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CONSERVATION

NEWSLETTERmi

Number 27 FALL 1994

TEXTILE CONSERVATION NEWSLETTER

TABLE OF CONTENTS

"FROM THE EDITORS"

TEXTILE OPEN STORAGE AT THE MUSEE ACADIEN

MISCOUCHE, PRINCE EDWARD ISLANDReginald Porter

CONSERVATION RIGHT NOW!

Evelyn Payton Tayler

DUST COVERS

Leslie K. Redman and Helen Holt

FIBER mENTIFICATION

Jane Merritt

THE FANCY WORK OF GODEY'S LADY'S BOOK 1840-1859

FINDER'S AIDS NOW AVAILABLE ON MICROFICHE

Barbara Mcintyre & Ruth Mills

AN INVESTIGATION INTO THE CURRENT USE AND

APPLICATION OF ADHESIVES IN TEXTILE CONSERVATION

Ela Keyserlingk & Lynda Hillyer

DYEING SAFELY

MASTER'S THESES RELATING TO MUSEUMS AND MATERIAL

CULTURE AT THE UNIVERSITY OF ALBERTA

THE TEXTILE CONSERVATION CENTRE: ABSTRACTS

OF FINAL YEAR PROJECTS

ANNOUNCEMENTS

TCN SUBSCRIPTION INFORMATION

TCN SUBMISSIONS

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ROM THE EDITORSIn our last issue, we made a plea for

new leadership on the Textile ConservationNewsletter. We are pleased to announce thatthe newsletter is able to continue, and hasbeen taken over by a new enthusiastic teamof three co-editors. They are Helen Holt,Dress and Insignia Conservator, and LeslieRedman, Assistant Textile Conservator b6that the Canadian War Museum, and LesleyWilson, textile artist. They look fonvard totaking the helm of TCN and will begin withthe next issue. The current team of editors

would like to thank these three for comingforward.

This issue presents articles on a rangeof topics which affect conservators. DyeingSafely brings attention to the health hazardsposed by using dyes and gives safetyrecommendations. Conservators share their

solutions to problems in articles on textilestorage, dust covers for large vehicles, andconservation of reproduction costume. Weare also featuring an article on fiberidentification reprinted from the TextileSociety of America Newsletter.

Bibliographic information is brought togetherin this issue with an index of Master's thesesin conservation done at the University ofAlberta, and one of conservation studies doneat the Textile Conservation Centre at

Hampton Court. Another article discusses anew microfilmed index of Godey's Lady'sBook.

Your outgoing editors, Eva Burnham,Cynthia Cooper, and Ruth Mills wish tothank all our subscribers for your continuingsupport of the newsletter. Please take thetime now to renew your subscription for1995-96 - our new Ottawa address and ratescan be found on the enclosed renewal form,

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and also on the last page of this issue.

THE NEW TEAM

LESLIE REDMAN is the Assistant

Conservator in the Dress and Insignia Lab atthe Canadian War Museum. A recent

graduate from the Masters in ArtConservation Programme at Queen'sUniversity in Kingston, Ontario, she workedin the General Artifacts lab at the Canadian

Museum of Civilization in Hull, Queb6c untilmoving to her present position in May of1994. She enjoys trying all forms ofneedlework and is particularly interested incollecting old needlework magazines orinstruction books and composition oradvertising dolls.

LESLEY WILSON has been in thetextile business as an entrepreneur, teacherand artist for a number of years and iscurrently specializing in quilting and freemotion, machine embroidery. She has editedand produced a textile related newsletter inthe past. She is interested in all facets oftextile production and decoration and collectsrelated material. She has a fondness for

inexpensive snowballs (snow scenes in glassor plastic balls) and admits to having 37 ofthem.

HELEN HOLT has 15 yearsexperience as a practicing conservator both inprivate practice and museum labs, working inCanada and abroad. She has specialized intextiles but firmly believes the way of thefuture lies in a diverse background ofexperience. She is currently SeniorConservator in the Dress and Insignia Lab atthe Canadian War Museum which includes

work on medals, military headgear, leatheraccouterments, boots, and uniforms. Sheenjoys sewing for pleasure and has a definitefondness for dogs.

Fal 1 1994

EXTILE OPEN STORAGE ATTHE MUSEE ACADIEN,

MISCOUCHE, PRINCE EDWARDISLAND

In June of 1991 the Muse6 acadien at

Miscouche, Prince Edward Island, wasnearing completion. This large modemfacility, the most sophisticated to be built onthe Island since the Confederation Centre of

the Arts in 1964, was the result of years ofdedicated lobbying, planning and theauspicious conjunction of museum andpolitical stars.

The Museum was designed to be amulti-purpose building with facilities for apermanent exhibition on the history of theAcadians on Prince Edward Island, as well asspace for changing exhibitions andeducational activities. The Museum was also

to serve as the home of the Centre des

Emdes acadiennes (primarily an important

genealogical facility with storage for themuseum's archival collection) and sufficientoffice and administrative space. At the backof the museum there was a receiving /workshop area near the various mechanical

systems. Most significant of all, there was tobe an open storage facility.

This concept arose from a desire tosolve problems concerning strong localfeeling and educational policies. The originalMuse6 acadien had been established in 1964

at a time when museums were new on the

Island and when they tended to resemble acommunity attic. The Board of the new

museum wanted to depart from the practiceof exhibiting everything in the collection atonce, and in the several years preceding the

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construction of the new museum, had

experimented with various thematic displays.The result was that, more and more, artifactsthat were irrelevant to current displays wereplaced in a tiny storage area. This causedunhappiness in the community becausedonors and their families wanted to see what

they had given whenever they chose to visitthe museum.

The other issue was an educational

one. The Board and curator believed stronglythat visitors with special interests should beable to view the entire collection, or at least

portions of it, with relative ease, while thesecurity of the collection was maintained. Inspite of advice to the contrary from thisconsultant, it was found necessary in the endto locate all the different collections in one

room of 137.5 square metres.

Further complications arose from adesire to make all space as flexible aspossible. Next to the 137.5 square metres ofdesignated storage space it was decided toinstall a movable wall that could be extended

into the storage area to gain an additional43.75 square metres of exhibition space in thetemporary gallery. This provision wasdesigned to accommodate possible largetravelling or temporary exhibitions. Thismeant that, to keep the appearance of theextended temporary gallery consistent, carpethad to be installed in that area extending intostorage. It also meant that the storage areamight have to be compressed into an area of93.75 square metres.

The challenge of an open storageconcept that went against current museumpractice (in that various categories of artifactswould not be physically separated) wasfrustrating yet exciting for the designer.

Fall 1994

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Knowing that no other alternative wasacceptable to the board the solution illustratedbelow was proposed.

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Figure 1 - Plan of the open storage area with a movablewall rApahle of increasing theitemporary exhibition space.

Figure 1 - Plan of the open storage area witha movable wall capable of increasing thetemporary exhibition space.

As can be seen in the plan, the 43.75square metres area that could be taken overfor additional exhibition space, and whichwas carpeted to match the adjacent gallery,provided a storage area for the museum'svery important collection of framed portraitsof notable Island Acadians. These were

attached to steel and mesh panels mounted onheavy casters so that they could be easilymoved or realigned when the wall wasextended back.

The textile storage area was kept in atight grouping that permitted a number ofarrangements, including displays in plexi-covered drawers, mannequins in tall glassed-in cabinets, and the possibility of thestorage/display of properly supported smallertextiles.

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The problem of designing textilestorage units that would match all the otherunits for the remainder of the artifacts in the

collection was a difficult one. A collections

analysis was conducted, and it was foundpossible to gage the amount of space neededfor all the other categories of objects that,following current practices, would be groupedtogether. This called for a variety of storageunits, all glass fronted, all lockable, allcapable of adequate low-level illumination,all capable of many combinations of storagesolutions within their spaces, and all suitablefor the types of artifacts they would contain.Ultimately, the solution consisted, as can beseen in Figure 1, of designing four types ofwall units, labelled A-D. Large objects, suchas looms, small kitchen and heating stoves,

larger pieces of furniture etc. Were intendedto be arranged in a pyramidal display on aseries of bases of several standardized

heights. The bases could be used alone' or incombination depending upon the size of theartefact to be displayed. The possibility ofmobility had also to be kept in mind, and so,heavy concealed casters were placed on alllarger base units.

