic House Museum: Preservation of Textile Collections

Gabriela Lúcio de Sousa

University of Brasília, Brasília, Brazil

Márcia Pinheiro Ferreira

Rui Barbosa Historic House Museum, Rio de Janeiro, Brazil

natcc 13 193

residence and which preserves the customs and environments left by the family, it must be and convey the feeling of home.

The collection consists of more than 1550 items of extensive typological diversity, including two pieces, cataloged as kimonos, and which belonged to Maria Augusta Rui Barbosa, wife of Rui Barbosa. Both were stored in the map library of the Dreyfus room, which is the Museum Collections Storage of the Rui Barbosa Historic House Museum, located on the first floor.

2. METHODOLOGY

For the preservation of kimonos, the preventive conservation methodology was chosen, which according to Campos (12) "refers to the actions developed in order to prolong the life of the objects." According to this proposal, environmental management was defined as a priority from the comparative analysis of climate data.

It is worth mentioning that constant temperature and relative humidity do not mean that they are adequate, it only demonstrates that the variation is low. For ideal temperature and relative humidity, in addition to variation, it is important to base yourself on the parameters proposed by Oliveira (2016), according to the vulnerability table of the materials most sensitive to heat and humidity.

3. STRUCTURE OF RESIDENCE AND ENVIRONMENTAL MANAGEMENT

The museum is within an original 19th century building, preserved and recognized by regulatory institutions of cultural heritage in Brazil. It is a recognized and valued cultural asset, and, according to the national legislation of cultural heritage in Brazil, it is not allowed to make any type of change in its structure that modifies the original form or interferes with the public appreciation. As a result, there are many limitations for applying a system of temperature and humidity control equipment active 24 hours a day, seven days a week, without interruption and for this reason, a forced ventilation method is used (opening and closing of a window at specific times and/ or the use of a fan).

The structure of the house is characteristic of 19th century residences with wide stone and lime plaster walls, decorated with ceramic tiles and extremely high ceilings. In addition, the institution is 1.5 km away from Botafogo Beach and is therefore subject to the phenomenon of corrosive sea air, high levels of humidity and high temperatures.

natcc 13 194

The areas of the house analyzed were Museum Collections Storage (Dreyfus Room), the next room (Queda do Império Room) and the flat storage drawers, which had a deficiency in sealing and locking. The comparisons established are:

• Climate data for summer, winter, autumn and spring in Dreyfus for 3 consecutive years (2014, 2015, 2016);• Impact of the most aggressive season (summer) on the daily public access room (Queda do Império) in 2014 and 2015;• Impact of specific periods in the Museum Collections Storage (Dreyfus Room); • Exchange level (comparison between dataloggers - satisfactory or unsatisfactory degree of exchange) of the atmosphere (flat storage drawers X Dreyfus Room).

4. RESULTS

As it was discovered, the lag in the data captured by the datalogger of an old model and a probable irregularity of divergence of sensitivity of the digital sensor prevents it being possible to conclude that the climate inside the flat storage drawers is humid, since the datalogger in the Storage Museum Collections has been uncalibrated for many years. However, it is evident that the relative humidity is higher than the index that preserves silk and metallic threads in the textile items of the collection.

Due to the lack of calibration, it was not possible to state that the deficiency of sealing in the map library in use allows the drawer to receive the humidity in the room and does not return it in the same proportion due to lack of ventilation in this microclimate of the furniture. The relative humidity in general is very high but comparing with the information from the Queda do Império Room, it is clear that the architectural structure of the house manages to maintain a certain constancy of RH and temperature. The seasons keep levels close, with the exception of the summer temperature, which is higher, but at the same time, it doesn't even come close to a relatively higher common temperature in that season in Rio de Janeiro. This is the expressive advantage of this type of building, which keeps the climate less unstable than the intense climatic oscillation of the external environment.

5. MITIGATORY ACTIONS

First, the value of the data dispersion was accounted for by calculating the standard deviation - thus verifying the coefficient of variation of the data from the dataloggers. Based on the observations made and with the

natcc 13 195

support of specialists, a medium-term mitigating action, adapted to the museum's financial reality, and a long-term solution were devised. The first is maintaining and improving the routine of natural ventilation and forced ventilation, in less humid periods of the day. The routine must be observed constantly, noted, and controlled so that it occurs on the correct days and presents the results necessary for the maintenance of the collection in the proposed period. The second mitigating action is to prioritize the execution of the construction project of an annex building with air conditioning and dehumidification suitable for the preservation of the textiles in the collection. This project is in progress and the institution has already obtained the necessary financial support to carry out the construction, which should be completed in the coming years.

ACKNOWLEDGMENTS

The Rui Barbosa Historic House Museum and all the team, Antônio Oliveira, Maria Luísa Ramos de Oliveira Soares, the NATCC team, especially Howard, Hector and Christine.

BIBLIOGRAPHY

Campos, M. S. 2013. Ações de conservação preventiva para o controle de pragas no acervo da seção de antropologia do Museu Antropológico Diretor Pestana, Ijuí – RS. Bachelor degree monography, Federal University of Pelotas, Pelotas.

Oliveira, Antônio. 2016. "Apostila do curso de análise climática para preservação de bens culturais" In Módulo análise climática interna. Rio de Janeiro: Instituto Cervantes. 1: 1-23.

Oliveira, Antônio. Questionamentos relativos a aparelho datalogger possivelmente descalibrado [personal message].

FURTHER READING

Froner, Yacy-Ara; Souza, Luiz Antônio Cruz. 2008. Preservação de bens patrimoniais: conceitos e critérios. Belo Horizonte: LACICOR − EBA − UFMG.

Krüger, Eduardo L. Carvalho, Silmara Küster de Paula; Güths, Saulo. 2004. "Avaliação das condições ambientais em museus: aplicação de uma metodologia de predição com vistas ao uso adequado de insuflamento de ar." Conferência latino-americana de construção sustentável. São Paulo: X Encontro nacional de tecnologia do ambiente construído. 10: 1-10.

natcc 13 196

BIOGRAPHIES

Gabriela Lúcio De Sousa is a Graduate student in Information Science at University of Brasilia. Bachelor’s degree in Conservation and Restoration at Federal University of Rio de Janeiro. Former researcher at the Rui Barbosa Historic House Museum with the project “The Maria Augusta Rui Barbosa kimono's: research, conservation and public access”.

Márcia Pinheiro Ferreira is a Professional technologist in conservation of movable cultural heritage at the Rui Barbosa Historic House Museum. Master's degree in Preservation of Science and Technology collections. Responsible for the Center for the Conservation of Movable Cultural Heritage at the Rui Barbosa Historic House Museum.

Gabriela Lúcio de SouzaSão Clemente Street, 134, Botafogo, Rio de Janeiro, Brazil +552198089 1922 gabriela.luciio@gmail.com

Márcia Pinheiro FerreiraSão Clemente Street, 134 Botafogo, Rio de Janeiro, Brazilmarcia@rb.gov.br

natcc 13 197

ABSTRACT

Very few actions in a conservation lab take place inside a bubble. Decisions on interventive and preventive care alike are informed by factors beyond the object itself. It is similar at the macro level. In 2015, The Textile Museum reopened in a new location as part of The George Washington University Museum and The Textile Museum. The move was motivated by external forces, including an ageing and increasingly costly facility at the historic location. The museum built new labs at the gallery site and an offsite collections center that finally matched the quality of the museum’s collection and staff. Establishing and outfitting these labs was a force of “influence in” and later, karmically, “influence out”. Equipment choices were informed by consultations with numerous colleague labs whose generosity, practicality and ingenuity guided our decisions. Now, other labs are consulting the Textile Museum as they begin similar projects. This paper will present examples of equipment the museum acquired and the rationale behind those choices, highlighting areas where the influence of colleagues was critical, in the hope of saving future colleagues time and effort.

No Lab is an Island: Influence in and Influence out in Equipping New Textile Museum Labs

Maria Fusco and Esther Méthé

The George Washington University Museum and The Textile Museum, Washington DC, USA

natcc 13 198

Ningún laboratorio está aislado: Influencias adoptadas y retribuidas al momento de equipar nuevos laboratorios textiles en museos RESUMEN Muy pocas acciones dentro de un laboratorio de conservación ocurren dentro de una burbuja. Las decisiones de tratamientos de intervención y de prevención dependen de factores que van más allá del objeto mismo. Algo similar ocurre a un nivel macro. En 2015, The Textile Museum reabrió en una nueva ubicación como parte de The George Washington University Museum and The Textile Museum. Este traslado se debió a factores externos, entre ellos: una locación histórica que envejecía y cuyo costo de mantenimiento aumentaba. El museo construyó nuevos laboratorios donde se ubican las salas de exposición, así como en un centro de colecciones fuera del predio, los cuales -por fin- correspondían a la calidad de las colecciones y del equipo humano del museo. Establecer y equipar estos laboratorios provocó una tensión entre adoptar y posteriormente, kármicamente, retribuir. Las elecciones de equipamiento se nutrieron de asesorías con colegas en laboratorios cuya generosidad, pragmatismo e ingenio guiaron nuestras decisiones. Ahora, otros laboratorios acuden al Textile Museum conforme emprenden proyectos similares. Este artículo presentará ejemplos de equipamiento adquirido por el museo y el razonamiento detrás de estas decisiones, enfatizando aspectos donde la influencia de colegas resultó crítica. Con esto, esperamos ahorrar tiempo y esfuerzo a colegas en el futuro.

1. INTRODUCTION

The Textile Museum (hereafter TM) was founded in Washington, DC in 1925 by George Hewitt Myers. Its collection consists of over 21,000 rugs, archaeological and ethnographic textiles with a growing representation of contemporary textile artists. Myers prioritized conservation: the lab was one of the first sites of textile training in the US, seminal workshops on collections care were offered, and technique was shared through The Textile Museum Journal.

Over time the museum was housed in two historic homes (1913 and 1915). Maintaining aging infrastructure has been costly and the collection has outgrown the storage footprint. In 2011, an agreement to merge entities was brokered with The George Washington University (hereafter GW), which holds well-established programs in museum studies.

natcc 13 199

New facilities were built on two sites from 2012-14: the museum, a public-facing exhibition and education space on the GW DC campus, and a collections storage space, The Avenir Foundation Conservation and Collections Resource Center (AFCCRC), on the GW Virginia campus. The collection was moved in 2014 and the museum reopened as The George Washington University Museum and The Textile Museum in 2015. Each site comprises a conservation lab, respectively 1136 square feet and 2020 square feet, equipped with the support of The Avenir Foundation, The Stockman Family Foundation, and a private grant. Equipment was acquired in two phases: essential equipment (freezers, tables, etc.) was acquired during building construction, while the purchase of more complex and custom items began in late 2016. Equipment installation is currently near completion.

Figure 1. The Avenir Foundation Conservation and Collections Resource Center (AFCCRC). George Washington University’s Virginia Science and Technology Campus. Photo by William Atkins / The George Washington University.

natcc 13 200

Figure 2. Conservation Lab and Staging rooms at the museum's District of Columbia site. George Washington University’s Foggy Bottom Campus. Photo by Maria Fusco.

Figure 3. Conservation Lab at AFCCRC. Seen here are rehousing, dry treatment and wet treatment zones. Photo by Maria Fusco.

natcc 13 201

An accelerated timetable of the building design, move and equipping phases, prompted TM staff to seek consultations with colleagues in the US and abroad, the result of which then informed the final selection of equipment and design. It is now our turn to share the expertise we acquired and our decision-making process with other labs, as they undertake similar projects.

2. PREVENTIVE CARE UPGRADES

Preventive conservation is a major aspect of the conservation department’s workload. Conservation manages and co-executes environmental monitoring, integrated pest management (IPM) and collections rehousing programs. Consequently, designing and equipping the museum to support preventive tasks was a priority and began at the building design level.

A good design results in reducing material handling and the storage footprint, and so both locations were designed with flexibility, efficiency and IPM in mind: built in and wall-mounted racks were avoided in favor of the ability to move furniture and storage units, as needs evolve. To facilitate access for cleaning there is a 6″ clearance between the floor and the bottom of cart shelves and furniture. Dunnage racks raise legacy flat file cabinets off the floor. Open design lines on equipment were prioritized to reduce pest harborage sites. Some storage units were standard products while others were custom-made to our specification.

2.1 WALK THROUGH FREEZER

TM staff have preventatively frozen collections since the 1980s. At the original location, out of necessity, the objects were processed in the same space before and after freezing. This increased the chance of cross-contamination of non-treated and treated objects. The problem was solved at the AFCCRC by designing a “walk through” freezer located between a pre-freeze “dirty” room (Processing 1) and a post-freeze “clean” room (Processing 2). Objects enter the freezer through a door in Processing 1 and exit through another door into Processing 2. Distinct processing rooms based on their purpose have been highly effective and served as a model for other institutions. Unfortunately, this could not be duplicated at the DC facility where a regular walk-in freezer was installed.

The cycle range, -26º to -34º C, is monitored with a Supco DVT4 data logger supplemented with Hobo Pro v2 on-cart loggers. The freezers were sized to both accommodate large objects and process objects at volume. Loading objects on carts with casters facilitates introduction to rapid

natcc 13 202

temperature drop; up to eight carts (24” x 72”) can be accommodated or the collection’s widest rugs. Colleagues (see Acknowledgements) had emphasized the importance of the following: a walk-in freezer able to operate below -30º C; a freezer coil only moderate in size to effectively balance temperature drop with humidity; stainless steel floors with anti-slip finishes; space under the freezer to prevent condensation; standard size doors to prop open when not in use; a door heating element that can be disabled when the freezer is offline and alarm systems to alert of malfunction.

Figure 4. Walk through freezer at AFCCRC, view from Processing 1. Photo by Maria Fusco.

2.2 ANOXIA SYSTEM

For objects which cannot be frozen, an alternative was provided by the installation of a Headley Conservation Services nitrogen-based anoxic system. Nitrogen reaches 45% relative humidity (RH) through a series of humidification, mixing and sampling tanks before entering a custom-built aluminized polyethylene chamber (Marvelseal®). Threaded bulkhead fittings facilitate nitrogen introduction and oxygen monitoring. A wireless Hobo MX1101 logs RH levels during the process. Argon can be used as an alternative. Consultations indicated that choices on controlled atmosphere systems were not one-size-fits-all, were singular to each institution based on collection type, use frequency, staff size, ventilation

natcc 13 203

infrastructure, health and safety support, environmental concerns and civic regulations. Most agreed that confirming oxygen levels was mandatory and an awareness of civic regulations was needed. GW’s safety guidelines and the building’s ventilation infrastructure dictated our use of nitrogen. Staff continuous training on state level pest applicator keeps us current on regulations and new developments.

2.3 ENVIRONMENT

Wireless Hobo MX1101 loggers are replacing older models. Data is accessible anytime from mobile devices. Loggers in a 100 feet unobstructed radius can be downloaded simultaneously, greatly reducing labor. A refined Excel report generation system produces analysis which can be easily shared with GW HVAC staff and lending institutions.

2.4 ADDITIONAL EQUIPMENT UPGRADES

Matt cutters: wall-mounted Fletcher 3100 Multi-Material Cutters were recommended by paper conservators.

Workstations: custom work and material storage station designed by Delta Cabinets. This workstation is currently in design and will allow students to work alongside staff in proximity to materials and tools.

Mobile materials cart: mobile storage cart for upright storage of oversized archival materials (blue board and boxes) was custom designed with StabaArte.

Mobile metro carts: most materials are stored on mobile metro carts which line one wall. In addition, a Bulman R200 paper floor rack for polyethylene sleeves.

Stools and desks: Stand Up Desk Store pneumatic height adjustable lecterns create mobile computer workstations. Cramer Scooter™ Stools allow access to moderate heights.

Racatac Kneeling Sitting Creeper stool: facilitates speedy and ergonomic cleaning under cabinets and caulking of baseboards to limit pest entry. Container Store Elfa cart: customized, provides mobile storage of pest monitoring equipment or work in the galleries.

natcc 13 204

Figure 5. Customized StabaArte cart with oversized blueboard and boxes, Bulman floor rack with polyethylene sleeves, mobile IPM cart, Cramer Scooter™ Stool and Cramer Stop-Step™. Mobile Metro carts for material storage in background. Photo by Maria Fusco.

3. INTERVENTIVE CARE UPGRADES

Object treatments and mount preparations for exhibition are a large part of conservation’s workload. The majority of space in both labs is dedicated to the following systems.