At the beginning of the planningprocess for this project the current literaturewas studied in order to provide an up-to-dateconcept and to avoid as many mistakes aspossible. The Canadian Conservation Institute

in Ottawa, with the particular assistance ofEva Burnham, then a Senior Conservator in

the Textile Division, provided the currentbasic bibliography of relevant material on theopen storage concept. In the,end, it was anarticle by Jacqueline Beaudoin-Ross and EvaBurnham, "Recent Trends in Costume and

Textile Storage" that provided the mostimportant information about the problemsfacing the museum at Miscouche. Car!

Fall 1994

Schlichtling's illustrations for this article,combining both practicality and aestheticelegance, provided the basic design conceptfor the open storage units at the Muse6acadien.

The following specification drawingsillustrate the various types of units proposedfor the Muse6.

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that the Prince Edward Island Museum was

experiencing serious difficulties with insectinfestation for just that reason. Theconstruction of the various display units wasvery well executed by local contractors, whoemployed materials and . finishesrecommended by the Canadian ConservationInstitute. There was only one technicalproblem, (and it had been identified as a

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Keeping in mind that the storage areawas also a display area, the components weredesigned to be arranged in various ways sothat the material on view could change atvarious intervals. A tall mobile glass-sidedcase was designed so that a life-sizemannequin could be exhibited displaying acomplete costume.

From the beginning the financial andspacial necessity not to isolate the textilecollection from the rest of the collection was

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possibility from the start): to save money thecontractors used sliding tracks that could notsupport the heavier weights, so there willalways be difficulties in opening and closingthe larger plexi-topped drawers. Due tostaffing shortages the dream of open storageas an attractive yet functional part of themuseum has, to date, only been partlyrealized. The original proposed lay-out wasnot followed and the movable wall became a

permanent one in order to enlarge theadjacent gallery space. The racks containingthe historic Acadian photographs were placedin the large genealogy workroom and receivetoo much light.Figure 3 - Mobile glass-sided case largeenough to display a life-size mannequin.

Fall 1994

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In the end the concept, with itsobvious limitations and undesirable features,seemed to provide an answer to the textileand other artifact storage problems at theMuse6 ornrlien. The original proposedarrangement (Figure 1) would have providedreasonable spacial isolation for the textileswithin the larger groupings of the of thecollection, whose rate of growth has sloweddue to a scarcity of Acadian artifacts and amore rigid acquisitions policy recentlyformulated.

Reginald Porter is a heritage consultant wholives in Charlottetown, P.E.I.

Bibliographical NoteBeaudoin-Ross, Jacqueline, and Burnham,Eva. "Recent Trends in Costume and Textile

Storage," Textile Conservation Newsletter,Supplement to the TCN, Spring 1990.

Number 27 5

ONSERVATIONNOW!

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RIGHT

Sometimes the need to conserve can

- - pop up when one least expects it. In May1994, the McCord Museum of CanadianHistory provided Montrealers with a uniqueopportunity to discover the little known world

of William Notman's Composite photographs.

Limited by technology, nineteenthcentury photographers were unable tophotograph large numbers of individuals atthe same time without running the risk ofblurring large portions of any given scene.Exposure times were lengthy and thosestanding near the edges of a photo wereinvariably out of focus. To overcome thisproblem, especially in an era when the risingbourgeoisie was desperate to be countedamongst those attending highlights of the

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social season, Notman devised an ingenioussystem of recording a person's likeness. In1870, for example, anyone attending the

Fall 1994

Skating Carnival in Montreal could be seenrubbing shoulders with the guest of honourwho was none other than the Prince of

Wales. By photographing each sitterindividually in his studio according to apredetermined grid and scale, Notman wasable to arrange and paste images of guestsagainst an artist's version of the originalbackground so that interested individualscould purchase a souvenir of the event in any

-one of three different sizes.

In keeping with the McCordMuseum's current move to create a more

interactive environment for its visitors, TheWorld of William Notman includes a mock-

up of Notman's studio as well as aninstallation where visitors can become part ofa composite photograph themselves. Dressedin period costume and projected against asection of the Allen family's private drawingroom of 1884, visitors can experience what itwas like to dress in the restrictive clothing ofthe Victorian era as well as gain a betterunderstanding of how a composite was made.

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by the children and adult male, those in theadult female presented a real problem. Evenwith the greatest care, it was virtuallyimpossible under rushed conditions to preventthe small hooks of the velcro from constantlypulling on the outer layer of the bodice andleft hand sleeve. -

With only one technician on site totake photographs and help family groups inand out of costume it came as no surprisethat the closely fitting woman's costume wassoon showing signs of wear and tear. OnOpen Museum Day alone, over 100 groupsposed for their portrait "in" the Allianfamily's fashionable drawing room.

Under normal circumstances a boned

bodice based on two layers of sturdy cottonMill can be used for several seasons and

even stand up to alterations. Within onemonth however, both the sleeve and thebodice had been pulled to such an extent thatthey needed to be replaced. Although therewas adequate material to recut and reset theleft sleeve, there was not enough to replacethe damaged side and back panels of thebodice.

Creating the four costumes used inthis installation presented no real problem asthe author had worked as a design assistantand cutter for theatrical companies such asthe Canadian Opera and the National Ballet.The fact that each costume had to

accommodate every size and shape didhowever add a new dimension to costume /8 \: ,reproduction. How does one provide garments / 67 \

for one male and one female child from age /2 to 14, one adult male, size 32 to 46 as well as a single fitted bodice and bustled skirt forl 01 1,La0 *rL'women ranging from size 6 to 18? SorrBY TROUSER BARS

While expandable seams attached by *Y.A ,horizontally placed strips of velcro proved -El /adequate for expansion in the garments worn

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To prevent any further deteriorationall four strips of velcro, were removedcarefully trimming any pulled or tangledstrands of fabric, all damaged side, and backpanels were overlayed with individually cutand fitted panels of peach coloured crepeline.As the repairs had to be completed within afew hours, picking apart and recovering eachpanel was out of the question, so turning inthe seam allowances and securing theminvisibly yet strongly by hand appeared to bethe only practical solution.

To enable the technician to fit the

skin and bodice to a variety of female shapeswithout the aid of velcro, the overlappingcentral back panels were secured withconventional trouser hooks and bars. While

an exact fit was no longer possible in allcases, this method of closure allowed enoughflexibility and above all sufficient strength toensure the costume survived until the end of

the exhibit in January 1995.

Evelyn Payton TaylerCostume Historian and

Reproduction CostumeBeaconsfield, Qu6bec

D UST COVERS

In preparation for the D-Day openhouse at Vimy House our warehouse storagearea, al 1 hands were required to clean thevehicles parked there. Because this is alarge, open area where vehicles are driven inand out and which itself is often open to theoutside, there is a large amount of particulatematter deposited on the parked vehicles.Three of these vehicles have been restored

and have highly finished surfaces which were

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at risk during the process of removing thisgritty dust. In an effort to prevent thenecessity of doing this work again a requestwas given to the Textile Lab to make up dustcovers for these three vehicles.

All f these vehicles are rather large.One is a large staff car, another a fire truckand the third is a halftrack truck. In order to

obtain some measurements by which to--

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custom fit the covers we placed poles ateither end of the vehicle and stretched a

string across the vehicle at the highest point.We then proceeded to take a series ofmeasurements down from this string to plotthe outline of the vehicle. These

measurements were recorded and roughlygraphed. Additional measurements of lengthand width were taken. We deliberately keptthe silhouette simple to allow for ease ofplacement and removal.

Tyvek, a non-woven, bondedpolyethylene, was chosen because it isdurable, lightweight and available in a 150

Fall 1994

cm. (60 ") width. It made cutting the largepieces easier because there was no concernfor bias or fraying. The simple shapes alsotook into consideration the lack of ease in

this material. Large pieces of Tyvek werelaid out on the floor to the maximum lengthrequired and the appropriate measurementsmarked and cut.

All of the pieces were sewn with afive thread serger to provide maximumstrength along the seam line as these coverswill be pulled on and off by one or twopeople. All seams were kept to the outside toprovide a smooth surface next to the vehicleitself. It was initially requested that weelasticize the bottom to help keep dust outbut it was felt that elastic would make it

difficult to pull the cover off without

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snagging on protuberances. The addition of adust ruffle seemed a logical extension andworked very well. One could also extend theside panels although this would not be asvisually pleasing as a ruffle or box pleats!We initially made these covers in a singlepiece but this proved difficult to managegiven the size of the vehicles and the factthat they were often being dealt with by oneperson. To improve on this we made theminto sections which were attached to each

other with velcro. We were able to make one

cover a day easily with this straightfonvardmethod. The addition of rosets are optional.(Tyvek is available from University Products)

Leslie K Redman and Helen HoltTextile Conservators, Canadian War MuseumOttawa, Ontario

Fall 1994

FIBER IDENTIFICATION

INTRODUCTION

FIBER IDENTIFICATION -findingout the raw materials that make up a textile-isone step in a process that can lead todetermining the provenance, age, etc. of aninteresting textile of unknown date or origin.It is also basic information essential toassessing a fabric's condition, identifyingpossible causes of its deterioration, anddeveloping treatments. Fiber type may beidentified by simple procedures, such as burntests or those, such as electron microscopy,that require specialized equipment andtraining. (Note that in this article, the term"fiber" will be used, without making thetechnical distinction between "filament" and"fiber".) The more specialized the test, themore information it can provide. A bum testis an easy way to distinguish silk from flax.However, a microscopist using a polarizedlight microscope can confirm that it is silkand tell if it is from a cultivated or wildsilkworm.