3.1 WORKSTATIONS

Multiple, distinct workstations help staff and students work in conjunction and independently. Workstations consist of height adjustable treatment tables, ergonomic chairs, magnified lamps and tool taborets. Flexibility was again key. The twelve treatment tables are modular. With 48” x 72” work surfaces, they adjust fluidly in height over a 26” - 38” range, have heavy duty locking casters and mounted power strips. Work surfaces align so a station can comprise a single table or a seamless complex of multiple tables. Manual and electronic raising options are available, the former more practical. Some work surfaces have removable panels to facilitate stitching. Rehousing, microscopy and workshop tables were fabricated by the same vendor with a mix of worktop surfaces. Since the planning stages, tables were designed with rounded corners and to fit double doors, allowing objects to move throughout the facility without handling.

natcc 13 205

Our HÅG Capisco work chairs are ergonomic, height adjustable and allow a cantilevered position. They offer footrests and flat or saddle seats. Mobile Luxo WAVE LED magnifying lamps have 5 diopter glass lenses and small 10 diopter detachable STAYS lenses. Medical treatment carts serve as tool and material taborets sized to fit under treatment tables to compact space. Height adjustable lecterns hold laptops, freeing work surface space. The lecterns roll smoothly and double as camera dollies, facilitating mobile filming throughout the facility.

Figure 6. Treatment workstation: modular treatment table with stitch panels, HÅG chair, tool taboret, magnifying lamp, pneumatic lectern for laptop, retractable ceiling power drop and Nederman trunk. Camera pantograph in background. Photo by Maria Fusco.

3.2 LIGHTING

Overhead lights in the labs are from the Philips Jump LEDALITE line: suspended, semi-direct lights with a LAA LED source (2404 lm, 4000K, 77 CRI) with a dimming feature. Funding is available to install gallery lights in each lab to simulate exhibit lighting, though on hold as the museum’s gallery lighting systems are assessed for upgrade.

natcc 13 206

3.3 PHOTOGRAPHY SYSTEM

The Avenir Center’s dedicated photography studio is in frequent use, doubling as a collections access space. So to facilitate in situ photography, ceiling mounted camera rail systems were installed in the lab. Conservators can photograph objects in workstations, avoiding handling, labor and delays waiting for photo studio availability.

Manfrotto’s Sky Track system utilizes 10’ and 16’ rails paired with pantographs. Systems are found over our two main workstations to facilitate overhead and detail shots. Rails extend laterally beyond the tables and pantographs extend vertically over seven-foot ranges, allowing photography of flat and dimensional objects at varying heights. A Nikon D-610 digital SLR camera with 24 – 85 mm and 105 mm lenses pairs with GVM Bi-color LED G100W Video lights. A Vello LW500 wireless relay allows remote camera operation and image transfer. The system’s profile is unobtrusive when inactive as the lights, camera & relay are detached.

3.4 MISCELLANEOUS TREATMENT AND EXHIBITION EQUIPMENT

A RH Conservation Engineering Heated Spatula set, an ultrasonic humidifier and preservation pencil, a Master Heat Gun® for VIVAK® mounts and a ConAir® handheld garment steamer for Fosshape® were acquired.

3.5 WET CLEANING LAB

Wet cleaning treatments have been undertaken in the TM labs in varying waves since the 1930s. And so in the new Avenir lab, over 300 square feet have been dedicated to accommodate this re-developed capacity.

natcc 13 207

Figure 7. Wet treatment lab: wash table, drying table, water filtration system in background. Photo by Maria Fusco.

After consultations, various options for water purification methods emerged and so a custom deionized water delivery system was designed with Evoqua Water Technologies. This was chosen as reverse osmotic systems required a large source tank for which there was no room; RO systems seemed suited to institutions with multiple labs and auxiliary space for a shared tank. Functionality to adjust conductivity, as found in some colleague labs, allows a range of purity levels while controlling ion content. The system consists of a carbon pre-filter, three mixed bed tanks and a post filter. Post the mixed bed tanks, cation (sodium) and anion (hydroxide) tanks allow adjustments in conductivity and can be engaged or bypassed; ball valves facilitate incremental engagement. The inline water heater can reach 105° F (40.6° C) and temperature and resistivity/conductivity meters monitor within the system, post the heater. Bath readings are conducted using Horiba compact meters. The system provides water on demand delivering 2.5 gallons per minute. An auto dump ensures water is always circulating. The dye lab has a counter top deionized water system for glassware cleaning and solution prep: an ELGA Purelab Flex 3 with a 7-liter reservoir and dispense rate of 2 liters/minute.

natcc 13 208

A MuseuM Services Corporation wash table pairs with the larger DI water system. The table has a steel frame with a high density polypropylene wash tank with locking casters and an aluminum frame wash screen and perforated support screen in the tank. A variable speed wet/dry vacuum (Tiger-Vac®) facilitates drying and offers suction treatment capacity. A reinforced table cover protects the tub when idle. Wash tubs can be fashioned on the graded floor with drain for larger textiles.

A custom drying table pairs with the wash table. A stainless steel frame rests on heavy duty locking casters. Tempered glass with an embedded grid pattern provides the drying surface. Neoprene gaskets seal the glass. A trough with drain holes encircles the perimeter to gather and route water. A LED light box is placed underneath to aid in weave alignment. A protective pad tops the table when idle. Consulted colleagues agreed that a glass surface and the largest working area possible was desirable. Opinion differed on whether a high or low table one could lean over was preferred. An embedded small cell grid was agreed to be beneficial. 18” portable floor fans complete the system.

For localized cleaning, a suction treatment system was sourced from RH Conservation Engineering. The system features a suction motor unit, suction table worktop, humidification cover and small platen accessory. The motor exhausts vapors out a flexible trunk which fits into the lab’s overhead Nederman system. This system allowed the lab to host a suction workshop for paper and textile conservators, demonstrating new equipment’s potential in cross-training and collaboration.

3.6 INSTRUMENTAL ANALYTICAL TOOLS

The museum does not have a dedicated conservation science department. The attention required for instrument maintenance and their storage footprint were respected. Choices were tailored to these realities and staff’s minimal time for analysis, given the exhibition schedule.

Polarized light and stereo microscopes were upgraded to facilitate digital photo microscopy. Consultations advised seeking software with a streamlined user interface and limiting the number of systems staff would need to learn. The stereomicroscope could not permanently occupy worktable space and needed to be on a mobile, non-cumbersome stand.

Olympus BX53 polarized light microscope (PLM): The reliability of the lab’s previous Olympus PLM was noted. The new Olympus has 4x, 10x, 20x, 40x and 60x objectives, a rotating centerable stage, an LED lamp housing, full wave, quarter wave plates and quartz wedge. The Olympus

natcc 13 209

DP74 camera pairs with their Stream basic 2.4 software with EFI and MIA modules. The BX53’s polarized image is crisp. The scope’s body is compact, sturdy and with intuitively arranged components. The software is not overly fussy and the z-stacking feature is easy to automate.

Zeiss Discovery V8 stereomicroscope: Choosing an Olympus stereo microscope would streamline digital photo systems, but the V8 had an amazingly wide and crisp viewing field. Its flexible modularity meant one could quickly swap in eyepieces and objectives to customize the system over time. An apochromatic objective (Plan Apo S 0.63x) was selected. Additional objectives will be added as different working ranges are required. An Olympus SC50 camera could be paired, so staff are not required to learn multiple software systems. A high-powered LED ring and gooseneck light sources are used. The third-party stand is sturdy yet adjustable, moveable with one hand and compactly nestles with the tables reducing trip hazards.

A Konica Minolta CM-700D Spectrophotometer with 8 mm and 3 mm target masks and Spectramagic NX Pro software is used to quantify changes before and after wet cleaning. It is easy to operate and maintain and has potential as the lab widens its treatment choices.

A portable X-ray fluorescence spectrometer was the most complex instrumental tool acquired. It will mostly be used for health and safety reasons, like to detect inorganic pesticide residues (As, Hg) and hazardous coloring components (Pb).

The Bruker Tracer 5i pXRF was chosen based on consultations and staff’s previous experience with its reliability, tech support and ease of use. The unit has a rhodium thin window X-ray tube, a silicon drift detector with <140 eV @ 250,000 cps Mn K, an elemental range from Na through U with its helium assembly and 3 mm and 8 mm spot size collimators.

3.7 DYE MACHINE, MECHANICAL CONVECTION OVEN, SEWING MACHINE STATION, TEXTILE HOIST

The lab now has the ability to custom dye treatment material with a Miele electric glass ceramic cooktop with overhead exhaust hood for hand dyeing. The addition of a mechanized dye machine has reduced labor and increased output. The Mathis BFA-12 can accommodate 12 beakers, with sets of 300 ml, 500 ml, 1000 ml and 5000 ml dosing beakers. Dosing nipples accommodate in-cycle injection of dyestuff and auxiliaries. It operates at a temperature range of 20º - 140°C and is water-cooled. A 4.6 cubic foot under counter fridge stores auxiliaries. Staff still develop

natcc 13 210

recipes and prepare solutions, but the Mathis eliminates manual stirring and temperature monitoring and better ensures temperature constancy. A consultation with North Carolina State solidified our choice. They operate a fleet of dye machines and recommended Mathis above others, citing it as a robust instrument with informed and responsive customer service.

A Quincy 30AFE-LT digital, low temperature mechanical convection oven facilitates Oddy materials testing. Mechanical was recommended over gravity convection as the fan facilitates better circulation and temperature consistency. The oven is US manufactured with a very responsive and informed sales team. It facilitated the incorporation of materials testing protocols into our lab routine, looking to The Metropolitan Museum of Art’s protocols as a model with slight customization to our facility.

Figure 8. Dye lab: Mathis dye machine, Miele cooktop with overhead hood, under counter refrigerator, Quincy oven, emergency shower with eyewash station. Photo by Maria Fusco.

A mobile sewing machine station, a Kangaroo Wallaby II, houses the lab’s new Elna 3230 sewing machine and Janome MyLock 1110DX Pro Serger. The cabinet can be wheeled proximate to treatment workstations and its structure facilitates cleaning and inspection for pests.

natcc 13 211

A textile hoist is being designed for the AFCCRC’s photography studio so multiple departments can utilize it. Installation is delayed by the Covid pandemic, but prototyping includes a mechanized raising mechanism and double-sided batten with Velcro, 6 lb Ethafoam® and magnetic attachment points.

4. GENERAL LAB EQUIPMENT UPGRADES AND OTHER AREAS OF MUSEUM

Grant support allowed the museum to outfit several other areas which support collections care and exhibit work.

4.1 ACCESSIBILITY/CONVEYANCES

The Avenir Foundation supported the purchase of compacted storage cabinetry: cabinets by Delta Design Ltd on a motorized compacting rail system by Spacesaver. There are 145 gasketed cabinets, 6 open cantilevered units for oversized rolled textiles and 88 open shelving units for boxes or dimensional works. WAV Lifts facilitate object retrieval and access to the center’s overall open ceilings for cleaning. Rolling, fixed step ladders (Cramer Stop-Step™) complement access in storage and the lab. Rolling kick stands (Cramer Scooter™ Stools) access moderate heights and have economical construction lines to facilitate their cleaning. A fleet of object and material movement carts were acquired: for moving large pressure mounts, an A-frame sheet and panel truck and a rail truck with platform. For moving dressed costumes to the galleries, a Safco® Stow-Away® Platform Truck.

4.2 INSTALLED SYSTEMS

The Avenir lab has six overhead retractable power drops from the ceiling, providing grounded 120v power supply at internal areas of the lab, reducing trip hazards. Six Nederman fume extractors are placed over work and wet cleaning stations. The dye lab has a cabinet extraction hood, an overhead hood over the dye cooktop and mechanical convection oven and a chemical storage cabinet. Miele washers & condenser dryers were installed. The condenser dryers do not require external exhaust freeing their placement and reducing construction complications. In 2018, door gaskets and sweeps were upgraded throughout the collections center, replacing broom style sweeps. The new systems use a combination of door saddle, heavy-duty automatic door bottom with a sponge neoprene seal and perimeter neoprene ring seal gaskets. These are easier to clean and do not harbor pests as bristle sweeps do.

natcc 13 212

4.3 COMPUTER SYSTEMS

New laptops, Dell Ultrabook Latitude E7470s, facilitate mobile work. An HP SB Z2 workstation and HP SB Z22N monitor pair with the new microscopes to accommodate their increased image processing needs. A highly efficient batch scanner, an Epson DS-870, supports the lab’s campaign to digitize historic treatment archives.

4.4 MOUNT PREPARATION AND EXHIBIT INSTALLATION ITEMS

A gallery “command center” compactly transits tools, materials, and documentation equipment: a Stanley 100 Series Mobile Workbench tool cart paired with a height adjustable lectern and simple metro cart. Dewalt compact drills were acquired and Ryobi electric screwdrivers, the latter useful when gentler torque is required, i.e. in framing pressure mounts.

4.5 REHOUSING EQUIPMENT

An assortment of heat sealers was acquired: portable direct heat sealers rated for higher temperatures to accommodate sealing of Marvelseal® during anoxic processing, and those rated for lower temperature sealing of polyethylene to enclose objects pre-freeze. Tabletop sealers to quickly seal mass volumes of objects were also acquired. The museum uses 4 mil. polyethylene sleeves, 10” to 40” wide, to seal rolled, folded and boxed textiles pre-freeze, greatly reducing material and labor costs.

5. CONCLUSION

Lab design and equipment choices could not have been made with the speed or efficiency needed if not for help of generous colleagues. We are grateful for their patience and kindness in sharing their knowledge over the years. Since reopening, we have received frequent requests for equipment specifications or sourcing vendors; it is our turn to share our experience with colleagues. Beyond equipment selections, we have made efforts to document collections care processes on our website as well, including demo videos, to further share information. We are all here to help each other leapfrog forward, saving precious resources of time and energy. The prevalent spirit of sharing in our field applies to all aspects of our work and should continue to guide us in making wise decisions in treatment and collections care.

natcc 13 213

ACKNOWLEDGEMENTS

Sustained consultations with colleague labs were numerous, key to progress and gratefully received. So many generous colleagues were consulted over the years; we hope the following list is exhaustive.

Information shared by The Museum of Fine Arts Boston (MFA), The Cooper Hewitt Smithsonian Design Museum and The Philadelphia Museum of Art (PMA) on overall lab and storage infrastructure, including construction elements and storage configuration were foundational to our success.

Freezer consultations were undertaken with The National Museum of the American Indian (NMAI), The Konserveringscenter Vejle in Denmark (Vejle) and The Canadian Conservation Institute (CCI). Guidance on the acquisition of the anoxic system was given by The Smithsonian Institution’s Museum Conservation Institute (MCI) and National Museum of Natural History, The Winterthur Museum, Garden and Library, The Colonial Williamsburg Foundation (CWF), Vejle, Historic New England, PMA and The Yale University Art Gallery. Treatment tables were modelled on those in the NMAI lab. The tool taborets were a suggestion of several National Gallery of Art (NGA) labs. Consultations with The Indiana State Museum, The de Young Museum and The Los Angeles County Museum of Art (LACMA) were critical to the design of the camera rail system. Consultations with CCI, The Metropolitan Museum of Art (MMA), The Department of Art Conservation at The University of Delaware, NMAI, PMA and The Centre for Textile Conservation and Technical Art History at The University of Glasgow (Glasgow) greatly assisted in the design of the wet cleaning systems. The custom drying table was designed in consultation with CCI, The Royal Ontario Museum, CWF and The Abegg-Stiftung.

Microscope upgrades were informed by consultations with Denyse Montegut, Spectra Services Inc., MMA Textile Conservation and Costume Institute labs, Glasgow, The Smithsonian Institution’s National Air and Space Museum (NASM) and The McCrone Group. Staff experience at MCI, The Walters Art Museum, NGA and LACMA guided purchase of the pXRF. Guidance on dye machines was provided by the MMA, CCI, CWF, Prev artGmbH in Winterthur Switzerland and The College of Textiles at North Carolina State University. Advice on the mechanical convection oven was provided by NASM, The Smithsonian Institution’s National Museum of African American History and Culture & The Heritage Conservation Centre in Singapore.

natcc 13 214

Hoist consultations with Windsor Conservation, The MMA and The Isabella Stewart Gardner Museum opened creative options in batten design, sourced a proven vendor and avoided pitfalls in the mechanized design. Advice on door sweeps from staff at CWF, NGA & GW’s facilities department ensured pragmatic hardware choices.