Every study of a textile should beginwith a visual examination. The observationsyou make about a fabric are influenced byyour training and background experiences.Whether or not you realize it, you haveaccumulated information about fibers: youdetect a sheen characteristic of silk or a colorparticular to unbleached flax, noting at thesame time surface texture, weave structure,drape, and other qualities that may suggesthistory and use. In many instances, certainfibers are closely associated with a textilefabrication technique or place of origin; forinstance, all white European laces of the 16th

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and 17th centuries are made with linenthreads.

Certain fiber processing techniquesaffect surface appearance and may also helpto indicate fiber type; for example, a worstedwool yarn is spun from only combed longstaple fibers that produce a smooth yarn withshiny qualities. A fabric woven from thisyarn and possessing similar qualities wouldbe different from one woven from ordinary"woolen" yarn which lacks sheen and mayhave a soft fuzzy texture. A fabric wovenfrom a specialty hair fiber, such as alpaca orcashmere, differs from one made of sheep;swool because the surface structure of thesehairs is different from the hair fibers ofsheep. Although animal hair fibers aresimilar, they can be distinguished under amicroscope because of differences in surfacecharacteristics and the appearances of theircells in a transverse section.

FIBER IDENTIFICATION TESTS

After the initial visual examination ofa textile, physical, chemical. and microscopictechniques are used to identify fibers. Whena fiber is difficult to identify, a combinationof techniques may be used. Fibers arecategorized according to their origin, whetherthey are natural or from a synthetic source.Natural fibers are then further divided intothree types: (1) animal (protein) (2) vegetable(cellose) (3) mineral. All fibers whethernatural or synthetic can be identified usingthe following tests; however, a high level ofpractice and experience is required todistinguish among the synthetic fibersbecause they lack easily recognizable featuressuch as scales or nodes.

Fall 1994

THE PROBLEM

Assume that your fabric is creamcolored (meaning undyed), with a slightlyfuzzy surface appearance, due to its fiber typeor perhaps as a result of surface abrasion. Itsstructure is a plain weave with nodistinguishing features. Fiber identificationmight suggest its country of origin, date ofmanufacture, or it may not provide anysignificant information. If, for example, thefiber is identified as alpaca you could focusyour research on the geographical regionswhere this animal is used in textile

production.

If, on thf other hand, the sample isidentified as cotton and the cotton is further

recognized as mercerized, we would haveacquired valuable information, for in 1850John Mercer, having developed a procedureto increase the luster and strength of cotton,obtained a patent for this process known asmercerization. Since patented processes andproducts are not always available when thepatent is granted, follow-up research isneeded to determine when mercerized threads

became available in the marketplace in orderto further narrow the time period of thetextile's production.

Similarly, if the sample is determinedto be merino wool, a fiber common to manycultures and geographical regions, fiberidentification is step one in a research processthat will need other information to discover

the history of the fabric. If no other tests arewarranted and there is no other

accompanying information, fiber analysis willnot help you determine the textile's origin.

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SIMPLE FIELD TESTS

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A burn test is a simple procedureneeding no specialized equipment. It willgive a rough identification of fibers,distinguishing between animal and vegetalfibers but not among variants within the sameclass of fiber. The test is performed with avery small sample (approximately 1 cm. long)of the fiber held with tweezers. The reaction

of the fiber to a flame source, usually amatch is observed. Protein fibers release a

characteristic odor similar to burning hair,they extinguish when the flame source isremoved, and a small crushable black beadremains on the tip of the fiber. Cellulosefibers burn readily and will continue to burnafter the flame has been removed leavingfeathery ash. This test can also help toidentify man-made and synthetic fibers buttheir behavioral characteristics are more

subtle, and some experience is necessary todistinguish these fibers with confidence.

If the burn test identified a sample asa vegetable fiber, the Drying Twist Test canrefine the identification. Some bast fibers

have a naturally occurring characteristic twistwhich can be observed as they dry from awetted state. Flax and ramie will display anS-twist and jute and hemp will show a Z-direction rotation.

These tests need no special equipmentand can be performed in the field. They arevery helpful to at least broadly identifr fibersin a textile. In order to refine anyidentification to include the exact origin ofthe fiber, further analyses requiremicroscopes, chemicals, and a laboratory.

Fall 1994

MICROSCOPIC TECHNIQUES

Optical microscopic examinations usecompound microscopes with transmitted lightsources. Tiny fiber samples placed on a slideand examined under high magnification,typically between 100 and 1000 times, canhelp identify specimens based on knowncharacteristics, such as the presence of scales,nodes, or convolutions. More sophisticatedmicroscopes use a polarized light vibratedparallel or perpendicular to the axis of thefiber and may make some fibers recognizablebecause of the way they react to this lightsource. Physical characteristics are noted andany relevant measurements are taken

including fiber diameter. In wool andspecialty animal hair fibers such as cashmere,angora, and alpaca important characteristicsto note include the size and density of scalesas well as their arrangement. Other fibershave equally significant identifiable featuressuch as the contorted twist in cotton and the

smooth surface of silk. For increased

certainty and more specific identification, across section of the fiber may be necessary.Related categories of fibers often look verysimilar ina longitudinal view but aredistinguishable in cross section because of theunique properties of the transversely exposedcells.

As tests increase in technical

sophistication, increased expertise is neededto perform them. Microscopists use othertechniques to assist them in difficult fiberidentification. For example, stains applied toa sample may highlight physical propertiesbut expertise is required to select anappropriate stain.

A scanning electron microscope(SEM) has a magnification between 5 and

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30,000 times the sample size. Surfacecharacteristics achieve a three-dimensional

quality under the high magnification, which ·is particularly helpful when working withvery deteriorated fiber samples. Obtainingaccess to this equipment can be difficult,however, a local university may be willing toprovide assistance and will "sell time" andprovide a technician to do the analysis.Private businesses, such as medical researchand development firms that own SEMequipment, may be willing to provide theirservices to local researchers and museums inthe community.

CHEMICAL TESTS

Solubility testing is another methodthat will aid in the identification of fibers.

For this procedure, fiber samples are placedin several different solvents and will dissolve

or disintegrate, depending on the chemicalsolution they are immersed in.

It is important to know that other testssuch as staining, specific gravitymeasurements, melting point determinations,

and moisture regain analyses can helpconfirm an identification. These tests are used

infrequently when dealing with historic,archeological, and ethnographic textiles asthey usually require a large sample size andtherefore are not covered in this article.

Among commercial sources for fiberidentification, the best known is McCroneResearch Institute, 2820 S. Michigan Avenue,Chicago< IL 60616, tel. (312) 842-7100. Itperforms a wide range of analytical testsuseful to textile researchers, supplies probeswhich are useful for structural analyses, andregularly holds training courses on fibermicroscopy.

Fall 1994

Another resource is Martin N.

Youngberg Enterprise, Textile Research andAnalysis, Lincoln Park, NJ, tel. (201) 694-2958. Mr. Youngberg is a microscopist who

has worked extensively with textilehistorians.

Many museums and universities havemicroscopes to perform basic microscopicidentification. Interested professors and manygraduates students are sometimes willing toaccommodate requests for assistance withfiber identification from outside researchers.

To familiarize yourself with the

specific methodology for fiber identificationand its application in the study of textilehistory, read the following articles:

The A pplication of Microscopy to7>r##f Hfyfo,y, M.L. Ryder and Thea Gabra-Sanders, Tertile Histo,y, 16 (2), pages 123-40,1985.