The project would not have been possible without the support of The Avenir Foundation, The Stockman Family Foundation and a critical though anonymous private donation, all of whom continue to be transformational partners. TM and GW colleagues past and present provided inspiration, pragmatic analyses and good humor, ever trusted collaborators. MATERIALS AND SUPPLIERS

Freezers. Tafco 16-8-F-NR models. 8.5’ wide x 15’ deep x 11’ high. Cart size limited by door dimensions: 4ft wide x 7 ft high. Installed by ARI (Arbutus Refrigeration Incorporated) www.arimidatlantic.com

Controlled atmosphere system, nitrogen based. Ultra high purity nitrogen grade 5.0 300 cf cylinders. Honeywell MultiPro TM Gas Detector (oxygen monitor). Sensit P100 personnel monitors. KF-Series 300 CS heat sealer. Marvelseal 360. Headley Conservation Services (bretheadley@gmail.com).

Mat cutters. Fletcher 3100 Multi-Material Cutters, part number: 04-715, www.fletcher-terry.com/. Supplier: CMI Moulding, +1 301 476 7440.

Rehousing workstation. Custom design. 77” wide x 34” high x 67” deep. Six 41.5” drawers, three 23.5” drawers, 2 paper dispensers, 80” cubby, laminate work surface. Delta Designs Ltd., +1 785 234 2244.

Oversized archival materials storage cart. Custom design, modified picture trolley. 38” wide x 59” long x 79” high, powder coated steel, removable vertical panels, swivel locking casters. StabaArte, info@stabaarte.de

Mobile rolled materials storage cart (polyethylene sleeves). Bulman R200 48” Horizontal Tower 20 Roll Paper rack, www.webstaurantstore.com. Note: poles provided with the rack are not load bearing. Replaced with 49.5” long ASTM A500 Bare Steel Pipe 3/8" SCH 80, www.coremarkmetals.com

Mobile computer workstations. Stand Up Desk Store pneumatic height adjustable lecterns, item # SUDPLECTERN-WH, www.standupdeskstore.com

natcc 13 215

Ladders and stools. Kick step, Cramer Scooter™ Stool, item 50011PK000043 in red. Step ladders with rails, Cramer Stop-Step™, item 1041L00000019 in yellow. www.cramerinc.com. Racatac Kneeling Sitting Creeper stool, 01RAC3, www.amazon.com

Transit and IPM carts. A-Frame Sheet and Panel Truck, powder-coated steel, 48" long x 30" wide x 7.75" high, item 2570T22. Steel Rail Truck with Powder-Coated Steel Platform, Blue Steel Rails, 60" long x 30" wide x 9" high, item 2765T46, www.mcmaster.com. Safco® Stow-Away® Platform Truck, 39” wide x 40" long x 24" high, Demco SKU W20526580, www.amazon.com. Custom Elfa cart, IPM, www.containerstore.com

Data loggers. Freezer monitoring, HOBO U23 Pro v2 External Temperature Data Logger, item U23-004. Temperature and RH monitoring, HOBO Temperature/Relative Humidity Data Logger, item MX1101, www.onsetcomp.com

Treatment and work tables. 48” wide x 72” long work surfaces, adjust in height from 26” - 38”. Heavy duty locking casters, mounted power strips. Manual and electronic raising options available. Two rows of 4” wide x 5” long rectangular or 8” square cutouts in stitch tables. Treatment tables topped with Wilsonart® type 107 melamine resin laminate with a Formica® backer, rehousing and workshop tables a maple butcher block. General Woodworking/Phoenix Workstations, +1 978 458 1151.

Ergonomic chairs. HÅG Capisco, upholstery origin poppy, base silver, black hard surface casters, flat or saddle seat, pneumatic lift seat height 22.5" to 31.875", StepUp footrest, www.fully.com

Magnifying lamps. Luxo WAVE K1AH LED magnifying lamps, 5 diopter glass lenses, 10 diopter detachable STAYS lenses, light gray with 34” floor stand with casters and glides, Taber Wholesale, www.tabersales.com

Tool taborets. Harloff ETC-3 treatment carts, three drawers, one open storage cabinet, powder coated steel, removable plastic top, 15.13” deep × 23.38” wide × 27.25” high, Acuity Medical, +1 410 280 3800.

Camera system. Manfrotto’s Sky Track system, 10’ and 16’ black anodized 3M rails, Pantograph Top 2C, Nikon D-610 digital SLR camera with 24-85 mm and 105 mm lenses, GVM Bi-color LED G100W Video lights (variable color temperature 3200 to 5600K, CRI 97), Vello LW500 wireless relay, www.manfrotto.com and www.bhphotovideo.com.

natcc 13 216

Heated Spatula set. Spatula controller unit, macro, standard and miniature spatulas, interchangeable head spatula and tacking strip iron (160 mm x 55 mm). RH Conservation Engineering, www.rhconservationeng.com.

Ultrasonic humidifier and preservation pencil. University Products, +1 800 628 1912, www.universityproducts.com

Heat gun. Master Heat Gun® (HG-501A), 500º to 750º F, 23.0 cfm, Item 4Z715, 800.GRAINGER, www.grainger.com

Handheld steamer. ConAir® Extremesteam® Professional Handheld Fabric Steamer, Item # GS23N, www.conair.com

Large Di water system. 20” 5UM carbon pre-filter, three SDI 1.2 CF mixed bed tanks, SDI 1.2CF cation (sodium) tank, SDI 1.2CF anion (hydroxide) tank, 20” 25/1 micron post filter. Infinity Fluids Inline water heater (CRES-MF-48-0120-K-3P), Thornton M300 temperature and resistivity/conductivity meters. Horiba pH 33 and EC 33 LAQUAtwin compact meters. System delivers 2.5 gallons per minute. Auto dump installed. Evoqua Water Technologies LLC, www.evoqua.com

Countertop DI water system. ELGA Purelab Flex 3 with carbon cartridge, 5 micron filter, point of use filter and 185/254nm UV lamp with a 7 liter reservoir and dispense rate of 2 liters/minute. Evoqua Water Technologies LLC, www.evoqua.com

Wet cleaning elevated wash tub. Textile Wash Table package, 400-007 TWT, 60” wide x 96” long x 37.25” high, steel frame locking casters, high density polypropylene wash tank, aluminum frame wash screen and perforated support screen in the tank. Tiger-Vac® Vacuum Cleaner Complete Package 255-001 115VAC, variable speed vacuum with micro/macro heads and hoses. MuseuM Services Corporation, www.museumservicescorporation.com

Drying table. Custom design, stainless steel frame, heavy duty locking casters, ½” tempered glass (60” wide x 96” long) with an embedded ½” grid pattern, neoprene gaskets seal the glass, 1” trough with drain holes along perimeter, 26” wide x 48” long LED light box. More Than Glass, www.morethanglass.com

Suction (localized treatment) system. Suction motor unit, 1200 mm x 900 mm suction table worktop, 1200 mm x 900 mm humidification cover and 300 mm x 100 mm platen accessory. RH Conservation Engineering, www.rhconservationeng.com

natcc 13 217

Polarized Light Microscope. Olympus BX53, 4x, 10x, 20x, 40x and 60x objectives, circular rotating centerable stage, LED lamp housing white 5700k, full wave, quarter wave plates and quartz wedge. Olympus DP74 camera, Stream Basic 2.4 software with EFI and MIA modules, www.olympus-ims.com

Stereomicroscope. Stereo Discovery V8, 10x eyepiece, Plan-Apochromatic S 0.63x FWD 80 mm objective, cold-light source CL 6000 on gooseneck, high power LED ring illuminator 5800k, floor stand 25.5” wide x 24” deep x 68” high, Olympus SC50 camera, Stream Start 2.3 software, microcustomercare@zeiss.com

Spectrophotometer. Konica Minolta CM-700D. Target Masks CM-A178 8Mm (W/Plate), CM-179 3mm (W/Plate), CM-180 8Mm (W/O Plate) and CM-A181 3mm (W/O Plate). SPECTRAMAGIC NX PRO USB version 2.8 software, Calibration Plate CR-A44, www.konicaminolta.com

Portable X-ray fluorescence spectrometer. Bruker Tracer 5i SD, rhodium thin window X-ray tube, silicon drift detector with <140 eV @ 250,000 cps Mn K, elemental range from Na through U with helium assembly, 3 mm and 8 mm spot size collimators, alloy calibration and GeoExploration packages, TFT LCD 3.7” touchscreen display, Bruker Instruments Tools, EasyCal™ and Artax™ PC software and desktop stand, orders.hmp@bruker.com

Dye machine. Mathis Labomat BFA-12, temperature ranges 20º - 140° C, air and water-cooled. 300, 500, 1000 and 5 L beaker sets with prep baskets, sensors, dosing nipples and dosing syringe. Programmable Univision touchscreen. 21.5” deep x 28.25” wide x 26.5” high, Warner Mathis USA Inc., usa@mathisag.com

Lab refrigerator. VWR under counter refrigerator FS 4.6 cf, hydrocarbon refrigerant, item 10819-650, +1 800 932 5000, https://us.vwr.com/store/

Mechanical convection oven. Quincy 30AFE-LT digital, low temperature mechanical convection oven. 20” wide x 29” high x 14.3” deep, temperature range ambient +15º F to 225º F 115v. Quincy Lab, Inc., 800.482.4328, https://quincylab.com

Mobile sewing machine station. Kangaroo Wallaby II, 3 position hydraulic lift for sewing machine with custom cutout, fold out leaves, closed dimensions 42.75” wide x 30.25” high x 19” deep, Quilters Studio, www.quiltersstudiova.com

natcc 13 218

Hoist. In the prototyping stage, intended specs include mechanized raising mechanism, 16’ double sided batten, with Velcro®, 6 lb Ethafoam® and magnetic attachment points. iWeiss LLC, theatrical rigging company, www.iweiss.com

Personnel lifts. Class 11 Model WAV 50 - 84 Lifts, used models purchased from Alliance Material Handling Inc., 866.264.5438, www.alliancemat.com

Extractors, fume hoods and chemical storage. Nederman fume extractors: 3M original, item 10554335. Cabinet extraction hood: Kewaunee Scientific Corporation Supreme Air fume hood with Air Alert 600 airflow monitor. Chemical storage cabinet: Kewaunee flammable liquid storage cabinet (part G68M372248-0204, NFPA Code 30 Osha regulations).

Laundry machines, washer and condenser dryer. Miele Touchtronic W3038 washer and Miele Touchtronic T8023C condenser dryer, M&M appliance, +1 202 882 7100, www.mandmappliance.com

Door Sweeps. Trademark Hardware’s Air Tight system: combination of door saddle, heavy duty automatic door bottom with a sponge neoprene seal and neoprene ring seal gaskets around the door perimeter, Trademark Hardware Inc., www.tomshardware.com, +1 845 388 1300.

Computers and scanners. Dell Ultrabook Latitude E7470s, HP SB Z2 workstation and HP SB Z22N monitor, Epson DS-870 batch scanner, CDW, www.cdw.com

Stanley tool cart. Stanley STS23151BK 100 Series 31" Wide 5-Drawer Mobile Workbench, Item: WB534649, Global Industrial, https://www.globalindustrial.com/

Drills. Dewalt DCD790D2 20V MAX* XR Lithium Ion Brushless Compact Drill Kits, Ryobi 4V LITHIUM+™ electric screwdriver, W. W. Grainger, www.grainger.com

Heat Sealers. Portable: KF-Series 300 CS for Marvelseal®, KF-Series 150 PS for polyethylene sleeves, Sealer Sales, +1 818 718 8818, www.sealersales.com. Table top: Uline’s 20” and 32” tabletop impulse sealers, +1 800 295 5510, Uline, www.uline.com

natcc 13 219

BIOGRAPHIES

Maria Fusco is Chief Conservator and Margaret Wing Dodge Chair in Conservation at The George Washington University Museum and The Textile Museum and has worked at the museum since 2011. She trained at the Textile Conservation Centre in Winchester, England, and held roles in government and private institutions in the United States and Europe, including The Konserveringscenter Vejle in Denmark, the Museum at the Fashion Institute of Technology, the Los Angeles County Museum of Art and the Smithsonian’s National Museum of African Art and Museum Conservation Institute.

Esther Méthé obtained a Baccalauréat ès arts at the Université Laval, Québec City and a Master of Science, University of Alberta, Edmonton, specializing in Textile Conservation. She spent two years as a conservation fellow at the Cooper Hewitt Museum and five years as an assistant conservator at the Canadian Conservation Institute. In 1997, she became the head of the textile conservation laboratory at the Royal Ontario Museum. From 2002 to 2015, Esther was Chief Conservator and Margaret Wing Dodge Chair in Conservation at the Textile Museum. She has retired to Canada where she continues to advise on collections care.

natcc 13 220

Maria FuscoThe George Washington University Museum and The Textile Museum701 21st street NW, Washington DC 20052.fuscom@gwu.edu +1 571 553 0278

Esther Méthé50 Mapleview DriveP.O. Box 393, ChesterNova Scotia, Canada B0J 1J0esthermethe@gmail.com +1 902 279 1006

natcc 13 221

ABSTRACT

Two evening dresses designed by the Parisian design house Callot Soeurs (1895-1937) were conserved for a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. The parallel treatments focused on replacing the shattered silk linings, which had ceased to provide support to the heavy, tight dresses, due to their loss of structural integrity. This paper discusses the underlying ethical tensions behind recreating elements that are not meant to be seen by the public but still require a high level of technical skill to reproduce and are essential for a functional museum garment with a historically accurate silhouette.

This paper also reviews how past repairs are identified. Since one of the distinguishing characteristics of the Callot sisters’ work is their “relaxed craftsmanship” - which allowed for draping fabric directly on the body and leaving tacks in the garment’s final version - it is difficult to differentiate authentic aspects from alterations. A search for information regarding the designers' technique and choice of materials prompted collaboration with professionals outside the Museums. Curators at other institutions with Callot Soeurs holdings were contacted, as well as conservators that had treated similarly degrading objects. Drawing on knowledge from diverse sources successfully informed the treatment.

Drawing a Fine Line: Ethical Ramifications in Replacing the Shattered Silk Linings on Two Callot Soeurs Dresses

Laura Garcia-Vedrenne

Fine Arts Museums of San Francisco, San Francisco, CA, USA

natcc 13 222

Trazando una línea fina: Ramificaciones éticas al reemplazar los forros de seda rasgada de dos vestidos Callot Soeurs

RESUMEN

Dos vestidos diseñados por la casa parisina de diseño Callot Soeurs (1895-1937) fueron conservados para una gran muestra de moda femenina de la colección de los Museos de Bellas Artes de San Francisco. Los tratamientos paralelos se enfocaron en reemplazar los forros de seda rasgada que habían perdido su función como soporte estructural para los vestidos esbeltos y pesados, debido a su falta de integridad. Este artículo aborda las tensiones éticas existentes al recrear elementos que no serán vistos por el público pero que requieren de un alto nivel de habilidad técnica en su reproducción y que resultan esenciales para que una prenda de museo sea apreciada con una silueta históricamente correcta.

Este artículo también evalúa cómo se identifican los remiendos y las intervenciones anteriores. Debido a que una de las características distintivas de las hermanas Callot era su “confección relajada” – la cual permitía hacer drapeados directamente sobre el cuerpo y dejar simples puntadas en la versión final de la prenda – resulta complicado diferenciar los aspectos auténticos de las alteraciones. La búsqueda de información sobre la técnica y la selección de materiales de las diseñadoras fomentó la colaboración con profesionales fuera del museo. Se contactaron curadores en otras instituciones con piezas de Callot Soeurs, así como conservadores-restauradores que habían tratado objetos con problemáticas de degradación similares. El tratamiento de conservación de estos vestidos fue informado exitosamente al recopilar información de diversas fuentes.

1. THE DRESSES

Two evening dresses designed by the Parisian design house Callot Soeurs (1895-1937) were conserved for a major survey of the Fine Arts Museums' of San Francisco’s (FAMSF) women’s fashion collection. The Museum's records indicate that these dresses belonged to Mrs. William H. Crocker (Ethel Sperry) (1861-1934) and were a gift of the Provident Securities Company in 1954.

The blue dress (1912) (54.79.7) is constructed from brocaded silk satin, silk chiffon, and gold lace. The brocaded motifs depict large flowers arranged in diamond shapes. The dress has a high waistline, an asymmetric skirt and a short, pointed train. Trimmings include rhinestone and gold bead chains, as well as a drapery at the back with a golden tassel attached.

natcc 13 223

Figure 1. Blue dress before treatment; front (top, right), back (top, left) and inside (bottom). Images courtesy of the Fine Arts Museums of San Francisco.

natcc 13 224

The apricot dress (1915-1916) (54.79.8) was constructed from brocaded silk with silver floral motifs. The dress has a tight bodice with short sleeves of gold filet net, a long cylindrical, asymmetric wrap skirt, and a short trapezoidal train. It is embellished with a garland hanging at the front left of the torso.