Fiber Identijication in EthnologicalTcrrile A mhm, E. Schaffer, Saunes inConservation, 26 (1981), 119-129

Fiber Ident(/ica tion in Practice, M.Goodway, Journal of the American Institutefor Conservation, Spring 1987, Volume 26,Number 1, pages 27-44

Fibers in Textiles Iden#/ication, inAA TCC Technical Manual, AmericanAssociation of Textiles Chemists and

Colorist, Test Method 20-1977, pages 57-62.The Ident(fication of Specialty

Fibers,K. D. Langley and T.A. Kennedy, Jr.,Textile Research D:stimte, November 1981,pages 703-709.

Stan,Inrd Methodsfor Identlfication ofFibers in Tatiks, American Society forTesting Materials, ANSI ASTM D276-77,page 58.

The inclusion of resources in this

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article should not be considered an

endorsement by either the Textile Society ofAmerica or the author. This article was

reprinted with kind permission from TSANewsletter Volume 6 No. 15, winter 1994Jane Merritt

Textile Conservator at the National Park

Service's Harpers Ferry Center, and T.S.A.Technical Advisor

THE FANCY WORK OF

GODEY'S LADY'S BOOK, 1840-1859 - FINDERS' AIDS NOW

AVAILABLE ON MICROFICHE

Parks Canada has recently published,as part of the Microfiche Report Series,finders aids for needlework patterns,instructions and needlework and fashion-

related articles found in Godev's Lady's Bookfrom 1840 to 1859.

GODEY'S LADY'S BOOK

Godev's Ladv's Book was a popularladies' literary magazine that was publishedcontinuously from 1830 to 1898. As withother ladies' literary magazines, its purposewas to cultivate and inform the minds of its

fair readers by providing literature in theforms of poetry and serialized prose andarticles of diverse interest. Many of thesefeature articles were related to clothing orconsumer goods. However, they also included

subjects such as " A Day at the Ship-yard"and " A Day at the Arsenal" to provideconversational topics in which to engage

husbands or male acquaintances. There werealso biographies of writers and personalities,music, engravings and testimonials from

Fall 1994

happy subscribers and readers. The editorsfrequently announced that considerable careand expense was taken to acquire the bestquality engravings to publish in The LAdv'sBook.

Practical household information and

fashion news were also presented to assist thewife and mother in executing her expectedduties of the home. As part of this practicalaspect of Godey's in its various forms, the"Work Table" held a prominent position formost of The Lady's Book's publishing lifeand included patterns, instructions andillustrations of the finished items.

Needlework was considered a mandatory skillfor a woman to cultivate and master if she

was going to be a responsible wife andmother. According to the editors, it wasnecessary to outfit the family as fashionablyand as inexpensively as possible at the sametime. It was incumbent on a wife not to

squander her husband's limited income butstill take care of her family's needs. They

Number 27

1

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provided mail order services for patterns andother things to their readers.

Godev's was a publication with a verylarge readership and was available in Canadaas early as 1844. In the_1850's there aremany references to Canadi-subscribers inthe editorial and correspondence columns.

The editors considered it as a clearinghouse -for the latest -European fashions,presenting them proudly as "Americanized"versions, although, they often appearedverbatim. They drew on many sources, bothEuropean and American, choosing what theyfelt would be popular and appropriatefashions and features for the increasingmiddle class women of the United States. The

editors selected appropriate styles and itemsfrom fashion magazines such as La BelleAssemblee, Le Moniteur des Dames et desDemoiselles, Gentleman's Magazine ofFashion, and Ladv's MaRazine, andneedlework publications such as The

1

13 Fall 1994

Complete Guide to Needle-work andEmbroidery by Miss Lambert (1857) and TheLadies' Complete Guide to Crochet. FancvKnitting. and Needlework by Mrs. Ann S.Stephens (1854)

The styles given in Godey's were forthe average woman and her family: " Godey'sfashions are too well-known to require any

comment. They are of that plain and practicalstyle that grace the streets, and not of thosethat are merely realized in the

imagination."[from the Newburgh (Canada)Index. found in Godev's, November 1858,

p.470]

The British magazine that rivalled itspopularity in Canada, The Englishwoman'sDomestic Magazine, was published from1852 to 1879. It was considered, however,

more fashionable and was subscribed to bythe well-to-do.

STRUCTURE OF THE FINDER'S AIDS

The Finder's Aids are the by-productof the compilation of resource files of

needlework patterns and designs for wearingapparel and accessories available to ParksCanada's curators and contractors to use in

developing reproductions or interpretationprojects for animation programs.

All fancy work patterns for wearingapparel and household items that appeared inGodev's Ladv's Book from 1840 to 1859were excerpted and cross referenced. Items

on additional subjects such as fashion,household furnishings, health and architecturewere excerpted at the same time to make this

one-time search more comprehensive. Theywere also included in the Finder's Aids

although these topics were beyond the

Number 27 14

original scope of the project.

TCN

The Finder's Aids themselves are lists

of all the entries organized under differentheadings. There are two main categories ofFinder's Aids: those where the entries are

listed by subject, such as collars, footwear,and children's wear; and those where theentries are listed by technique, such as

braiding, knitting and embroidery. Everyentry is listed chronologically and includes

the title of the pattern and page number(s) itis found on, followed by the volume number,month and year of publication.

The Table of Contents provides aquick reference as to where to search foritems. For example, if a list of all the collarsfor 1857 is required, one would look under

Section EE-4 Collars-1855-59. In most cases,items will be listed under more than one

heading, usually on a subject list andtechnique list. A brief description in theIntroduction directs the reader to the

appropriate headings to consult.

There were often several pages thatpreceded the first numbered page of eachissue. 'Before p. _" indicates that in the text

consulted, the pattern which was found on anun-numbered page was located before thefirst numbered page of the issue. These pageshowever, may not be located in the same

place in other copies of individual issues andbound volumes.

Original spelling has been preserved.However, the notation [sic], has not beenused.

Very few patterns appeared without atitle. When there was not a title present, onewas arbitrarily assigned to the pattern and

Fall 1994

was entered in lower case m the document.

Periodically, brief editorial commentshave been added in parentheses after titles forclarification. However, sometimes the

parentheses are part of the original title. Nodifferentiation was made between those in the

original text and the added editorials.

Considerable care was taken to

include every pattern from each issue.However, pages or patterns may have beenmissing from the original texts consulted.Where it was obvious that pages weremissing, effort was made to consult either themicrofilm copy or a second original copy tofind the missing pages.

There are always limitations to thistype of document. The data were captured intwo large blocks of time which were nearlya year apart. Every effort was made to usethe same criteria for choosing what to captureand under which category to put it.

Personal biases are apparent in"XX.Feature Articles". This section grew toinclude articles of interest or of some

relevance to needlework, clothing or textiles,social activities, editorial comments, reviewsand announcements, biographies andinteresting illustrations and engravings.

The number of categories grew aswork progressed through the material. Initialexamination of the material to be excerpteddid not reveal all the categories required.Some categories may not have beennecessary and some categories could havebeen broken down into more than one. Once

the capturing of the data began, it was notpossible to go back and reorganize thecategories.

Number 27 15

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The contents in "UU. Fashion" andVV. Accessories" are not detailed because theoriginal purpose of the project was to lookfor patterns and instructions of clothing itemsand not simply the existence of an illustrationor short description.

Many copies of Godev's Ladv's Bookstill exist in libraries and museum collections

and the whole series, minus some plates andshort sections, is available on microfilm. It ishoped that these finders aids will helpresearchers, curators, interpreters,conservators and needleworkers alike in their

searches through 40 volumes, 240 issues ofthe 20 year period of this popular publication.

Copies of the microfiche The FancvWork of Godev's Ladv's Book. 1840-1859,Microfiche Renort Series #497, ParksCanada Department of Canadian Heritage,Ottawa, 1994, by Ruth K Mills, (363 pages),can be obtained through inter-library loanfrom your library. Limited quantities areavailable for a nominal fee from:

Barbara McintyreNational Historic Sites PublicationsParks Canada

Department of Canadian Heritage1600 Liverpool CourtOttawa OntarioCanada, KIA OM5

submitted by:

Ruth K. Mills

National Historic Sites DirectorateParks Canada

Department of Canadian Heritage2630 Sheffield Road

Ottawa, OntarioCanada, Kl A OM5

l\

Fall 1994

2N INVESTIGATION INTOTHE CURRENT USE AND

APPLICATION OF ADHESIVES IN

TEXTILE CONSERVATION

Many textile conservators in NorthAmerica and Europe are concerned about theuse of adhesives. They want to know whichadhesives to use and how best to apply themto achieve the foremost treatment results.