Figure 2. Apricot dress before treatment; front (top, right), back (top, left) and inside (bottom). Images courtesy of the Fine Arts Museums of San Francisco.

natcc 13 225

2. CALLOT SOEURS AND 1910s FASHION

Callot Soeurs (1895-1937), a Parisian design house, was run by the sisters Marie, Marthe, Regina, and Josephine (who was only involved until her death in 1897). Marie, also known as Madame Gerber, oversaw designing and took full control of the brand in 1920. Their mother came from a family of traditional lace makers, which probably influenced their choice of materials (Milbank 1985, 60).

The fashion house was originally set on Rue Taitbout; however, in 1914, “the Callots moved into grander quarters at 9-11, Avenue Matignon, where they remained until 1928,” (Milbank 1985, 60) coinciding with their most successful period. The change of address, just off the Champs-Élysées, may explain the differences in labels between both dresses. It is likely that modifications in management and garment construction occurred after the haute-couture house moved.

Although WWI adversely affected most European designers, Callot Soeurs remained open and continued to promote their clothing in the United States by exhibiting at the 1915 Pacific Panama International Exposition in San Francisco, California. However, in 1937, the fashion house was forced to close and merge with the House of Calvet. Despite this significant change, the Callot Soeurs labels kept circulating until the closing of Calvet in 1948 (Tolini Finamore).

3. THE DESIGNERS’ TECHNIQUES AND CHOICE OF MATERIALS

The FAMSF ensembles were made during the orientalist phase of Callot Soeurs, a period widely recognized by the assimilation of the West’s fascination with the East through new ideas and styles in fashion (Martin and Koda 1994, 7). During this phase, Callot Soeurs designs were influenced by China, Japan, and Persia (Glier Reeder 2010, 54) and showed a strong affinity for theatrical ensembles (Revellino and Gourseau, 64). The sisters advocated for trained silhouettes (Halle 2019, 4) and cylindrical wraps (Evening dress 1910–14, Callot Soeurs, The Metropolitan Museum of Art).

During the first half of the 1910s, evening dresses were characterized by asymmetry and improvisation, which departed from the complex dressmaking techniques of former fashions (Glier Reeder 2010, 65). Callot Soeurs followed this trend and often draped fabrics directly onto the body to generate volume in their designs (Dirix 2016, 68). This freestyle construction method is reflected on the linings, where two lines of running stitches loosely hold various fabric layers. The fabric from the apricot

natcc 13 226

dress was roughly cut on most parts of the inner skirt, leaving the edges exposed to fraying. The extensive use of tacks and the interchangeable use of hand and machine sewing may be considered further evidence of their relaxed craftsmanship.

Weights were purposefully attached to alter the drape of trains and each hanging segment. X-radiography shows a length of corded weights encased on the hemline of the blue train and fabric-covered disc-like weights elsewhere.

Figure 3. Placement of tacks (shown in yellow), weights (shown in red) and past repairs (shown in blue) for the construction of the apricot dress (top, left) and the blue dress (top, right). X-radiography revealed two types of weights: (a) button-like covered in fabric on the train of the apricot dress and (b) rope of bead weights on the train of the blue dress. Images courtesy of the Fine Arts Museums of San Francisco; diagrams by the author.

natcc 13 227

Callot Soeurs dressmaking was also distinguished by a discreet use of gilt lace and sumptuous delicate fabrics, with some ingenuity of cut (Halle 2019, 4). Fabric selvages were commonly left in place, perhaps to avoid hemming, and the lower cut edges along the linings’ bodice panels were protected by sandwiching them between folded lengths of apricot-colored silk ribbon.

Commercial elements are consistently found on these and other 1910’s Callot Soeurs garments held in other institutions. Similar weighted elements and trimmings (such as the rhinestones and golden tassels) are preserved. Fine cords, possibly elastic, were often placed on the inner edges of the undersleeves (Beyer 2019). Hanging cords found inside the FAMSF dresses, close to the underarms, may indicate the former attachment of dress shields or pads (Petersen 2019). It is unknown if these were provided by the designers or attached by the clients.

Callot Soeurs preferred lightly structured garments that relied on boned bodices and draw ribbons along necklines to achieve the desired soft silhouette of this period. The corset began to lose some of its severity after 1905, allowing straight and slim figures to develop. To achieve a tubular shape, corsets and linings were lengthened around 1909, extending far down the figure to smooth out the line of the hips and to place greater emphasis on the bust. After WWI, corsetry became less heavily boned and more comfortable to wear (Flecker 2007, 90-91). Significant modifications were introduced to provide additional support for the bust, including the use of a separate brassiere. Eventually, some designers opted to go corset-free to create less restrictive garments.

For both dresses, the silk twill linings provide the fundamental structure upon which the rest of the garment is constructed. The bodice portion of each lining provides shape and support of the bust through interspaced channels containing baleen boning. The lower portion of each lining is fairly simple, providing a tubular base upon which the exterior brocade fabric has been draped, tacked, and sewn. Each lining also contains a waist stay which distributes and supports the weight of the garment. Without the lining - which serves as the base to which all other elements have been attached - neither garment would be able to maintain its structural integrity. The linings are fundamental to the dresses’ past function and for display.

natcc 13 228

4. OBJECTS ASSESSMENTThe blue dress was likely worn as it has perspiration staining at the underarms and soiling on the hem. In contrast, similar material signposts that suggest use were not apparent on the apricot dress.

The choice of materials and construction techniques prompted most of the degradation currently present. Both dresses have shattering silk linings with some boning pieces broken and lost. The use of tacks and weighted elements has caused splits, distortions, and areas of strain. This is true for the chiffon fabrics, which cannot support the weight of the now detaching trimmings and embellishments.

4.1 EVALUATION OF PAST REPAIRS

It is tricky to discern past repairs from original construction elements that correspond to the quick construction methods and freestyle designs frequently used by the Callot sisters. The lack of scholarly publications on

Figure 4. Comparison between the linings’ bodice sections from the blue dress (top) and apricot dress (bottom). Images courtesy of the Fine Arts Museums of San Francisco and diagrams by the author.

natcc 13 229

these techniques further contributes to this uncertainty. The apricot dress appears to have had a minor repair campaign, consisting of patching and sandwiching the bodice panel edge at the center back with silk-fabric, possibly to provide structure and allow for fastening.

In contrast, analysis of the blue dress suggested a series of past repairs made using different types of thread and fabrics with different weave structures. Some repairs appeared to solve a condition issue while others may have extended the garment’s use. Many of the repairs are currently causing further strain and visual disfigurement. The following elements were considered past repairs:

a) Tacking: Two different types of threads (blue and white) were used for tacking on the petals and the skirt. Only some of these white threads correspond to past repairs; they are usually placed on areas with tears and hold on tightly onto the fabric, often disrupting the gilded threads. Furthermore, a similar type of white thread was used for executing other repairs (see below).

b) Darning: Holes and worn areas were darned by hand on the lining, near the fastening hooks, and on the sleeves. White thread was used throughout.

c) Patching: On the proper right sleeve, stitched with white thread. Another patch was used for sandwiching the bodice panel edge at center back with silk-fabric.

d) Addition of fabric elements: Silk crepeline was placed between the lining and the brocade fabric as a loose support fabric. Silk net was attached to the lining as the innermost layer on the bust, replacing an older, fragile tulle layer. Various inner elements were tacked onto these fabrics afterwards.

natcc 13 230

4.2 LININGS

The most significant conservation issue was the structural degradation of the linings for the heavy, tight dresses. Splits and shattering were significant on both dresses, though more visually apparent on the blue dress. In both cases, fiber breakage occurred mostly in the warp direction and along the perforations from machine stitching.

The extensive damage to both linings meant that significant losses of material could be expected if the dresses were handled or displayed for extended periods, and in fact, both linings were compromised to the point of precluding safe display on a dress form. Documentation pictures of the blue dress’s lining from 2015 and 2019 showed that the silk splits progressed even though the dress remained in storage throughout that

Figure 5. Types of past repairs: (a) Tacks created with blue (left, possibly original) and white (right, possibly repair) threads; (b) Darning example on the lining; (c) Gathered silk net placed at the top of the inner bodice; (d) Patch insertion near elastic, on sleeve. Images courtesy of the Fine Arts Museums of San Francisco.

natcc 13 231

period, supporting the theory that the linings are made from weighted silk. Though weighted silk cannot be identified purely by visual methods and shattering is prompted by multiple factors (Brooks and O’Connor 1997), it seems likely that these two linings are in fact weighted silk. Their silk fibers appear to be deteriorating at an accelerated rate due to their very nature, rather than to external factors (Ballard, Koestler and Indictor 1990, 277). Linings from dresses in other collections with Callot Soeurs holdings show similar condition issues.

5. ETHICAL TENSIONS

Underlying ethical tensions exist when treating the inner layers of a garment, which are not meant to be seen by the public but still require a high level of technical skill to reproduce. Since the garments were tailor-made for a specific client, the linings are tightly intertwined with the wearer’s biographic information. The linings are also an essential structural component of each garment requiring functionality in the context of a museum where achieving a historically accurate silhouette is desired for interpretation during display (Dancause 2006, 48).

5.1 THE DILEMMA

The primary aim of the conservation treatment was to stabilize the garments and allow for mounting on a dress form for display for an approximate period of five months. This problem could not be solved through costume mounting alone, i.e. regardless of any support provided by custom underpinnings and padding, the linings themselves were too weak and compromised to allow for safe display. The treatments were initially approached from a traditional standpoint, exploring stitching or adhesive stabilization methods. However, it quickly became apparent that stitching was unlikely to work since the insertion of a needle would cause further damage on both dresses. The disadvantages of applying full supports through adhesive treatments on multi-layered objects with a three-dimensional nature have been previously discussed (Meijer and Koek, 2017, 120). The advanced degradation of the silk fibers limited the chances of obtaining proper bonding due to powderiness. Finally, it has been argued that “conservators may be attempting to preserve a fabric which was perceived by some manufacturers as almost disposable and certainly expected to have a short life” (Brooks and O’Connor 1997, 10).

The practical consideration of treatment time was also taken under advisement; whatever the solution, the treatment would be lengthy, so maximizing the longevity of the chosen approach was a deciding factor.

natcc 13 232

5.2 TREATMENT RATIONALE

As with most restorative treatments, there was some controversy rooted in the ethics of minimal intervention and irreversibility (Eastop 2011; Muñoz Viñas 2009). Questions arose regarding what to retain, remove, or modify since a fine line exists between the “materials-based conservation approach, and the aesthetic requirements of a values-based one” (Scaturro 2017, 5) when conserving fashion. A mindset that balanced meaning-loss was adopted: although a reconstruction is not everyone’s ideal solution, it was recognized as the minimal action needed to allow for safe display and maximize the longevity of the treatment.

After much consideration, it was decided to remove the linings wholesale, and create a simplified lining in order to restore support and functionality to the dresses. A variety of alternate options were considered but ultimately rejected, as outlined below:

Initially, the curators supported the creation of a replica that followed as accurately as possible all original construction details. These included reproducing the stitching and attaching any original elements still in good condition (e.g. baleen boning, ribbon edging, waist stay, etc.). However, this process meant a significant intrusion to the object (Muñoz Viñas 2009, 52), requiring excessive unpicking of original seams and disassembly of elements in good condition to reattach to the replica. Furthermore, the poor linings’ conditions made several guesses necessary while drafting their patterns, undermining the degree of accuracy since it depended on the available information from what was actually left of the object (Goodman 2020). Defining what the accurate replica should look like was challenging because of the presence of past repairs and ‘relaxed craftsmanship’. Overall, the possible repercussions for future audiences – which included the ethical issue of conveying erroneous information, the destruction of original evidence, and the distortion of the interpretation (Stanley-Price 2009) – were concerning since artifacts are primary documents for researchers and these issues cannot always be solved through documentation.

Next, a similar possibility was considered and rejected: creating a replica that followed as accurately as possible all original construction details but did not use any original materials from the lining itself. This replica would instead incorporate period-appropriate materials as needed. Locating and procuring antique materials would have been daunting and complex, not to mention the concerns regarding their strength and stability. Apart from the conservation issues, it was difficult to justify the resources required for a treatment that would ultimately be invisible to the public.

natcc 13 233

Thus, by winnowing down the options, the decision to replace the linings without making an exact copy seemed the most sensible. A simplified lining with a reduced amount of details is a clear visual signal to prevent false assumptions and avoid confusion with ‘the real thing’. Making a clear distinction between the original and the replacement became a guiding principle: even if documentation were to be lost or overlooked in the future, there should be no confusion around what is original.

6. REPLACING THE LININGS

Several challenges were faced during this process, which required constant brainstorming to find feasible solutions. Available literature delves into the levels of replication, “styles” or philosophies of replacement (Halvorson 2000), and differences in terminology1 (Goodman 2020; Dancause 2006) but only a few case studies provide details on how to integrate an anachronistic addition (Eastop and Morris 2010; Peterson-Grace 2019). This section explains both the decision-making and the technical aspects of techniques and materials selection that apply to both garments, unless otherwise noted.

6.1 PATTERN TAKING

Patterns were taken from the original garments by measuring each component and drafting the shapes onto tracing paper. Special attention was paid to the grain line, proportion, volume, accuracy of cut on diagonal lines, and other construction details (including the placement of darts and fasteners). For areas that had stretched or lost integrity, dimensions were standardized by comparing matching sections of the symmetrical bodice. A template for the scalloped sides of each bodice component was traced and replicated. Elements that signaled the Callot Soeurs “freestyle construction” were documented but not replicated.

Mylar® sheets were used to quickly trace the shape of each component of the lining bodice. These served as guidelines when transferring angles and curves to the tracing paper pattern. Using a French curve proved essential to allocate for the size irregularities in the neckline.

natcc 13 234

6.2 LINING REMOVAL

Since the linings had already lost their integrity, other elements were prioritized during their removal. For example, maintaining the integrity of the sheer sleeve fabrics on both dresses was prioritized over the fragmentary linings. To allow for removal along the neckline, the lining was cut below the upper silk ribbon (for the apricot dress). Since this ribbon was in good condition, leaving it in place provided an opportunity to retain the original dimensions of the lining’ top edge and to provide a strong area for the attachment of the new lining. However, the draw ribbon threaded through the eyelet lace (from the blue dress) had been previously cut

Figure 6. Pattern taking. Image courtesy of the Fine Arts Museums of San Francisco.

natcc 13 235

below the underarms, leading to a modified length, which prompted the decision to remove the entire lining.

A variety of tacks and loose running stitches holding the exterior apricot brocade fabrics to the lining were also prioritized during removal. Due to the fragmentary nature of the already degraded lining, splits in the fabric were widened, freeing the lining while allowing the stitching to remain in situ. This offered two advantages. First, since there were still some doubts regarding which stitches were original, it allowed the question of removal to be sidestepped completely, as the lining could be removed without affecting the stitches. Second, preserving the stitches kept the construction of the exterior brocade fabric intact, and worked as guides for future stabilization. The sole exception to this action were the knotted threads and machine-sewn backstitching, which had to be cut to allow for separation.

Separating the lining from the blue dress was considerably easier than the apricot dress since it had already detached in most areas. After removal, the linings were retained in storage to serve as documents for researchers.

6.3 SEWING THE REPLACEMENT LININGS

Silk twill fabric and silk crepeline ribbon were dyed with Lanaset® dyes to closely match the color and feel of the originals. The fabric was machine-sewn with Gutterman® Col. 30 polyester thread (bone), selected because of its strength and as a way to differentiate it as a conservation treatment. The linings’ bottom edge was finished by sandwiching it between a strip of the folded ribbon.

Though the scalloped sides of the bodice panels were originally seamed by hand with catch stitches, pinking shears were used to prevent fraying throughout. Fabric was notched and clipped as required.

6.4 FINISHES

Even with the creation of simplified linings, there were three additional elements that were required to make a functional replacement: boning, fasteners, and waist stays.

X-radiography showed how now broken and missing pieces of boning gave the garments’ ultimate shape and structure. Replicating the boning in the new linings was critical. Though Costume is usually displayed for short periods, finding an archival-grade material for boning would allow them to remain in direct touch with the garment. An experimental research project to evaluate different boning options was developed before deciding

natcc 13 236

that Rigilene® was the best alternative to baleen for this project. Cotton labeling tape was selected to make casings.