New scientific research has been

underway in the conservation adhesive fieldand new information has become available on

adhesives' stability and suitability, Forinstance, scientists Jane Down at theCanadian Conservation Institute and BorisBetzel at the Victoria and Albert Museum

have made their research findings availablethrough publications. As a result, we have amuch better indication of which adhesive can

or should be used for a given textile adhesivetreatment.

However, many textile conservatorsfeel that this knowledge is not sufficient toaddress the wide variety of situations inwhich an adhesive treatment is required.Despite the increase of scientific informationthe choice of adhesive remains narrowprimarily because our knowledge regardingthe application of adhesives is limited,Unfortunately, it is not as easy for textileconservators to learn different methods for

applying adhesives.

There are many textile conservatorswho are familiar with one adhesive and itsapplication method, but feel rather insecurewhen confronted with a different adhesive.Variations in application methods are vast,

Number 27 16

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but very important in relation to the conditionof the object being treated. An increasedknowledge of application methods inapplication knowledge would result in moretreatment choices to answer ever changingrequirement.

But how can one learn about new

application methods? To this end the UKICTextile Section Adhesive Group devised theirfirst questionnaire " An Investigation into theCurrent Use and Application of Adhesives inTextile Conservation". The results of this

questionnaire should help us identifyapplication methods and conservators who arewilling to share their knowledge with others.

We ask you to get involved with thisproject, either by requesting a questionnairefor colleagues who may not be on the TextileConservation Newsletter's mailing list, butmost importantly by answering it. We willmake sure that the information gathered willbe available to all concerned. For

questionnaires or further information, pleasecontact either Lynda Hillyer or ElaKeyserlingk.

Please mail the enclosed completedquestionnaire in North America to:Ela KeyserlingkTextile Section

Canadian Conservation Institute

1030 Innes Road

Ottawa Ontario

Kl A OM5, Canadaand in Europe to:Lynda HillyerTextile Conservation

Victoria and Albert Museum

South KensingtonLondon SW7 2RL

United Kingdom.

Fall 1994

D YEING SAFELY

DyeingFabric can be dyed in several ways:

whole cloth dyeing, tie dyeing, resig--

techniques (e.g., batik), painting dyes onfabric, marbleizing, and silk screening, toname a few. In addition some of these

techniques are used to. dye yarn and -fibers.The type of dye used depends primarily onthe type of fiber. Dye classes used includenatural dyes, mordant dyes, fibre-reactivedyes, direct dyes, acid dyes, basic dyes, vatdyes, and azoic dyes. With many of thesedyes, dyeing assistants and other chemicalsare necessary. Our data sheet on this topiCwill include a table of known. hazardous dyesby their Color Index number.

General Hazards

1. Most dyes have not been adequatelystudied with respect to their long-termhazards, especially cancer risk. The majorrisk is inhalation of dye powders.

General Precautions

1. Buy dyes in liquid or paste form wheneverpossible to eliminate inhalation risks.2. Mix dye powders inside a glove box (seefigure), inside an enclosed hood, or wear aNIOSH-approved toxic dust respirator.3. Wear gloves when handling dye solutions.4. If the dyebath is heated near boiling,install a canopy hood over the dyebath.5. Clean up powdered dye spills by wetmopping.

Acid DyesAcid dyes are used for wool, silk, and

sometimes nylon. Sulfuric acid, vinegar, ordiluted glacial ·acetic acid, and sometimes

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common salt or Glauber's salt (sodiumsulfate) are used as dyeing assistants. The

temperature of the dye bath can be simmering(140 F of 60 C), or at a boil. Acid dyeing isalso done at 90-100 F (32-38 C).

Figure 1 Glove Box

Hazards

1. In general, the long-term hazards of manyof these dyes are unknown. Many acid dyeswere food dyes,- many ·of which have beenshown to cause liver cancer in animal studies.2. Glacial acetic acid and concentrated

sulfuric acid are highly corrosive by skincontact, inhalation, or ingestion. Vinegar anddilute sulfuric acid are only slightly irritating

by skin contact; repeated and long-terminhalation of the acetic acid and sulfuric acid

vapors may cause chronic bronchitis.Splashing hot or boiling dye bath containingacid into the eyes could be highly hazardous.

d

Flture 1 Glo BOX

3. Glauber's salt (sodium sulfate) is onlyslightly toxic by ingestion, causing diarihea

Fall 1994

Precautions

1. Use vinegar as a dyeing assistant ratherthan diluting glacial acetic acid or usingsulfuric acid. .

2. If you dilute concentrated acids, always

add the acid to the water. Wear gloves,goggles, and protective apron. An eyewashfountain and emergency shower should beavailable.

3. Wear goggles when dyeing at hightemperatures to avoid splashing hot liquid inyour eyes.

4. Boiling dye baths should be exhaustedwith a canopy hood, since the steam can

carry dye with it into the air.

Azoic DyesAzoic dyes, or naphthol dyes as they

are also called, are used to dye cotton, linen,rayon, silk and polyester. They consist of twocomponents - "fast salts" and "fast bases" -

which must react together on the fabric toform the dye. Dyeing assistants used withthese dyes are Iye and Monopol oil

(sulfonated castor oil).

Hazards

1. Azoic dyes are very reactive, and maycause severe skin irritation (dermatitis,

hyperpigmentation). Long-term effects ofthese dyes have not been well studied.2. Lye (sodium hydroxide) is highly corrosiveby skin and eye contact and ingestion.3. Sulfonated castor oil is moderately toxicby ingestion.

ptecautions

1. If possible, avoid azoic dyes. Most othertypes of dyes are less hazardous.

Basic Dyes

Basic dyes, also called cationic dyes,are used to dye wool, silk and cellulosics that

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have been mordanted with tannic acid. Theyare also sometimes found in all-purposehousehold dyes. Most florescent dyes arebasic dyes.

Hazards

1. Some basic dyes are known to cause skinallergies. Whether they cause respiratoryallergies if inhaled is not known.

Precautions

1. See General Precautions.

Dinct DyesDirect dyes are used for dyeing

cotton, linen, or viscose rayon. They useordinary table salt (sodium chloride) as adyeing assistant, and require heat during thedyeing process. Direct dyes are azo dyes. Inthe past, a large number of direct dyes,particularly in the dark shades, were madefrom benzidine. Dyes based on benzidinederivatives (3,3' - dimethoxybenzidine, and3,3' - dimenthylbenzidine) may still beavailable. Direct dyes are the commonest

dyes used by craftspeople, and are present inall household dye products.

Hazards

1. Benzidine and benzidine-derivative

direct dyes are extremely or highly toxic byinhalation and ingestion, and possibly throughskin absorption. Bladder cancer may be

caused by the breakdown of these dyes byintestinal bacteria and also by the liver toform free benzidine, one of the most

powerful carcinogens known in humans. Itwas been shown that workers using thesedyes have free benzidine in their urine.Another source of concern with importedbenzidine dyes is that they had often been

found to be contaminated by free benzidine.

Fall 1994

See CSA's more detailed data sheet on DyeHazards for tables of known hazardous dyesgiven by their Color Index names and/ornumbers.

Precautions

1. Do not use direct dyes based on benzidineor benzidine derivatives, if known.

Disperse dyes

Disperse dyes are used to dyepolyester, nylon and acetates. They are oftenapplied at high temperatures.

Hazards

1. Many disperse dyes are well known tocause skin allergies, even from skin contactwith the dyed fabric.

Precaution

1. See General Precautions

Fiber-Reactive DyesFiber-reactive dyes, or cold water

dyes, are dyes that work by reactingchemically with the fiber, usually cotton orlinen. These dyes use sal soda or washingsoda (sodium carbonate) for deactivating thebath after dyeing. Other chemicals often usedare water softeners, urea, and sodium alginate(as thickeners ).

Hazards

1. Fiber-reactive dyes can react with lungtissue and other mucous membranes toproduce very severe respiratory allergies.Symptoms include tightness in the chest,asthma, swollen eyes, "hay fever", andpossible skin reaction. These dyes are verylight, fine powders, and are easily inhaled.There have been many cases of craftspeopleworking with these dyes for several yearswithout problems, and then suddenly

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developing a severe allergy.2. Sodium carbonate is moderately corrosiveby skin contact and highly corrosive byinhalation or ingestion.

Precautions

1. Purchase liquid, fiber-reactive dyes insteadof powdered dyes.

2. If possible, mix up a full package of thedye at a time rather than storing partly filledpackages. Use a glove box or NIOSH-approved toxic dust respirator.3. Wear gloves and goggles when handlingsodium carbonate solutions.

French DyesSo-called French dyes are solvent-

based, brilliant dyes often used for paintingon silk. These are mostly based on ethylalcohol, but Material Safety Data Sheetsshould be obtained to ensure this.

Hazards

1. The solvents used are flammable. Ethylalcohol is a mild respiratory irritant, and isonly slightly toxic. Methyl alcohol ismoderately toxic and is absorbed through theskin. It can affect the nervous system.

Precautions

1. Use only dyes containing ethyl alcohol.Dilute the dyes with water, isopropyl alcoholor denatured alcohol, not methyl alcohol.2. Use with good dilution ventilation (e.g.window exhaust fan at work level).3. Do not allow open flames, lit cigarettes orother sources of ignition around the solvents.

Household Dyes

All purpose household dyes, alsocalled Union dyes, are mixtures of severaldye classes with salt, so that they will dyealmost any type of fiber. The dye class that is

Fail 1994

not suited to a fiber will be left in the

dyebath.

Hazards

1. The hazards of household dyes will dependon the classes of dyes present. Usually thisincludes an acid dye and basic dye. Fiber-reactive dyes are also sometimes present.

Precautions

1. See General Precautions

Mordant Dyes

Mordant dyes are synthetic dyeswhich, like some natural dyes, use mordant tofix the dye to the fabric. They are commonlyused to dye wool and leather, and sometimescotton. You can use the same mordants used

with natural dyes. See Natural Dyes.

Natural Dyes

Natural dyes are mordant dyesprepared from plants, insects, algae, and anyother likely material. Most of these naturaldyes are prepared by soaking plant, bark, orother material in water, or simmering for 1 -2hours. In some cases, for example, indigo,these dyes are also available synthetically.

Natural dyes are used to dye cottonand silk fibers and fabrics, and usually

require the use of mordants to fix the dye tothe fiber. Mordanting is usually done bysimmering the fibers or other material in amordant bath for 30-45 minutes. After

mordanting, the material is dyed.Common mordants used are alum

(potassium aluminum sulfate), ammonia, bluevitriol (copper sulfate), copperas or greenvitriol (ferrous sulfate), cream of tartar(potassium acid tartrate), chrome (potassium

dichromate), oxalic acid, tannin (tannic acid),tin (stannous chloride), and urea„

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Hazards

1. The hazards of natural and syntheticmordant dyes are mostly unknown,particularly with respect to their carcinogeniceffects. Usually there is no hazard due toinhalation, and the only problem is possibleskin contact and absorption. Some plantmaterials, however, can release irritating

vapors (e. g. eucalyptus)2. Chrome (ammonium or potassiumdichromate) is highly toxic. It is a probablehuman carcinogen, and can cause skinulceration and allergic reactions.3. Oxalic acid is highly toxic. It is corrosive,and can cause acid bums, ulcers, andgangrene in extreme cases. it is hazardous byskin contact, inhalation, and ingestion.4. Ammonium hydroxide is moderately tohighly toxic. It is a skin, eye and respiratoryirritant. Mixing it with chlorine bleachproduces a poison gas.5. Copper sulfate (blue vitriol) is moderatelyto highly toxic. It may cause skin, eye andrespiratory irritation and allergies andpossible ulceration. Acute ingestion usuallycauses vomiting; if vomiting does not occurmore serious poisoning can occur.6, Alum (potassium aluminum sulfate,ammonium alum), cream of tartar (potassiumacid tartate), stannous chloride (tin chloride),tannic acid (tannin) and ferrous sulfate(copperas) are slightly toxic and may causeskin irritation or allergies in a few people.Ferrous sulfate can cause iron poisoning inchildren. Urea has no significant hazards.7. The hazards of using indigo are discussedunder vat dyes.

Precautions

1. Wear rubber gloves when mordanting,preparing dye baths, and dyeing.2. Whenever possible, prepare your own dyebath by soaking wood, plant, and other

Fall 1994

natural dye sources rather than buyingprepared dye powders. If you do use dyepowders, use a glove box or wear a NIOSH-approved toxic dust respirator.3. A safer, cold mordanting procedure can bedone as follows: 1) dissolve the mordant in asmall amount of warm water; 2) pour thedissolved mordant and cold water into acontainer with a tight lid or seal; 3) submergethe scoured fiber or other material, and securethe lid; 4) let sit for at least 12 hours; 5)remove the fiber and rinse thoroughly, and 6)dye the mordanted material or let dry.

Vat Dyes

Vat dyes, including the natural vatdye indigo, are dyes which are insoluble intheir coloured form. They must be reduced toa colourless, soluble leuco form with Iye orcaustic soda (sodium hydroxide) or sodiumhydrosulfite before they can be used fordyeing. Vat dyes are commonly purchased intheir colorless reduced form. The color isproduced after dyeing by air oxidation or bytreatment with chromic acid (potassiumdichromate and sulfuric acid). Vat dyes areused to dye silk, cotton, linen, and viscoserayon.

Hazards

1. Vat dyes in their prereduced form aremoderately irritating by skin contact,inhalation, and ingestion. Vat dyes may causeallergies

2. Sodium hydroxide is highly corrosive byskin contact and ingestion.3. Sodium hydrosulfite is moderatelyirritating by inhalation and ingestion. Itspowder is very easily inhaled. When heatedor allowed to stand in basic solution, sodiumhydrosulfite decomposes to form highly toxicsulfur dioxide gas.4. Chromic acid is highly corrosive by skin

Number 27 21

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contact or Ingestion, as are its separatecomponents, sulfuric acid and potassiumdichromate. It is a known human carcinogen,and can cause skin ulceration and allergicreactions.

Precautions

1. Wear gloves and a NIOSH-approved toxicdust respirator when handling prereduced orpre-solubilized vat dye powders or sodiumhydrosulfite. When possible, mix in a glovebox.

2. Wear gloves and goggles when handlingIye.

3. Do not store solutions containing sodiumhydrosulfite4. Do not oxidize vat dyes to their coloredform with chromic acid. Instead use heat andair.

Special Dyeing TechniquesSome dyeing techniques have

particular hazards due to the nature of thetechnique. This includes tie dyeing, batik, anddischarge dyeing.

Batik

Bank involves applying molten wax tothe fabric to form a resist pattern, dyeing theresisted fabric, and then removing the waxresist by ironing the fabric between layers ofnewspaper, or by the use of solvents.

Hazards

1. Melting wax for batik can be a fire hazardif the wax is allowed to spill, or if it isoverheated so that wax fumes form.Overheating can also produce decompositionof the wax to acrolein and other strongirritants.

2. Ironing out the wax often releases highlyirritating wax decomposition products.3. Carbon tetrachloride and gasoline have

Fall 1994

been used to remove residual wax from the

fabric. Carbon tetrachloride is extremelytoxic. It can cause cumulative and even fatalliver damage in small amount by skinabsorption or inhalation, and is also aprobable human carcinogen. Gasoline ishazardous due to the presence of benzene, aknown human carcinogen.

Precautions

1. See precautions in Dyeing section.2. Do not melt wax with an open flame oruse a hot plate with exposed element. Insteaduse an electric frying pan which can betemperature controlled, or melt the wax in adouble boiler to avoid overheating andpossible fire. Heat to the lowest temperaturewhich will make the wax liquid.3. Use an exhaust fan to remove fumes

produced by ironing out the wax. Usingseveral layers of newspaper may reduce theamount of fumes produced. Set the iron at thelowest setting feasible.4. Do not use carbon tetrachloride or gasolineto remove residual wax. Use mineral spirits,or send the piece to be dry cleaned afterboiling in water.

Tie DyeingTie dyeing involves the pouring of

concentrated dye solutions over the tiedfabric.

Hazards

1. The pouring of concentrated dye solutionsover fabric, as done in tie dyeing, mayinvolve a greater risk from skin or eyecontact if the dye is splashed.

Precautions

1. See precautions in Dyeing section.2. Wear gloves and goggles when tie dyeing.

Number 27 22

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Discharge DyeingDischarge dyeing uses chlorine bleach

or other chemicals to remove color from

fabric.

Hazards

1. Household bleaches contain sodium

hypochlorite, which is moderately toxic byskin contact, inhalation, and ingestion. Theuse of bleach to remove dye from the handscan cause dermatitis. Inhalation of chlorine

gas from bleach decomposition can causesevere lung irritation. Heating or addition ofacid releases large amounts of highly toxicchlorine gas; addition of ammonia causesformation of a highly poisonous gas.

Precautions

1. Do not use bleach to remove dye fromyour hands. Instead wear gloves or a barriercream to protect your skin.2. Have dilution ventilation when usingbleach.