On the original linings, the upper and lower portions were closed with hooks and eyes. Over the years, the hooks caught in the surrounding delicate, exterior fabrics and netting, causing pulls and distortions. In order to avoid similar damage, it was decided to replace the hook and eye system with small metallic snaps and a strip of cotton twill tape as interfacing. The spacing of the snaps mirrors the placement of the hooks and eyes, so that the garment retains its original shaping, but with a less damaging set of fasteners. However, the hook and eye fastening was recreated for the replacement waist stays for security. A disclaimer about the conservation process was incorporated on the waist since researchers usually look at them for authenticity purposes.

Figure 7. Comparison between the replacement linings (right) and the garment linings (left) of the blue dress, which was retained as evidence. Images courtesy of the Fine Arts Museums of San Francisco.

Figure 8. Comparison between the replacement lining (right) and the garment lining (left) of the apricot dress, which was retained as evidence. Images courtesy of the Fine Arts Museums of San Francisco.

natcc 13 237

6.5 ATTACHMENT OF REPLACEMENT LININGS

After the replacement linings were ready, they were inserted into the dresses by hand, stitching through pre-existing holes on the brocade fabrics with color-matching cotton thread. Since the upper silk ribbon (apricot dress) was preserved and left in situ, it was possible to attach the new lining to this element, making small darts as needed.

Any stitches that had been removed or that were no longer holding fabric layers as needed were re-done. Loose tacks were secured on a case-by-case basis, considering that additional support could be provided with magnets or entomological pins during display.

7. CONCLUSION

The linings replacement will allow for the safe display of two garments, which had mostly remained in storage since their arrival to the Museums’ permanent collection in 1954, while preventing further damage to the original linings. It is unlikely that the Callot sisters were thinking about longevity while creating these dresses but conserving the function of the linings has proved fundamental to extend their lifetime in the context of a museum. Replacing the linings was a process of discoveries, which provided a better understanding of the construction techniques of foundational layers, which are often overlooked by fashion researchers. The conservation treatments also revealed new information on the technical art history of the garments.

These treatments were an opportunity to explore the ethical ramifications of replications and the importance of evaluating past repairs. Evaluating various constraints and treatment options allows for future re-interpretation if more information becomes available.

The input from other conservators and researchers proved fundamental to the success of these treatments. It was gratifying to learn that, even though a large body of knowledge goes unpublished, museum professionals are keen to share their expertise through other communication channels.

natcc 13 238

ENDNOTES

1 Some of the words often used to describe analog replacements include reconstruction, reproduction, replica, facsimile, re-materialization, copy, approximation, interpretation, creation, and construction. There has been no explicit distinction between the intent of adding, simulating or subtracting, nor has a consensus been reached on the ideal word choice so terms remain being used interchangeably and generally.

ACKNOWLEDGMENTS

The author is grateful to Sarah Gates, Head Conservator of Costume and Textile Arts, and Anne Getts, Associate Conservator, as well as the volunteers at the FAMSF Textile Conservation Lab. Special thanks to Jill D’Alessandro and Laura Camerlengo, Costume and Textile Arts Curators, for their input and guidance. Thanks also to the many museum professionals and researchers who collaborated on this project: Claudia Beyer, Rosie Chamberlin, Jessamyn Hatcher, Chris Paulocik, Glenn Petersen, Jacquelyn Peterson-Grace, Julie Wertz and more. Heartfelt thanks to Donovan Shickley, Imaging Scientist at XDR Radiology, for his support in processing the X-radiographies.

BIBLIOGRAPHY

“Evening dress 1910–14, Callot Soeurs”. The Metropolitan Museum of Art. Accessed December 24, 2019. https://www.metmuseum.org/art/collection/search/81139

Ballard, Mary, Robert J Koestler, and Norman Indictor. 1990. “Recent Results Concerning the Degradation of Historic Silk Flags.” In ICOM Committee for Conservation preprints. 9th Triennial Meeting, Dresden. Los Angeles: ICOM. 1: 277-282.

Beyer, Claudia. 2019. Personal communication. Textile Conservator, Acton Collection, Restauro Tessile di Beyer e Perrone Da Zara, Florence, Italy.

Brooks, Mary, and Sonia O’Connor. 1997. “European Silk Production Methods and Possible Implications for Textile Conservation Approaches” In SFT Jubilee Conference, Stockholm.

Dancause, Renée. 2006. “Reconstruction, Reproduction, Replication, Re-creation: Synonyms in the Costume History and Textile Conservation Literature? A Matter of Perspective.” In The Textile Specialty Group postprints, American Institute for Conservation 34th Annual Meeting, Providence, Rhode Island. Washington, DC: AIC. 41-53.

natcc 13 239

Dirix, Emmanuelle. 2016. Dressing the Decades: Twentieth-century Vintage Style. New Haven: Yale University Press.

Eastop, Dinah, and Bernice Morris. 2010. “Fit for a Princess? Material Culture and the Conservation of Grace Kelly’s Wedding Dress.” In Textile Conservation: Advances in Practice, edited by Frances Lennard and Patricia Ewer. Oxford: Elsevier Ltd. 76-84.

Eastop, Dinah. 2011. “Conservation Practice as Enacted Ethics.” In Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum. London: Routledge. 426-444.

Flecker, Lara. 2007. A Practical Guide to Costume Mounting. London: Butterworth-Heinemann.

Goodman, Becca. 2020. "Digital Simulations: Terminology and Ethical Use," Paper presented at the American Institute for Conservation Annual Meeting and Conference, virtual.

Gordon, Rebecca, Erma Hermens, and Frances Lennard. 2014. Authenticity and Replication: The "Real Thing" in Art and Conservation: Proceedings of the International Conference held at the University of Glasgow, 6-7 December 2012. London: Archetype Publications.

Halle, Titi. 2019. “A Catalogue of 20th Century Costume & Textiles.” Cora Ginsburg LLC. http://www.coraginsburg.com/catalogues/2019/CoraGinsburg-Modern-2019.pdf

Halvorson, Bonnie. 2002. “Modern Replacement Fabrics in Historic Interiors: Ethical and Practical Concerns.” In The Conservation of Historic Interiors preprints. Symposium, Ottawa. Ottawa: Minister of Government Works and Public Services. 107-112.

Martin, Richard, and Harold Koda. 1994. Orientalism: Visions of the East in Western Dress. New York: The Metropolitan Museum of Art.

Meijer, Suzan, and Marjolein Koek. 2017. “Learning from a Treatment that did not go as Planned: The Use of an Adhesive Support Technique on an 1860s Dress.” In The Textile Specialty Group postprints, American Institute for Conservation 45th Annual Meeting, Chicago, Illinois. Washington, DC: AIC. 111-124.

Milbank, Caroline Rennolds. 1985. Couture, the Great Designers. Michigan: Stewart, Tabori & Chang.

natcc 13 240

Muñoz Viñas, Salvador. 2009. “Minimal Intervention Revisited.” In Conservation: Principles, Dilemmas, and Uncomfortable Truths. Oxford: Butterworth-Heinemann. 47-59.

Petersen, Glenn. 2019. Personal communication. Textile Conservator, Costume Institute, The Metropolitan Museum of Art, New York, United States.

Peterson-Grace, Jacquelyn. 2019. “Third Time’s the Charm? Revisiting Schiaparelli’s Shattered Silks.” In Lessons Learned, North American Textile Conservation Conference Preprints. 12th Biennial Meeting, Ottawa-Gatineau, Canada. NATCC. 101-118.

Reeder, Jan G. 2010. High Style: Masterworks from the Brooklyn Museum Costume Collection at the Metropolitan Museum of Art. New York: Metropolitan Museum of Art.

Revellino, Dominique, and Nathalie Gourseau. 2012. Paris Haute Couture. Paris: Flammarion.

Scaturro, Sarah. 2017. “A Materials- and Values-based Approach to the Conservation of Fashion.” In ICOM Committee for Conservation preprints. 18th Triennial Conference, Copenhagen. Paris: ICOM.

Stanley-Price, Nicholas. 2009. “The Reconstruction of Ruins: Principles and Practice.” In Conservation: Principles, Dilemmas, and Uncomfortable Truths. Oxford: Butterworth-Heinemann. 47-59.

Finamore, Michelle T. “Callot Sisters.” Love to Know. Accessed December 27, 2019. https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/callot-sisters

FURTHER READING

Rojas-Sebesta, C., and M. Delidow. 2021. “Transparency in the age of replication.” In Transcending Boundaries: Integrated Approaches to Conservation. ICOM-CC 19th Triennial Conference Preprints, Beijing, 17–21 May 2021, ed. J. Bridgland. Paris: International Council of Museums.

Stoveland, L. P., M. Stols-Witlox, B. Ormsby, and N. L. W. Streeton. 2021. “Mock-ups and materiality in conservation research.” In Transcending Boundaries: Integrated Approaches to Conservation. ICOM-CC 19th Triennial Conference Preprints, Beijing, 17–21 May 2021, ed. J. Bridgland. Paris: International Council of Museums.

natcc 13 241

MATERIALS AND SUPPLIERS

Cotton labeling tapeConservation Resources International LLC8000-H Forbes PlaceSpringfield, VA 22151, USA+1 800 634 6932https://www.conservationresources.com/

Gutterman® Polyester thread, Rigilene® and metallic snapsJo-Ann Stores, LLC423 Westlake Center (Second Level)Daly City, CA 94015, USA+1 650 758 6510https://www.joann.com/

Lanaset® Acid DyesDharma Trading Co1604 4th StreetSan Rafael, CA 94901, USA+1 800 542 5227https://www.dharmatrading.com/

Mylar® and tracing paperFlax Art and DesignFort Mason Center2 Marina Blvd, Bldg DSan Francisco, CA 94123, USA+1 415 530 3510https://flaxart.com/

Petersham ribbonThe Sewing Place2337 Hillview CTClarkston WA 99403, USA+1 360 653 0901https://thesewingplace.com/

Silk crepeline ribbon (discontinued)Kuny AGBenkenstraqsse 39CH5024 Kuttingen, Switzerland+41 (0) 62 839 91 91http://www.kuny.ch

natcc 13 242

Silk Twill FabricThai Silks1959 B Leghorn StMountain View, CA 94043, USA+1 800 722 7455https://www.thaisilks.com/

Twill cotton tapeTest FabricsPO Box 26.West Pittson PA 18643, USA1 570 603 0432https://www.testfabrics.com/

Cotton threadLab Stock

natcc 13 243

BIOGRAPHY

Laura Garcia-Vedrenne is the Andrew W. Mellon Fellow in Textiles Conservation at the Fine Arts Museums of San Francisco. She graduated from the MPhil Textile Conservation program at the Centre for Textile Conservation and Technical Art History, University of Glasgow and obtained her degree in Restoration of Cultural Portable Heritage at the Escuela de Conservacion y Restauracion de Occidente (ECRO) in Guadalajara, Mexico. She worked for the National Museum of History in Mexico City and for the Textile Museum of Oaxaca. Her research interests include textiles artifacts as material culture, conservation of historical dress, and ethics within conservation.

Laura Garcia VedrenneTextile Conservation, de Young Museum50 Hagiwara Tea Garden DriveSan Francisco, CA 94118, USA+1 415 750 7658lgarciavedrenne@famsf.org

natcc 13 244

ABSTRACT

Technological innovations utilized by the chemical or engineering industries often trickle down and are used in other fields, often becoming a part of everyday life. For example, conservation has benefited from many of these materials, including Gore-Tex® and Teflon®. Conductive threads are increasingly used widely in industry, from medical to aviation. They can be found in high-end fashion designs and on websites dedicated to making electronics user friendly, including Do-it-yourself (DIY) electronic textiles. Due to the growing use and popularity of conductive materials, there is an increased likelihood a conservator will come across clothing or objects containing conductive threads.

In this study, three conductive materials for DIY electronic textiles, two fabrics and one thread, from two web-based suppliers, Adafruit® and SparkFun®, are characterized using scientific analysis including: reflected light microscopy, scanning electron microscopy energy dispersive spectroscopy (SEM-EDS), X-ray fluorescence spectroscopy (XRF), and Fourier-transform infrared spectroscopy (FT-IR). Examples of conductive thread use are highlighted and the materials, history of fabrication, and potential deterioration mechanisms conductive threads share with metallic threads are discussed. Understanding the chemical and physical properties of the conductive materials characterized here will help inform possible conservation treatment options and preventive procedures for these and similar conductive materials.

The Characterization of Three Conductive Fabrics / Threads Used for Do-It-Yourself (DIY) Electronic Textiles

Heather Hodge, Dr. Aaron Shugar, Dr. Rebecca Ploeger

Patricia H. and Richard E. Garman Art Conservation Department, SUNY Buffalo State, Buffalo, NY, USA

natcc 13 245

La caracterización de tres tejidos/hilos conductores utilizados para textiles electrónicos caseros (hágalo usted mismo - diy)

RESUMEN

Las innovaciones tecnológicas utilizadas por las industrias química o de ingeniería a menudo se filtran y se utilizan en otros campos, convirtiéndose frecuentemente en parte de la vida cotidiana. Por ejemplo, el campo de la conservación se ha beneficiado de muchos de estos materiales, incluidos el Gore-Tex y el Teflon. Los hilos conductores se utilizan cada vez más en la industria, desde la medicina hasta la aviación. También se pueden encontrar en diseños de moda de alta gama y en sitios web dedicados a hacer que los productos electrónicos sean fáciles de usar, incluidos los textiles electrónicos caseros al estilo de “hágalo usted mismo”. Debido al uso creciente y a la popularidad de los materiales conductores, existe una mayor probabilidad de que profesionales de la conservación se encuentren con ropa u objetos que contengan hilos conductores.

En este estudio se caracterizaron tres materiales conductores para textiles electrónicos caseros, dos telas y un hilo; procedentes de dos proveedores por internet: Adafruit® y SparkFun®. La caracterización se llevó a cabo mediante análisis científicos que incluyeron: microscopía de luz reflejada, microscopía electrónica de barrido con sensor EDS (espectroscopía de energía dispersiva – SEM-EDS), espectroscopía de fluorescencia de rayos X (XRF) y espectroscopía infrarroja con transformada de Fourier (FT-IR). Se destacan ejemplos del uso de hilos conductores y se discuten los materiales, la historia de fabricación y los posibles mecanismos de deterioro que os hilos conductores comparten con los hilos metálicos. La comprensión de las propiedades químicas y físicas de los materiales conductores que aquí se caracterizan permitirá conformar posibilidades de tratamientos de conservación y métodos de prevención para estos y otros materiales conductores similares.

1. INTRODUCTION

Conductive threads are an increasingly used material in high-end fashion and industry, from medical to military to aviation. The extent of their use has been highlighted in a wide number of scientific and general magazines over the past couple of decades, including Science (Service 2003) and The Economist (2014). In addition, there are several web-based suppliers dedicated to selling materials used for do-it-yourself electronics, including textiles, making conductive fibers and fabrics readily available to consumers.

natcc 13 246

Three different conductive materials are characterized here. Two conductive fabrics, a copper and nickel coated woven fabric and a silver coated knit fabric from Adafruit® and a stainless-steel thread from SparkFun®. Characterization of the physical morphology of each material was performed using reflected light microscopy. Confirmation of metal composition was performed using X-ray fluorescence spectroscopy and scanning electron microscopy while confirmation of non-metallic components was performed using Fourier-transform infrared spectroscopy. The goal of this study was to become familiar with the various morphologies of modern conductive threads, to confirm or deny the presence of the advertised materials they contain, and to note any distinguishing characteristics. In doing so, possible areas of inherent vice and their potential interaction with adjacent materials may be illuminated as well as informing the conservation and preservation of these materials in the future.

2. TECHNOLOGY OF METALLIC THREADS

The fabrication of conductive threads parallels that of metallic threads as they are, simply, metallic threads which are used specifically to conduct electricity. Metallic threads have historically been made in a number of ways. In general, there are four types of morphology: strip, either solid metal or metal-coated organic material; a solid metal strip or a metal-coated organic strip wound around a core of organic material; wire; and wire wound around a core of organic material (Tímár-Balázsy et al. 1998). Some techniques for making metallic threads include flattening and cutting sheets of metal, drawing metal wire, hammering, and attaching gold leaf via adhesive or heat onto a substrate (ibid.). The 20th century brought the ability to metalize threads via vacuum technology, which allows a fiber to be coated with a metal layer less than 1/1000 mm in thickness (Higgins 1993). A 2000 study investigates some of the material and morphology variations of fabric threads created by laminating metals and plastics that have been used throughout the 20th century (Járó et al. 2000). In addition, both electro and chemical plating (Jiang 2006) as well as laser-assisted metallization (Hassan et al. 2020) techniques have successfully been used for metal coating various fabrics.

3. USE OF CONDUCTIVE THREADS AND FABRICS

Conductive threads designed and fabricated by industry are utilized in a variety of ways. One high end conductive fiber with the product name ARACON®, developed by DuPont© and manufactured by Micro-coax, is made by coating Kevlar with copper, nickel, and silver (The Economist 2014). Designed for the aviation industry, ARACON® is lighter and stronger

natcc 13 247

than metal wire, making it perfect for replacing traditional wiring in aircrafts with the aim of reducing a plane’s overall weight (ibid.). Sensoria’s smart socks are an example of conductive threads used in technology to improve an athlete’s performance. Each sock contains a textile patch made of stretchable silver based conductive yarns which connect sensors to a Bluetooth anklet and a mobile app which keep track of the runner’s foot landings, cadence, and time on the ground (Reisch 2015). For use in the medical and military fields, Sensatex has developed a shirt for monitoring a patient’s vital signs and relaying the information wirelessly to doctors (Service 2003).

Cute Circuit is a fashion company dedicated to wearable electronic textiles using smart fabrics. Cute Circuit is known for its collaboration with Katy Perry, though they have exhibited at museums worldwide including the Museum of Fashion and Textiles London and the Nelson Atkins Museum in Kansas City. The designers of Cute Circuit are focused on giving sensory experiences through their clothing and two examples are as follows. First, the Sound Shirt allows the deaf to experience music physically on their skin (CuteCircuit 2020). Second, for their 2016 #techstyle exhibition, the Museum of Fine Arts, Boston commissioned an interactive haute couture dress which included “magic fabric” that shows imagery from famous artworks and displays tweets from visitors (ibid.). However, the contents of their magic and smart fabrics are not disclosed on their website.

Expensive to make, and often proprietary in composition and manufacture, most companies fabricating conductive fabrics do not provide detailed material information and samples can be hard to come by. Despite this, the examples above give evidence of the growing popularity and increased likelihood a conservator will come across clothing containing conductive threads in the future.

By contrast, there are several websites dedicated to making electronics user friendly, including the use of Do-it-yourself (DIY) electronic textiles. Adafruit®, founded in 2005 by Limor Fried, is an online space for learning about electronics and creating well-designed products (About Us - Adafruit 2020). Within the wearable category, Adafruit® has over 150 available products for purchase including conductive threads, fabrics, tapes, ribbon, batteries, and LEDs. They feature a “Wearable Wednesday” to highlight makers' creativity when including electronics into fashion. SparkFun® was founded in 2003 by Nate Siedle to make electronics accessible and, in addition to products for purchase, they offer curriculum and online training (About Us - SparkFun 2020). With over 70 products for electronic textiles, SparkFun® similarly offers conductive threads, fiber optic fabric, LEDs, and circuit boards.

natcc 13 248

4. CONDITION ISSUES AND TREATMENT

Condition issues and treatability of metallic threads have been recognized in the literature (Tímár-Balázsy 1998; Mohamed 2005; Werner 2012). In addition to mechanical damage from use, most condition issues for metallic threads are related to metal corrosion products, generally oxides, hydroxides, and metallic salts (Tímár-Balázsy 1998). Certain metals and metal alloys, like brass, can form metal soaps if in contact with fatty acids from the oils in leather or leather dressings (Werner 2012). Other condition issues occur in the metal wrapped core thread, such as the hydrolyzation of cellulose and subsequent deterioration (Mohamed 2005). For metallic and conductive threads, as in the conservation of any object, it is critical to characterize the materials present. This gives a better understanding of the potential degradation mechanisms, determines the type and extent of treatment possible, and the preventive conservation measures that should be taken. Attempts at cleaning metallic threads have included mechanical methods, abrasive (Tímár-Balázsy 1998) or ultrasonic (Mohamed 2016), and chemical methods, or a combination of the two (Tímár-Balázsy 1998). Treatment of metallic threads can be complicated, both technically and ethically, as it can involve the removal of original material, similar to the polishing of silver (Wharton et al. 1990), while attempting not to damage the core materials or other parts of the textile (Tímár-Balázsy 1998).

The condition issues and cleaning methods of conductive threads will likely parallel those of metallic threads in many respects. However, in addition to the physical and aesthetic alterations of conductive threads from mechanical wear and oxidation, this deterioration may alter the thread’s effectiveness as a conductor of electricity and therefore would threaten the functionality of the object as a whole. Likewise, as the market readiness of electronic connected clothing is affected by their ability to be washed, textile researchers are studying potential protocols for washing electronic textiles. Similar to a conservation technique of sequestering water sensitive media on textiles prior to aqueous cleaning (Sahmel et al. 2012), one textile industry study investigates two methods for washing, providing a protective coating of latex over a whole electronic textile or using thermoplastic polyurethane to protect electrical contacts against water and mechanical stresses (Tao et al. 2017).

5. PRODUCT INFORMATION

The information available for each of the three studied threads provided by Adafruit® and SparkFun® websites is as follows:

natcc 13 249

Adafruit® nickel/copper woven fabric: This conductive fabric is made of copper and nickel-plated polyester, with high conductivity and a resistance of less than 1 ohm per foot in any direction across the textile (Woven Conductive Fabric). Care instructions state discoloration can occur over time, ironing should be done on medium, steam is okay, but dry cleaning is recommended (ibid.). The hyperlinked supplier datasheet states the fabric is composed of: Polyester 70 ± 3%, Copper 16 ± 5%, Nickel 14 ± 2% (Product Data Sheet).

Adafruit® silver knit fabric: This conductive knit fabric is made of real silver and super luxe, with high conductivity and a resistance of less than 1 ohm per foot in any direction across the textile (Knit Conductive Fabric). Care instructions state discoloration can occur, dry ironing should be done on medium, steam should not be used, but dry cleaning is recommended (ibid.). No supplier datasheet is provided.

Sparkfun® stainless steel thread: This stainless steel fiber does not contain a synthetic fiber core, does not solder easily, and has a particular tooth which readily holds to itself and to fabric (Conductive Thread Bobbin). The supplier states it is comprised of grade 316L stainless steel with the following elemental composition: Fe, <0.03%C, 16-18.5%Cr, 10-14% Ni, 2-3% Mo, <2% Mn, <1% Si, <0.045 P, <0.03% S (AZoM 2004). Grade 316 is noted for greater corrosion resistant properties through the inclusion of molybdenum and the L denotes a low carbon content (AZoM 2004).

6. INSTRUMENTATION6.1 ATTENUATED TOTAL REFLECTION (ITR ATR) FTIR SPECTROSCOPY

Infrared spectra were collected using a Nicolet 6700 FTIR spectrometer (Thermo Scientific) with a Thermo Scientific Smart iTR ATR accessory. Samples were analyzed by pressing them against the Diamond ATR crystal. The spectra are the average of 32 scans at 4 cm-1 spectral resolution. An ATR correction routine was applied to compensate for variations in penetration depth with wavenumber. 6.2 TRANSMISSION FTIR MICROSCOPY

Infrared spectra were collected using a Continuum microscope coupled to a Nicolet 6700 FTIR spectrometer (Thermo Scientific). Samples were prepared by flattening them in a diamond compression cell (Thermo Spectra Tech), removing the top diamond window, and analyzing the thin film in transmission mode on the bottom diamond window (2 mm x 2 mm surface area). An approximately 100 µm x 100 µm square microscope aperture was used to isolate the sample area for analysis. The spectra are the average of 64 scans at 4 cm-1 spectral resolution. Correction routines

natcc 13 250

were applied as needed to eliminate interference fringes and sloping baselines. Sample identification was aided by searching a spectral library of common conservation and artists’ materials (Infrared and Raman Users Group, http://www.irug.org) using Omnic software (Thermo Scientific).

Sample identification for both ATR and Transmission FITR was aided by searching a spectral library of common conservation and artists’ materials (Infrared and Raman Users Group, http://www.irug.org) using Omnic software (Thermo Scientific).

6.3 REFLECTED LIGHT MICROSCOPY

A Zeiss Axio Imager A1m equipped with illuminators for reflected light, transmitted light and fluorescent microscopy. Images were taken using AxioVision ZEN 2.3 software. Samples were viewed under brightfield and darkfield illumination. Objective magnifications range between 50x and 1000x for reflected light microscopy. Images were focus stacked using Adobe Photoshop or Image-Pro as needed.

6.4 SCANNING ELECTRON MICROSCOPY-ELECTRON DISPERSIVE SPECTROSCOPY

Secondary electron and backscatter electron images were obtained using a Tescan Vega3 XMU tungsten variable pressure scanning electron microscope. Samples were analyzed under high vacuum at an accelerating voltage of 15kV. X-ray spectra were collected and processed with an Oxford Instruments 50 mm2X-MaxnSilicon Drift Detector (SDD) using AZtecEnergy analysis software. Samples were carbon coated to reduce surface charging. Fiber and thread samples mounted upright in epoxy resin and ground and polished to 0.05 um in preparation for microscopy and SEM.

6.5 X-RAY FLUORESCENCE

X-ray fluorescence spectra were collected using a Bruker Tracer 5i handheld energy dispersive X-ray spectrometer. The excitation source was a Rhodium (Rh) target X-ray tube, operated at 45 kV and 20 uA current for 15 seconds. A Ti/Al filter was used to reduce the background radiation and enhance the sensitivity in the energy range of interest. An 8mm collimator was used to irradiate the sample. X-ray signals were detected using Peltier cooled XFlash silicon drift detector (SDD) with a resolution of 140 eV. Spectral interpretation was performed using Artax 7.4 software.

natcc 13 251

7. RESULTS AND DISCUSSION7.1 ADAFRUIT® NICKEL/COPPER WOVEN FABRIC

The nickel/copper woven fabric is a plain weave with a thin, smooth, stiff feel, a light bronze color, and an overall reflective appearance. Visual analysis with reflected light microscopy of the fabric overall and of the individual thread length and cross-section were performed and imaged (Figure 1). The thread length and cross-section images taken under reflected light microscopy show each thread is a bundle of unplied triangular shaped fibers and suggest the fabric is woven first and metal coated afterwards.

Figure 1. All images were taken using reflected light microscopy. Top left: Nickel/copper woven fabric viewed in darkfield illumination. Top right: Cross-section of nickel/copper thread viewed in brightfield illumination. The cross-section image shows the fibers have a triangular cross-section and that the fabric is woven first and metal coated afterwards. Bottom left: Nickel/copper thread viewed in brightfield illumination. Note distinct areas with metal and without metal. Bottom right: Nickel/copper fiber viewed in brightfield illumination.

natcc 13 252

This was confirmed using SEM-EDS for chemical analysis, showing distinct areas with and without metal present (Figure 2). The EDS measurements showed the metallic thread coating to contain an approximately (65:35%) copper:nickel alloy content overall, while spot analysis on small round particulate areas on the metallic coating contained an approximately (52:48%) copper:nickel alloy content. XRF analysis corroborated these results.

Figure 2. Top: Spectrum of the elemental breakdown on a metallized location of the nickel/copper thread using SEM-EDS showing only copper and nickel metals are present. Bottom: Spectrum of the elemental breakdown on a non-metallized location of the nickel/copper thread using SEM-EDS.

natcc 13 253

With peaks at approximately 3425, 2975, 2900 and 1700 cm-1, the transmission-FTIR spectra of the copper/nickel woven fabric (Figure 3) indicates the core material is a poly(ethylene terephthalate), or polyester (Socrates 2001).

Figure 3. Comparison of the ATR-FTIR spectrum of the nickel/copper woven fabric with the known spectra of poly(ethylene terephthalate), in absorbance vs. wavenumber (cm-1)

natcc 13 254

Figure 4. All images were taken using reflected light microscopy. Top: Silver knit fabric viewed in darkfield illumination. Bottom left: Cross-section of silver knit fabric viewed in brightfield illumination. The cross-section image shows the fibers have a triangular cross-section. Bottom right: Silver fiber viewed in brightfield illumination showing the fibers are metal coated first and knit afterwards. Visible tarnishing materials are also already present.

7.2 ADAFRUIT® SILVER KNIT FABRIC

The silver knit fabric is a warp-knit with moderate stretch, thin and soft in feel, silver in color, and a sparkly reflective effect. Visual analysis with reflected light microscopy of the fabric overall and of individual thread length and cross-section were performed (Figure 4).

natcc 13 255

The individual thread images taken under reflected light show the threads are evenly coated but with possible oxidation or tarnishing materials on the surface. The images also indicate the threads are metal coated prior to being knit. The cross-section image shows the fibers have a triangular shape and are very thinly coated in silver when compared to the nickel/copper coating on the woven conductive fabric. The SEM-EDS chemical analysis showed the metallic thread coating to contain only silver, though the high oxygen content at 24% confirms this fabric oxidizes rapidly (Figure 5). XRF analysis confirmed the main metal content of the coating consists of silver.

Figure 5. Spectrum of the elemental breakdown on a silver knit fabric fiber using SEM-EDS. The high oxygen content at 24% confirms this metal coating oxidizes rapidly.

natcc 13 256

Peak Name Of Molecule Detected

Retention Time (Min) (Approximate)

m/z

41, 50, 55, 67, 84 3.77

4.86

5.13

11.43

41, 55, 67, 80, 95

30, 41, 54, 57, 68, 82, 96

30, 42, 55, 67, 84, 94, 113

cyclopentanone

1-pentanenitrile

pentanenitrile

ε-caprolactam

1

2

3

4

Table 1. py-GC-MS peak assignment for silver knit fabric.

With peaks at approximately 3300, 3075, 2950, 2850, 1650 and 1500 cm-1, the ATR-FTIR spectra of the silver knit fabric (Figure 6) indicates the core material is a polyamide (nylon) (Socrates 2001). Pyrolysis gas chromatography-mass spectroscopy (py-GC-MS) was performed in hopes of determining which particular nylon is present in the thread. Several fragments, 1-pentenenitrile, pentanenitrile, ε-caprolactam, and cyclopentanone, were indicative of a nylon 6 (Tsuge 2011) (Table 1). However, as there are many versions of nylon with a six-carbon component, this did not provide a conclusive result. This is likely due to the presence of metals in the thread affecting the fracturing sequence of the nylon by altering heat transfer through the sample.

Figure 6. Comparison of the transmission-FTIR spectrum of the silver knit fabric with the known spectrum of polyamide, in absorbance vs. wavenumber (cm-1).

natcc 13 257

7.3. SPARKFUN® STAINLESS STEEL THREAD

The stainless steel thread is a 2-ply structure with a rough feel, medium gray color, and a semi-matte appearance. Visual analysis with reflected light microscopy of the thread overall and the thread cross-section and individual thread length were performed (Figure 7). The images taken under reflected light microscopy show the thread has an uneven texture, likely due to the individual fibers, and confirm the thread is, as advertised, solid metal. To further understand the stainless steel microstructure, a Nital etching was attempted for a total of 5 minutes, with no effect. Electrolytic etching would need to be used should an examination of the stainless steel microstructure prove useful for further research.

Figure 7. All images were taken using reflected light microscopy. Top: Stainless steel thread viewed in darkfield illumination. Bottom left: Cross-section of the stainless steel thread viewed in brightfield illumination. The cross-section image confirms the thread consists of solid metal. Bottom right: Stainless steel fiber viewed in brightfield illumination.

natcc 13 258

The SEM-EDS chemical analysis showed the stainless steel thread to contain approximately (70.5:18:7.5:1.5%) iron:chromium:nickel:copper alloy with trace amounts of manganese, silicone, and molybdenum (Figure 8). With the exception of copper, the presence of these elements corroborates the composition given on the supplier datasheet. The compositional percentage found for each element falls within the range given on the supplier datasheet, though molybdenum at 0.2% appears in a much lower percentage than stated, at 2-3%. XRF analysis confirmed that the metal alloy consists of iron, chromium, nickel, manganese, molybdenum, and also a trace amount of copper (Figure 8). Further research could determine if the presence of copper is due to contamination of the sample or is a standard inclusion in the alloy.

Figure 8. Top: Spectrum of the elemental breakdown on the stainless steel thread fiber exterior using SEM-EDS. Center: Spectrum of the elemental breakdown on the stainless steel thread fiber interior. Bottom: XRF spectrum collected using Bruker Tracer 5i Handheld XRF from the stainless steel thread.

natcc 13 259

The transmission-FTIR analysis of the stainless steel thread showed no organic core material was detected and confirms the material information provided by the SparkFun® website.

7.4 DEGRADATION

Possible degradation pathways for the three conductive materials studied here include corrosion of the metal/metal coating, mechanical damage to or loss of the metal/metal coating, and for the two fabrics, deterioration of the core materials, polyester and nylon. If used on a garment, the location of the conductive materials, whether on the exterior, in an inner lining, or next to the body, as well as whether or not the garment can be washed, could greatly impact the extent of these degradation processes.