3. Do not heat bleach solutions, or add acidor ammonia to bleach.

References

Docker A., Wattie, JM., and ToppingM.D.(1987). Clinical and immunologicalinvestigations of respiratory disease inworkers using reactive dyes. Brl Ind Med.44(8), 534-541.Jenkins, C.L. (1978). Textile dyes arepotential hazards. J. Environ. Health 40(5),279-284.

National Institue for Occupational Safety andHealth. (1983). Preventing Health Hazardsfrom Exposure to Bewdine-Congener Dyes.DHHS (NIOSm Publication No. 83-105.NIOSH, Cincinnati.

This article was reprinted with permissionfrom Art Hazards News Vol. 16, No.5, Center

Fall 1994

for Safety in the Arts, 5 Beekman Street,Suite 820, New York, NY 10038. Telephone(212) 227-6220 (voice); (212) 385-2034(BBS). The Center for Safety in the Arts inpartially supported with public funds from theNational Endowment for the Arts, the New¥0*State Council on the Art, the New YorkCity Department of cultural affairs, and theNew York State Department of Labor.(c) copyright Center for Safety in the Arts

- I1993.

PrehistoricTextiles

E.J.W. BasberThis pioneering work revises our notions of the

orins and earty development of textiles in Europe andthe Near East Using innovative linguistic techniques.along with methods hom palaeobiology and otherfipdrk, it shows that spinning ard pattern weavingbegan Ear earlier than has been supposed.

*This monumental study embraces linguistic andarchaeological investigations. practical knowledge ofweaving palaeobiology, and other arcane sciences totruce the development of clotr-Widington Post n-+ World

*ParkA full of useful and intriguing information...also remarikably wd written. mis njunctwn ofvirtues advances archaeological understanding ofF..AM.and their social and cultural implications agiantstep. ...In addition to its historical insightn. Preizator*To*les has the further virtue of joining solid aidaeo-logical and linguistic understaading with a practicalbowledge of the art of wem,ing. Few archaeologistsard historians possess this combinati04 which tsessential if we are to understand both the textiles andthe weavers who produced them The authority of thistext comes from the hand as well as the hm:wd The resultof this happy union is a distinguished work that edu-cates the reader and exalts the arlient weavers, apmiseworthy accomplishment.'-Trudy S. Knzmi. Sciencr

-Thestory [Baiberl spins andweaves hom . . .vanous Sklls m„kpt an exhulamting book As the firstcomprehensive account of one of humanity's oldestindustbiesjiwill beah=*irtool forarchaeologists andstudentz, of every level--Hdm Hughes Brock Ant*dly

ILL.W. Barber is Professor of Linguistics and Archaeol-ogy at Occidental College and is a handweaver. Prchis-foric Textiles won the Millia Davenport PublicationAward of the Costume Society of America.

1993.504 pages. 4 color plites 217 bwillut 4 crupi 71, . 10.Pap/,bad 0491-00224-X Lim:$29.95 Saler $13.95

aoth: 0691435974 · List *75,00 Sak $6000

Number 27 23

TCN

Neiu iii paperback

from Princeton at 20% off(offerexpires December 31,1993)

send orders to:

Princeton University Pressc/o California/Princeton Fulfillment Services, Inc..

1445 Lower Ferry RoadEwing, New Jersey 08618

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paperback copies of Prehistoric Textilesby E.J.W. Barber (ISBN 0-691-00224-X) @ $23.95(List price $29.95)

cloth copies of Prehistoric Textilesby E.J.W. Barber (ISBN 0-691-0359741)@$60.00(List price $75.00)

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Fall 1994

ASTER'S THESES RELATED

TO MUSEUMS AND MATERIALCULTURE AT THE UNIVERSITYOF ALBERTA

Schweger, Barbara F. (1983) Documenes[on andAnaly,ls of the Clothing Worm by non-Native Menin the Canadian Arctic Prior to 1920, WithEmphasis on Footwear. Advisors: Nelma Fetterman& Anne Lambert

Andrews C. Janine (1984) Visitor response to FourCostume Display Forms in a Museum Exhibit.Advisors: Netma Fetterman & Anne Lambert.

Hudson-Rockliff, Doreen (1984). Fire RetardantFinishes for Fiber Art: A conservation PerspectiveAdvisor: Nancy Kerr.

Jennings, Teena (1985). The Deacidincation ofCellulosic Textiles.Advisor: Nancy Kerr.

Kerkoven, Marijke Benschop (1986). Analysts ofTextile Crafts at Selected Agricultural Faln InAlberta and Saskatchewan 1879.1915. Advisor:

Anne Lambert

Smith, Danne R. (1987). Dressmaking Occupations[n Edmonton, 1900-1930. Advisor Anne Lambert

Dahl, Becky G. (1988). Grade 3 Students' Cognitiveand Affective Responses to Wearing ReproductionCostumes in the Edmonton 1881 Schoolhouse.

Advisor: Anne Lambert.

Maren*. Michael (1988). The Development andEvaluation of Costume Reproduction PatternBlocks for an 1880's Woman'§ Dress Advisor: Anne

Lambert.

Prince, Heather D. (1988). Norwegian Clothing andTextiles in Valhalla Centre, Alberta: A Case Studyand Inventory in an Ecomuseum FrameworkAdvisor: Anne Lambert.

Wells, Karen L. (1988). Children's Cognitive andAffective Response m Costume Reproductions

Number 27 24

TCN

Worn by a Female Interpreter at the VictoriaSettlement, An Alberta Provincial Historic Site.Advisor: Anne Lambert

Hammick, Sharon J. (1989). Effect of DichlonosRealn Strips on Wool Fibers. Advisor Nancy Kerr.

Metht, Ester (1989). Effect of Alkaline DeacidifyingAgents on Aged Cotton Fabric. Advisor: Nancy Kerr

Muc, Leslie G. (1989) Appiled decorative Design onHandwoven Cloth Inspired by the Textiles ofSumatra, Indonesia Advisor: Marlene Cox-Bishop.

Singh, Sarbjit K. (1989). Indian Textile Motifs andTechniques from Gulan: and their Adaptations forContemporary Design on Fabrics. Advisor MarleneCox-Bishop

Roy, Catherine (1990). The Talloring Trade, 1800-1920; including An Analysts of Pattern DraningSystems and an Enamination of the Trade inCanada. Advisor: Anne Lambert.

Smith. Janice I. (1991) Content Analysis ofChildren's Clothing in Eaton's Catalogue andSelected Canadian Museums 1890-1920. Advisor:Anne Lambert.

Taylor, Loretta (1990). Fabric in Women'i Costumesfrom 1860 to 1880: A Comparison of FashionPeriodicals and Selected Canadian Museum

Collections. Advisor: Anne Lambert.

Hatvorson, Bonnie (1991). Effect of Light onSelected Properties of Pariene C Coated SilkFabrics. Advisor: Jill Oakes

McKinnon, Aileen M.(1991). Metts Women'sClothing In the Red River Settlement 1820-1840Advisor: Jill Oakes

Prince, Nicholette L. (1992). Changes in Dress 1830-1850: A Comparison of Carrier at Fort St. Jamesand Coait Salish at Fort Langley. Advisor: JillOakes.

Marshall, Joan (1992) Analy,is of Balt Fibres fromArcheological Sites. Advisor: Nancy Kerr

Fall 1994

Openda-Omar, Nancy (1992). A History of Dress inthe Kakamega District of Western Kenya: Impactof Socio-Cultural Facton Advisor: Sandra Neissen.

Chun, Zarah (1993). Product and MarketingStrategy Development of Inuit Arts and Crafts.Advisor: Jill Oakes

Caseburg, Debbie (1993). Shamanism and Clothing:A Northern Perspective. Advisor: Jill Oakes.

Dawley, Crystal (1993). Effects of ConservationFreezing Treatments on Wool Advisor Nancy Kerr.

Madrid, Roslyn Feniak (1994). Purpura Dye[ng ofPinotepa: A Human Ecological Perspective.Advisor: Jill Oakes.

Weir, Wendy (1994). Indigo Dyed Shlbori Textiles:A Contemporary Interpretation Advisor: MarleneCox-Bishop.

Coa, Naiyu (1994). The Textiles of Mlao Women asSources of Inspiration for Contemporary TextileDesign and Production. Advisor: Marlene Cox-BMhop.

Students Currently ComDIetint Master'sThesis

Christou, Maria (1993). Supplementary WenWeaving Techniques Toraja, Indonesia. Advisor:Sandra Niessen.

Katahan, Effy (1994). A Heritage of Greek Textiles.Advisor: Sandra Niessen

Bagan, Anne (1994). BlackfootteremonialCostumeAdvisor: Jill Oakes/Anne Lambert.