The likeliest methods of metal corrosion are from atmospheric sulfide and oxygen and from perspiration salts and oils from handling and wear. Possible discoloration to both the copper/nickel woven fabric and the silver knit fabric is mentioned in the product care information, indicating oxidation is probable. Avoidance of steam is also mentioned for the silver knit fabric, and a couple months after purchase, oxygen, sulfur, and chlorine were already observed in the SEM-EDS elemental analysis (Figure 6), showing corrosion from the atmosphere and handling. Though generally limited to pure elements under conditions of equilibrium, a study of Pourbaix diagrams could assist in understanding the likely corrosion mechanism(s) of these metals and metal alloys. For example, though the rapid tarnishing of silver is well-known, the Pourbaix diagram illustrates this, showing silver is stable only under very confined conditions, where in excess water, soluble silver hydroxides may be produced, and in slightly acidic conditions, silver chlorides may be produced. Though the stainless steel thread is the most stable metal examined here, a study (Lothongkum 2006) mapping the Pourbaix diagram for 316L stainless steel suggests this alloy is susceptible to eventual corrosion by chlorides as pitting occurred between pHs 2-12 by 50 to 5,000ppm, a chloride range (710-2840 ppm) for which human perspiration falls (What’s in Your Sweat?). Corrosion of the metals could also possibly reduce the conductivity of the fabric, as the valence electrons would no longer be free to carry a current, threatening the functionality of the circuit and the object overall.

Mechanical damage or loss to the metal coating would affect the fabrics overall appearance and conductivity, as there would be less metal available to carry a current. This damage seems likely for the copper/nickel fabric, as metal coating loss from neighboring fibers occurred in sampling an individual fiber for reflected light microscopy (Figure 1). Similarly, the stainless steel thread appears susceptible to ongoing metal loss from

natcc 13 260

mechanical wear, as visible grey remnants were observed in stitch holes when embroidering with the thread. The coating of the silver knit fabric appears more robust as no coating loss was observed to have occurred during fiber extraction for reflected light microscopy.

Areas of metal coating loss on the woven and knit fabrics could expose the core materials, though both polyester and nylon are fairly resilient materials. Polyester has a high resistance to degradation by light, pollutants, and relative humidity, though these areas could be more likely to adsorb oily soiling, due to polyester’s hydrophobic nature (Tímár-Balázsy 1998). Degradation of the nylon core is possible if exposed to ultraviolet radiation, which would result in yellowing and embrittlement (Lavédrine 2012). Continued deterioration from mechanical wear would be likely if metal coating loss from abrasion exposed the core materials initially.

8. CONCLUSION

The characterization of the three conductive materials used for DIY electronic textiles using reflected light microscopy, scanning electron microscopy electron dispersive spectroscopy, X-ray fluorescence spectroscopy, and Fourier-transform infrared spectroscopy proved successful in illustrating their chemical and physical properties as well as confirming their material composition was as advertised. Analysis of the Adafruit® nickel/copper woven fabric showed it is metal coated after it is woven, the metallic coating is an approximately (65:35%) copper:nickel alloy, and the core material is a polyester. The Adafruit® silver knit fabric analysis showed each fiber is metal coated prior to being knit, the metallic coating is nearly pure silver, and the core material is a polyamide. Analysis of the SparkFun® stainless steel thread confirmed it is solid metal in similar composition to that given by the supplier. Knowledge of the chemical and physical characteristics of these conductive materials allows for a better study of the likely potential degradation mechanisms, such as mechanical damage to the coatings and corrosion and oxidation of the metallic components. An examination of the Pourbaix diagrams for each metal in particular could prove useful in understanding the corrosion pathways under various conditions. This will hopefully inform the possible conservation treatment options and the preventive conservation procedures that could be taken for these and similar conductive materials.

ACKNOWLEDGEMENTS

A special thanks to textile conservator Amanda Holden of The Indianapolis Museum of Art at Newfields who invited me to attend an electronic textiles workshop, hosted by Indianapolis Contemporary and instructed by visiting artist Victoria Manganiello, and which ultimately inspired this research.

natcc 13 261

BIBLIOGRAPHY

About Us. Adafruit, Accessed December 13, 2020. https://www.adafruit.com/about

About Us. SparkFun. Accessed December 13, 2020. https://www.sparkfun.com/about_sparkfun

AzoM. 2004. “Stainless Steel – Grade 316L – Properties, Fabrication and Applications (UNS S31603)”. https://www.azom.com/article.aspx?ArticleID=2382

Conductive Thread Bobbin - 30ft (Stainless Steel). SparkFun. Accessed December 13, 2020. https://www.sparkfun.com/products/10867

Cute Circuit. 2020. Accessed December 13, 2020. CUTECIRCUIT | CuteCircuit Wearable Technology

The Economist. 2014. “An uncommon thread.” The Economist 410 (8877): 20.

Hassan, Zuhaib, Fatma Kalaoglu, and Ozgur Atalay. 2020. “Development and characterization of conductive textile (cotton) for wearable electronics and soft robotic applications.” Textile Research Journal 90 (15-16): 1792-1804.

Higgins, J.P.P. 1993. Cloth of Gold: A History of Metallised Textiles. London: The Lurex Company Limited.

Járó, Márta, Tamás Gál, Attila Tóth, Marta Jaro, Tamas Gal, and Attila Toth. 2000. “The Characterization and Deterioration of Modern Metallic Threads.” Studies in Conservation 45 (2): 95-105. https://doi.org/10.2307/1506667.

Jiang, S.Q., E. Newton, C.W.M. Yuen, and C.W. Kan. 2006. “Chemical Silver Plating on Cotton and Polyester Fabrics and its Application on Fabric Design.” Textile Research Journal 76 (1): 57-65.

Knit Conductive Fabric – Silver 20cm square. Adafruit. Accessed December 13, 2020. https://www.adafruit.com/product/1167

Lavédrine, Bertrand, Alban Fournier, and Graham Martin, eds. 2012. Preservation of Plastic Artefacts in Museum Collections. Paris: Comité Des Travaux Historiques Et Scientifiques.

natcc 13 262

Lothongkum, Gobboon, and Pratip Vongbandit. 2006. Experimental determination of E-pH diagrams for 316L stainless steel in air-saturated aqueous solutions containing 0-5000 ppm of chloride using a potentiodynamic method.” Anti-Corrosion Methods and Materials 53 (3): 169-174.

Mohamed, Wafaa A. 2005. “Analysis, identification and deterioration aspects of metallic threads.” AHRC Research Centre for Textile Conservation and Textile Studies. First Annual Conference: Scientific Analysis of Ancient and Historic Textiles. Informing Preservation, Display and Interpretation: Postprints. London: Archetype Publications.

Mohamed, Wafaa. 2016. “Corrosion off: Metal Threads in-Situ: Case Study.” International Journal of Innovative Science, Engineering & Technology 3 (2): 661-666.

Product Data Sheet, Conductive fabric plain, PT230. Suzhou Wahne Electronic Co., Ltd. Accessed December 13, 2020. https://cdn-shop.adafruit.com/product-files/1168/Pn1168_Datasheet.pdf

Reisch, Marc S. 2015. “With the Help of Electronics, Fitness Clothing is Getting Smarter.” Chemical and Engineering News 93 (48) 28-29.

Sahmel, Katherine, Laura Mina, Ken Sutherland, and Nobuko Shibayama. 2012. “Removing Dye Bleed from a Sampler: New Methods for an Old Problem.” In AIC TSG Postprints. American Institute for Conservation 40th Annual Meeting, Albuquerque. Washington, DC: AIC. 78-90.

Service, R. F. 2003. “TECHNOLOGY: Electronic Textiles Charge Ahead.” Science 301 (5635): 909–11. https://doi.org/10.1126/science.301.5635.909

Socrates, George. 2001. Infrared and Raman Characteristic Group Frequencies. 3rd ed. Chichester: John Wiley & Sons, Ltd.

Tao, Xuyuan, Vladan Koncar, Tzu-Hao Huang, Chien-Lung Shen, Ya-Chi Ko, and Gwo-Tsuen Jou. 2017. “How to Make Reliable, Washable, and Wearable Textronic Devices.” Sensors 17 (4): 673. https://doi.org/10.3390/s17040673

Tímár-Balázsy, Ágnes, and Dinah Eastop. 1998. Chemical Principles of Textile Conservation. Oxford: Butterworth-Heinemann.

Tsuge, Shin, Hajime Ohtani, and Chuichi Watanabe. 2011. Pyrolysis-GC/MS Data Book of Synthetic Polymers. Pyrograms, Thermograms and MS of Pyrolyzates. 1st ed. Oxford: Elsevier B.V. Publications.

natcc 13 263

Werner, Ute, Lyndsie S. Selwyn, Tom Stone, W. Ross McKinnon, Anne MacKay, and Tara Grant. 2012. “The removal of metal soaps from brass beads on a leather belt.” Studies in Conservation 5 (1): 20-23.

Wharton, Glenn, Susan Lansing Maish, and William S. Ginell. “A Comparative Study of Silver Cleaning Abrasives.” Journal of the American Institute for Conservation 29 (1): 13-31.

What’s in Your Sweat? Collegiate and Professional Sports Dietitians Association (CPSDA). Accessed January 12, 2021. https://www.sportsrd.org/wp-content/uploads/2018/11/Whats-In-Your-Sweat.pdf

Woven Conductive Fabric – 20cm square. Adafruit. Accessed December 13, 2020. adafruit.com/product/1168.

MATERIALS AND SUPPLIERS

Conductive Thread Bobbin - 30ft (Stainless Steel)SparkFun®6333 Dry Creek ParkwayNiwot, Colorado 80503https://www.sparkfun.com/products/10867

Woven Conductive Fabric – 20cm squareAdafruit®adafruit.com/product/1168

Woven Knit Fabric – 20cm squareAdafruit®adafruit.com/product/1167

natcc 13 264

BIOGRAPHIES

Heather Hodge recently completed her M.A., C.A.S. in Art Conservation from the SUNY Buffalo State Garman Art Conservation Department, having specialized in textiles. She received her Bachelor of Arts degree in Art History from Juniata College in Huntington, Pennsylvania. Heather spent her third-year graduate fellowship at The Colonial Williamsburg Foundation, and previously completed summer graduate internships at The Indianapolis Museum of Art at Newfields, Zephyr Preservation Studio, LLC and Trupin Conservation Services, LLC.

Dr. Aaron Shugar is the Andrew W. Mellon Professor of Conservation Science in the Art Conservation Department, SUNY Buffalo State. Aaron received his PhD in Archaeometallurgy from the Institute of Archaeology, UCL. Aaron served as Co-Director of the Archaeometallurgy Laboratory at Lehigh University, and was a visiting scientist at the Smithsonian Center for Materials Research and Education. Aaron’s research interests include analysis of inorganic materials, archaeometallurgy, developing non-invasive instrumentation, and investigating degradation phenomena of pigments.

Dr. Rebecca Ploeger is an Associate Professor of Conservation Science in the SUNY Buffalo State Garman Art Conservation Department. She received her Ph.D. in Chemical Sciences from the University of Turin, Italy, and was a Charles E. Culpeper Advanced Training in Conservation Science fellow in the Scientific Research Department at the National Gallery of Art, Washington, DC. Her main research interests are the design, characterization, and stability of synthetic polymeric materials used by artists and conservators.

Heather Hodgeheatherbhodge@gmail.com

natcc 13 265

ABSTRACT

At Colonial Williamsburg, visitors experience 18th century living in the 21st century. At the DeWitt Wallace Decorative Arts Museum, textile conservators mount 18th and early 19th century costumes on historically proportionate mannequins and accessorize them with reproduction garments, undergarments, and wigs. While the collection includes an array of period accessories, exhibiting them as they were originally used is potentially damaging. Additionally, acceptable ready-made reproductions or conservation-grade materials that accurately depict historical accessories are hard to find.

Accessorizing an 1830s gown for an upcoming exhibit provided the opportunity to address these challenges through a reproduction of an 1830s tortoiseshell comb from the collection. Tortoiseshell is now a protected material and to replicate its appearance, a variety of conservation-grade materials and techniques were explored. Vivak® was chosen for having thermoplastic qualities similar to tortoiseshell, was shaped with heat, and painted with acrylic paints to imitate the tortoiseshell pattern. Replicating a period accessory with a material already used by conservators will encourage the addition of accessories to costume mounting and enhance visitors’ understanding of historical dress with accessorized mannequins.

Combining Accessories and Costume: Reproduction of Tortoiseshell Combs for Costume ExhibitsNhat Quyen Nguyen

The Colonial Williamsburg Foundation, Williamsburg, VA, USA

natcc 13 266

Combinando accesorios y vestuario: Reproducción de peines de carey para exposiciones de vestuario

RESUMEN

En Colonial Williamsburg los visitantes experimentan la vida del siglo XVIII en el siglo XXI. En el DeWitt Wallace Decorative Arts Museum, el equipo de restauración de textiles monta vestuario del siglo XVIII e inicios del XIX utilizando maniquíes proporcionados según el periodo histórico y los complementan con reproducciones de prendas, ropa interior y pelucas de época. Aunque la colección cuenta con una variedad de accesorios históricos, exhibirlos conforme su uso original es potencialmente dañino. Asimismo, es difícil encontrar reproducciones prefabricadas que resulten aceptables o bien, elaboradas con materiales de calidad de archivo y que representen fielmente accesorios históricos.

Se presentó la oportunidad de abordar estos retos al añadir los accesorios a un vestido de la década de 1830 para una próxima exhibición y mediante la reproducción de un peine de carey del mismo periodo custodiado en la colección. Hoy en día el carey es un material protegido, así que para su reproducción se exploraron una variedad de materiales de calidad de archivo y técnicas de conservación. Se eligió el Vivak® por sus propiedades termoplásticas similares a las del carey; se modeló mediante calor y se coloreó con pintura acrílica imitando el patrón característico del material. El replicar accesorios de época con materiales habitualmente utilizados en la restauración fomentará la incorporación de estos detalles al montaje de vestuario. De igual modo, la comprensión de la indumentaria histórica por parte del público se verá enriquecida a través de maniquíes que incluyan todos los accesorios correspondientes.

1. INTRODUCTION

Nowadays, combs are typically used to untangle knots or style hair, but during the Jacksonian Era (1824–1840), combs were also accessories. There were a variety of comb types for each occasion and tortoiseshell combs were favored in this period. However, the cruel process of harvesting the individual shell plating from live hawksbill sea turtles (Eretmochelys imbricata) decimated the turtle population and they are now considered critically endangered. Today the sale and trade of tortoiseshell is illegal in 183 countries and historical accessories containing tortoiseshell are hard to come across.

At Colonial Williamsburg, textile conservators strive to mirror the storytelling aspect of the institution’s historic area by dressing historically

natcc 13 267

proportioned mannequins with period- appropriate accessories. When an 1830s gown came to the lab for exhibit preparations, tortoiseshell combs were considered for the mannequin’s accessories because of their popularity during this period. The collection includes an 1830s tortoiseshell back comb (Accession No. 2006-61), but its fragility and significance as an accessioned object meant that it was unsuited for use as a display accessory. A possible solution to this was fabricating an in-house reproduction of the tortoiseshell comb.

2. EXPLORATIONS OF MATERIALS

A variety of materials and techniques for the reproduction were explored and considered based on the following criteria:

• Accessibility: Due to the unprecedented circumstances of COVID-19 and the resulting uncertainty regarding supplier shipments, the materials had to be readily available within the department for testing. • Malleability: The 1830s combs in the collection are mostly curved. The material needed to be easily manipulated into this shape. • Likeness to tortoiseshell: The material needed to reflect the physical traits of tortoiseshell—rigid, thin, and transparent. It needed to be easily painted or dyed to resemble the patterns and colors seen on tortoiseshell. • Longevity: The material needed to be conservation grade and age well, so as not to harm the objects displayed with it.

The criteria helped narrow down the materials that could be used for reproduction. The condition of the original comb made it unsafe to carry out any reproduction method that required a mold of the object. Wooden reproduction was ruled out because it did not meet the requirements for transparency or ease of manipulation. Testing and research determined that Vivak® met all the requirements needed for reproduction.

2.1 WHAT IS VIVAK®?

Vivak® is a thermoplastic co-polyester poly(ethylene terephthalate) glycol (PETG) that is available in transparent sheets. According to Curbell Plastics, the material is durable and suitable for a variety of fabrication techniques including “low-temperature forming" (Curbell Plastics 2018, 2). Vivak® can be cut down to size using scissors or saws, sanded for smooth edges, and can be painted. From the retailer’s description, Vivak® is physically suitable for use as a reproduction material, but was it a conservation-grade material?

natcc 13 268

Vivak® has been used in museums for customized mounts for books and costumes (Baier 2003; Historic New England 2017). Results from an Oddy test published on the AIC Wiki (AMNH Test #262) showed that Vivak® was appropriate for temporary use. This was satisfactory for this project because the reproduction comb would not be in direct contact with any objects from the museum’s collection. In addition, it would be displayed in a vented case to minimize any effects of the Vivak® off-gassing.

3. REPRODUCING WITH VIVAK®

The overall length, width, and spacing between each tooth on the original comb were measured. Vivak® was cut to size and the teeth were drawn on using the measured dimensions. The Vivak® was clamped to a wooden replica of the comb made with the same measurements, which served as a support and spacing guide during cutting. Using a jeweler’s saw, the spaces between the teeth were cut out, stopping ¼” from the ends. This kept the teeth from splaying out of position while the rest of the comb was being cut. The teeth of the comb were sanded and shaped using metal files. The remaining ¼” was sanded with a round file to replicate the curve between each tooth seen on the original comb.

Once the teeth were smooth, the Vivak® was heat-shaped using a hot air gun. The curve of the comb was formed around a blueboard tube with similar circumference to the comb. Afterwards, a metal wire was positioned along the curve of the comb to finalize its shape and curvature. The wire was secured to the comb by wrapping the ends around the sides of the Vivak®.

4. PAINTING THE VIVAK®

To mimic the transparency of the tortoiseshell, Golden Fluid Acrylics paints were used because they can be diluted with water. Different ratios and combinations of burnt umber light, titan buff, Prussian blue, red oxide, and yellow ochre were used to match the comb’s colors. Alternating between cotton swabs and fine paint brushes with soft bristles proved the most successful in replicating the appearance of tortoiseshell. The swabs helped apply an even and transparent base layer of color and paint brushes helped control the application of the patterning. When applying, the lightest and most transparent color was applied first. It is important to let this layer dry completely because applying another layer too soon can agitate this layer and ruin its transparency. To make the darker colors, a fine brush should be used to ‘marble’ the diluted acrylic color over the lighter color. Once the paint dried, Acrysol™ WS-24, an acrylic overcoat, was added to mimic the finish of the tortoiseshell.

natcc 13 269

Once completed, it was noted that the reverse side of the comb would be most visible when in use on a mannequin, and that its patterning did not match the front of the comb due to the layering of paint. To remedy this, a separate Mylar layer was painted with the same patterning and adhered to the back of the comb with 3M™ 415 double-sided tape.

Figure 1. Creating tortoiseshell patterns with different application techniques.

Figure 2. From the front of the mannequin, the back of the comb is visible and a Mylar layer mirrors the patterning on the other side.

natcc 13 270

5. CONCLUSION

Tortoiseshell was a ubiquitous material in the 19th century, favored for its striking coloring. Through this reproduction technique, prop accessories made of faux-tortoiseshell can be used to provide context in costume displays without the need to purchase expensive antiques. While the effort of hand sawing, heat forming, and painting Vivak® for an accessory may seem excessive, the result gives museum goers a better understanding of the gown’s context, and the lifestyle and trends of past eras. With this reproduction, I hope to encourage the exploration of Vivak® and its usage beyond invisible mounting.

Figure 3. Dressed mannequin with comb reproduction.

natcc 13 271

ACKNOWLEDGMENTS

Thank you to the Colonial Williamsburg Foundation for support of this project; Gretchen Guidess, Neal Hurst, Jacquelyn Peterson-Grace, Heather Hodge, Chris Swan, and Tina Gessler for their help and guidance in this project; Jason Copes for his help with photography; and to all the authors whose research have made this project possible.

REFERENCES

AIC Wiki. 2019. “Oddy Test Results: Combined Results.” Accessed February 1, 2021. https://www.conservation-wiki.com/wiki/Oddy_Test_Results:_Combined_Results

Baier, Rhea. 2003. “Vivak: An Alternative to Conventional Plexiglas and Museum Board for Exhibition Mounts.” Book and Paper Group Annual 22: 109–110.

Curbell Plastics. 2018. Vivak® sheet: Technical guide fabrication, forming, finishing. Technical information sheet. Accessed February 16, 2021. https://www.curbellplastics.com/Research-Solutions/Technical-Resources/Technical-Resources/VIVAK-PETG-Fabrication-Guide

Historic New England. 2017. “Inside the Conservation Lab: Headless hats, shoes without feet.” Accessed February 8, 2021.https://www.historicnewengland.org/inside-conservation-lab-headless-hats-shoes-without-feet/

National Oceanic and Atmospheric Administration Fisheries. n.d. “Species Directory: Hawksbill Turtle.” Accessed January 13, 2021. https://www.fisheries.noaa.gov/species/hawksbill-turtle#overview

Phillips, Cedar I. 2003. Tortoise and the Hair: Combs in the Jacksonian Era. Ph.D. diss., University of Delaware.

Sea Turtle Conservancy. 2021. “Information about Sea Turtles: Hawksbill Sea Turtle.” Accessed January 11, 2021. https://conserveturtles.org/information-about-sea-turtles-hawksbill-sea-turtle/

natcc 13 272

MATERIALS AND SUPPLIERS

Vivak®

Curbell Plastics, Inc. 7 Cobham DriveOrchard Park, NY 14127, USA+1 800 553 0335www.curbellplastics.com/

Acrylic PaintsGolden Artist Colors, Inc.188 Bell RoadNew Berlin, NY 13411-9527, USA+1 800 959 6543help@goldenpaints.comwww.goldenpaints.com

Acrysol™ WS-24 Emulsion TALAS 330 Morgan Ave.Brooklyn, NY 11211. USA+1 212 219 0770www.talasonline.com

natcc 13 273

BIOGRAPHY

Nhat Quyen Nguyen is a Marshall Steele pre-program intern in conservation at the Colonial Williamsburg Foundation. She graduated from Portland State University with a Bachelor of Science in Art History in 2018. She was part of the Andrew W. Mellon Foundation Opportunity for Diversity in Conservation workshop and received funding from the program for a summer internship in conservation at the George Washington University and The Textile Museum in 2019. In fall 2021, she will be joining SUNY Buffalo’s Patricia H. and Richard E. Garman Art Conservation program.

Nhat Quyen NguyenThe Colonial Williamsburg FoundationP.O. Box 1776Williamsburg, VA 21387-1776, USA+1 971 570 4458nhatquyendnguyen@gmail.comnnguyen@cwf.org

natcc 13 274

ABSTRACT

This paper shares a treatment for conserving wool yarn fringe devised at the National Museum of the American Indian for a table covering loaned as part of the touring exhibition Hearts of Our People, which highlighted the importance of Native women’s art.

The major conservation concern for the table covering was insect damage to the fringe, which was made with commercially manufactured yarn. Damaged strands were loose, thin, or missing ends. Previous conservation treatments threaded into the yarns had failed, leaving disconnected pieces of fringe. Treatment was required to reconnect the fragments and keep the fringe intact for at least the duration of the four-venue tour.

Building on similar needle felting techniques developed for visual infills by conservator Susan Heald and felting artist Renate Maile-Moskowitz, a minimal amount of wool roving was inserted into the fringe to reinforce areas of weakness and reattach segments of loose or detached yarn. The wool roving was mechanically inserted to gently reconnect loose pieces of the fringe, avoiding more aggressive intervention such as felting with heat, water, and agitation. Under ultraviolet radiation, the roving fluoresced purple, distinguishing treatment areas from original material.

Enfieltrado con aguja como solución a los faltantes en textiles con flecos de hilo de lana

RESUMEN

Este artículo presenta un tratamiento de conservación para flecos de hilo de lana, concebido en el National Museum of the American Indian y aplicado sobre un mantel que se prestó al Minneapolis Institute of Art para

Needle Felting as aSolution for Textileswith Wool Yarn FringeKathleen Martin

National Museum of the American Indian, Washington, DC, USA

natcc 13 275

la exposición Corazones de Nuestra Gente, la cual remarca la importancia del arte de mujeres indígenas.

La principal preocupación alrededor de la conservación del mantel era el deterioro causado por insectos en los flecos, los cuales estaban originalmente conformados por hilo comercial. Las hebras dañadas se encontraban sueltas, adelgazadas o bien, habían perdido los extremos. Los tratamientos de conservación anteriores, enhebrados en los hilos, habían fallado, dejando tras de sí segmentos desprendidos del fleco. Fue necesario hacer una intervención para volver a unir los fragmentos y mantener los flecos en buen estado, al menos durante el tiempo de su itinerancia en cuatro sedes.

Con base en técnicas similares de reintegración visual mediante enfieltrado con aguja, desarrolladas por la conservadora, Susan Heald, y la artista de fieltro, Renate Maile-Moskowitz, en este caso se insertó una cantidad mínima de fibras de lana para reforzar las áreas débiles en los flecos y volver a unir los fragmentos sueltos e hilos desprendidos. Las fibras de lana se insertaron mecánicamente en las zonas dañadas para volver a conectar gradualmente las partes sueltas, evitando una intervención más agresiva como el enfieltrado con calor, agua o por agitación. Dichas fibras emiten fluorescencia color púrpura, lo que hace que las intervenciones sean identificables bajo la radiación ultravioleta.

1. INTRODUCTION

A table covering with latticed wool fringe (120814.000) is one of three National Museum of the American Indian (NMAI) pieces exhibited in Hearts of Our People, which opened in June 2019 at the Minneapolis Institute of Art and traveled to three subsequent venues. The exhibition celebrates the individual accomplishments and creative triumphs of Native women (Yohe and Greeves 2019). While the Sisseton Dakota artist is unknown, it is one woman’s masterpiece, beautifully created in the early 20th century with red trade wool, glass and metal beads, and wool yarn fringe. Beaded embellishments depict a sun medallion surrounded by birds, butterflies, stars, and flowers worked on wool with knotted red fringe. The fringe is made of commercially manufactured wool yarn matching the color and texture of the beading substrate. It consists of eight yarns attached at their middles to the textile’s edges using cotton thread. The fringe strands are spaced 2 cm apart, varying in length up to 13 cm. The fringe’s lattice pattern is made by tying two adjacent groups of four yarns together in an “x” using the same yarn.

natcc 13 276

The major concern for the table covering was insect damage to the latticed yarn fringe. The treatment’s goal was to showcase the artist’s vision by minimizing distracting losses and preventing yarn loss during repeated installation and handling.

Previous treatments in 2002 drew matching embroidery thread through the wool yarn, supporting damaged areas and reconnecting broken yarns to reestablish the lattice pattern. Skala polyester thread had been loosely wrapped around two groups of yarns in the lattice network. These repairs had moved or detached in several locations and no longer supported the original structure, resulting in lattice distortion. In two areas, previously treated yarn had detached completely. Upon selection for Hearts of Our People, there were 25 areas where yarn strands were weak and thin, barely connected, detached, or missing. Treatment was required to reconnect the fragments and keep the fringe intact.

Figure 1. Before the previous treatment in 2002 (left) and after treatment in 2021 (right).

2. NEEDLE FELTING

Needle felting techniques developed for loss compensation at NMAI were adapted for this treatment. One method described by Hodson, Heald, and Maile-Moskowitz (2009) creates a passive fill in an area of loss by felting wool to a secondary support such as a lining or mount. Another method utilized on Pendleton blankets covers loss from insect grazing by felting directly into the top layer of fabric with the finest felting needle and avoiding piercing the cotton warps. For this table covering, the treatment felted directly into the yarn and reattached wool fibers to reinforce and connect loose or detached ends of fringe.

natcc 13 277

3. MATERIALS

Commercially, needle felting is used to produce industrial felt of many fiber types. A needle board repeatedly punches thousands of barbed needles to entangle fibers and create a felted fabric. More recently, needle felting as a creative fiber art uses a single barbed needle to entangle wool fibers and create three-dimensional sculptures or add patterns to fabric surfaces. Felting needles are made of hardened steel with a series of spaced barbs near the tip. They come in sizes from 36 to 42, ranging from thicker to finer needles (Hodson, Heald, and Maile-Moskowitz 2009). The treatment materials used were wool roving, polyurethane foam, felting needles, and Hollytex® (non-woven spunbonded polyester). Merino wool was selected for infills because it was sympathetic in texture to the existing wool fringe and created a surface very similar to the fringes through felting. Lanaset® dyes were chosen because of good test results for color fastness and crocking.

4. TREATMENT STEPS

• Treatment was carried out on a customizable stitching table with removable panels. These panels were replaced by 2-inch thick pieces of polyurethane foam covered in Hollytex®, which served as a barrier between the foam and the object, and provided a smooth support for the fringe. The Hollytex® retained its structure with repeated needling, did not contribute fibers into the area of felting, prevented the wool from sticking to the foam while working, and allowed the fringe to be moved without handling by lifting the Hollytex® off the foam surface.

• A very small amount of wool roving dyed with Lanaset® dyes was separated and thinned by hand without cutting any fibers. This piece was inserted into the area of loss with fingers or tweezers.

• The roving was integrated into the individual strands of fringe using a 40-gauge felting needle. The needle was held perpendicular to the piece and repeatedly poked through the overlapping roving and existing wool fringe into the foam beneath. The up and down motion of the needle entangled the wool fibers of the existing fringe and the wool roving. When the motion was used evenly across the wool, the felting was evenly distributed, producing the proper texture. The fibers were entangled, secure, and flexible, but the felted areas were not hard or stiff, preserving the natural drape. When the felting resulted in a surface texture that was noticeably spikier than the adjacent area, it could be smoothed with fingers. If not excessively needled, the fill could be removed with tweezers.

natcc 13 278

5. CONCLUSION

This needle felting technique fills a reoccurring need to easily reintegrate loose and detached wool yarns without expensive equipment or materials. The treatment proved to be stable enough to withstand the handling requirements of a touring exhibition and prevent the need for future repetitive treatments. The dyed wool provided a visually integrated color match but could be identified when viewed under ultraviolet radiation, as the wool of the original piece fluoresced differently that the roving.

This treatment has proven useful in treating other objects with detached or weak wool fringe, but it has only been used on commercially manufactured yarn and not on hand spun wool yarn where it might interfere with the spinner’s handiwork. The treatment stabilized the table cover for exhibition and travel while providing a more cared-for presentation for this beautiful and culturally valued piece.

Figure 2. Needle felting trial using contrasting roving.

natcc 13 279

Figure 3. Before (left) and after (right) treatment detail images.

natcc 13 280

ACKNOWLEDGMENTS

Thank you to the Andrew W. Mellon Foundation, Susan Heald, Lisa Imamura, and Michele Austin-Dennehy of the NMAI Conservation Department, and Renate Maile-Moskowitz.

BIBLIOGRAPHY

Hodson, Anna, Susan Heald, and Renate Maile-Moskowitz. 2009. “Hole-istic Compensation: Needle Felted Infills for Losses in Fulled Wool.” Journal of the American Institute for Conservation 48 (1): 25–36.

Yohe, Jill Ahlberg, and Teri Greeves, eds. 2019. Hearts of Our People: Native Women Artists. Seattle, WA: University of Washington Press/Minneapolis Institute of Art.

MATERIALS AND SUPPLIERS

Felting needles and polyurethane foamThe Woolery859 E Main StreetFrankfort, KY 40601, USA+1 502 352 9800https://woolery.com/

Undyed merino wool rovingR.H. Lindsay Company10 Barrington RoadPO Box 240926Boston, MA 02124, USA+1 617 228 1155https://rhlindsaywool.com/

Lanaset® dyesEarth Guild33 Haywood StreetAsheville, NC 28801, USA+1 828 255 7818https://earthguild.com/

Hollytex®

Talas330 Morgan AveBrooklyn, NY 11211, USA+1 212 219 0770https://www.talasonline.com/

natcc 13 281

BIOGRAPHY

Kathleen Martin is an Andrew W. Mellon Fellow in Textile Conservation at the National Museum of the American Indian. She is a 2018 graduate of the Centre for Textile Conservation and Technical Art History at the University of Glasgow and earned a dual bachelor’s degree in art history and painting from the University of Illinois at Urbana-Champaign. Prior to conservation, she worked in the field of theatrical costuming in New York City as a dresser, stitcher, and assistant on Broadway. Her conservation specialties are the history, construction, and significance of dress and textiles.

Kathleen Martin612 5th Street NE Washington, DC 20002, USA+1 917 584 8661martinka@si.edukathleenmartinconservation@gmail.com