Zerwig, Michelle (1994). Hair Embroldery InMuseum Collections. Advisors: Jill Oakes/Anne

Lambert.

Hart, Laurie (1995). Museum Exhibition andHistorical Development of Collections in Canada.Advisor: Anne Lambert

MeFayden, Kay (1995). Recycled Clothing. Advisor:Linda Capjack.

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TCN

Morton, Jennifer (1995). The Batik of Ernabells,Australia. Advisor: Sandra Niessen.

Okkerse, Mary (1995). West African TextileProduction: Gender and Spirituality. Advisor: AnneLambert.

Tuchak, Tamara ( 1995). Inuit PenpectivesEconomic Development. Advisor: Jill Oakes.

Hardy. Michele (1995). Subsaharan African PasteResist Tettiles u a Source of Inspiration for TextileDesignen. Advisor: Marlene Cox-Bishop.

Joelle Renzi (1995). Three Dimensional TextileForms: Historical Weaving Techniques, Theoriesand Designs. Advisor: Anne Lambert.

Wendy Bakgaard (1995). Knitting and Technology.Advisor: Marlene Cox-Bishop.

Terri Thomson (1995). Community Museums.Advisor: Anne Lambert.

Students Currentlv Comoletine DoctoralDissertations

Bonifacic, Vjera (1995). Textiles of Eastern EuropeAdvisors: Jill Oakes, Human Ecology/B. Medwisky,Slavic and East European Studies.

Schweger, Barbara (1994). Franklin Expedition:Fabric Samples. Advisors: Nancy Kerr and Jill Oakes,Human Ecology/John Foster, History.

People interested in obtaining copiesof the theses should contact the authors, viatheir advisor. The authors would likely beable to supply a copy of their thesis for thecost of the xeroxing and postage. All of thetheses are also available through InterlibraryLoan from the University of Alberta libraryand the National Library in Ottawa (availablein microfiche format only from both places).There is no charge for the loaning to otherpost secondary institutions, however a fee of$5 is applied when borrowing through public

on

Fall 1994

libraries and corporations. The University ofAlberta interlibrary loans service can arrangefor copies of the thesis to be made also. Theycharge $0.25/page, and require the purchaserto sign a form of copyrightacknowledgement.

The department should be acknowledged as:Department of Clothing and TextilesFaculty of Home EconomicsUniversity of Alberta115 Home Economics BuildingTelephone (403) 492-3824Fax (403) 492-4821

T HE TEXTILE

CONSERVATION CENTRE :

ABSTRACTS OF FINAL YEAR

PROJECTS FROM THE DIPLOMA

IN TEXTILE CONSERVATION1993/94

Students in the final year of the threeyear postgraduate Diploma in TextileConservation, taught at the TextileConservation Centre in affiliation with the

Courtauld Institute of Art University ofLondon, carry out two twelve-week projects.One is an investigative research report on aparticular aspect of conservation theory andtechnique or practice, either preventive orinterventive. The other is an object treatmentcomprising analysis, documentation andimplementation of a textile with a particularproblem.

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TCN

The investigative reports for theacademic year 1993/94 covered a wide range.Two focused on adhesives, Sarah Foskett

examined the origin, properties and potentialof isinglass, a fish glue. Monique Pullanresearched various starch adhesives and their

behavior and applications. Abigail Hartreviewed the history and technology of moir6fabric and the problems it presents toconservators, while Tracy Wedge examinedtextile wall hangings and environmental andcleaning issues.

Several of the object treatmentprojects dealt with removing previoustreatments, such as amateur repairs and someprofessional interventions which had failed.Allison Chester tackled the removal of rubber

adhesive residues from a painted silk banner.Both Sarah Foskett, working on a Tibetanthang-ka, and Abigail Hart, treating a WorldWar n flag, had to deal with previousadhesive impregnated net treatments. Theconservation of the jockey silk undertaken byAlex Seth-Smith and the treatment of a panelof a Japanese folding screen undertaken byMonique Pullan both involved adhesivetreatments. Tammany Heap undertook theconservation of a crewel work valance with

the aim of using it as a didactic piece todemonstrate the benefits of different

conservation treatments. Tracey Wedge'streatment of a pair of pole fire screensinvolved conservation of a variety ofmaterials in association with the central

printed and embroidered silk.

The reports may be consulted in theTCC Libraiy Appointments should be madewell in advance with the Librarian, ValerieMilnes (081 977 4943).

Fall 1994

THIRD YEAR OBJECT TREATMENTPROJECTS 1993/94

ALLISONCHESTER-January 1994, The Removalof Natural Adhesive Residues and SubsequentTreatment of a Painted Silk Banner (TCC 0306).

A description of the removal of extensiveresidues left by pressure sensitive adhesive tapes onthe reverse of a weak, painted silk banner.

The aim was to devise a method of removingthe residues - mainly natural rubber adhesive with zincoxide filler. plus small amounts from transparentadhesive tape and iron-on interfacing - withoutaffecting the oil-based paint.

The extensive tests and successful treatmentusing 1,1,1-tricholorethane ('Genklene'), ammoniumacetate solution and a vacuum suction table aredescribed. Details of further treatment required tomake the banner safe and pleasing for display areincluded. with display specifications.

SARAH FOSKETT - May 1994, The Re-Consenalion of the Top Border of a TibelanThang-ka (FCC 1838.8): A Pilot Treatment

The thang-ka comprises a painted panel withpolychrome silk borders lined with cotton fabrics.There are wood components at the top and bottom. Itis to be returned to storage at the Horniman Museumand Gardens.

The project involved the removal of a PVACadhesive (Mowilith DMCZ) and stitched conservationtreatment undertaken in 1977. The adhesive treatmentwas removed using heat and mechanical action. Itssuccess is evaluated.

A stitched support was given to each textilecomponent. As a pilot treatment, the reconservation ofthe top border of the thang-ka textiles only wasundertaken.

ABIGAIL HART - January 1994, The Conservallon

of Major Urgqaurt'i Flag (TCC 1689).This report concerns the treatment of an

incomplete. discoloured, soited and oft repaired silkflag, flown in the battle of Amhem, 1944, and ownedby the Airborne Forces Museum, UK.

The treatment was informed by the clientrequest, the role, materials and construction of theflag, and ethical issues inherent in treatments

Number 27 27

TCN

involving flags and historic soiling.Treatment involved documentation, surface

cleaning, removal of' detrimental previous repairs(stitched and adhesive), solvent cleaning (IMS),humidification, stitched support. suggestion of missingareas. design of and attachment to a mount, design ofa glazed frame and provision of recommendations forpreventive conservation.

TAMMANY HEAP (ned Stone) - 1994, The

Conservation Treatment of a Crewelwork Valanceu a Didactic Display (TCC Reference Collection)

The conservation treatment of a crewelworkvalance offers a unique addition to the TextileConservation Centre's Reference Collection. Itincorporates a range of comparative treatments(minimal to more intensive) in one object. Theintensive treatment comprises different approaches tostitched support along the length of the valance.

The report highlights some of the issues andpractice of conservation raised in the treatment andincludes a resource list of associated TCC material.The valance forms a highly visual didactic aid of usein illustrating the nature of textile conservation to awider audience. A display, transport and storage formare included.

MONIQUEPULLAN-May 1994,The Conservationof a Japanew Folding Screen, (TCC 1823)

The report documents the treatment of oneleaf from a Japanese folding screen, a multi-mediaobject comprisingembroidered silkand damask-wovencotton textiles, newspaper interlininss and a woodenlattice. The ethics of consciving an object originatingfrom a specific, non-Western tradition of manufactureand repair, and the option of modifying the screen'sconslruction in order to strengthen it for functional useare discussed. The treatment. adapted from traditionalJapanese mounting methods, isdescribed and assessed.The panel was dismantled, and the textiles andnewspaper components were supported on silk or kozopaperi using wheat starch adhesive; the lattice waslined with paper.

ALE)64NDRA SETH-SM/77/ - Janua[y 1994. TheTreatmeni of a Jockey Silk, (TCC 1647.A)

The conservation of a jockey 'silk', reputedlyworn by the rider of the Epsom Derby winner,centered on providing support to the sleeves for it tobe safely and pleasingly displayed in a bow-frame.

Fall 1994

Of cream satin with scarlet and green sleeves,the badly damaged components of the jacket exhibiteddegradation synonymous with that of weighted silkand from being flattened during storage.

Treatment required careful planning to

overcome problems associated with handling a three-dimensional artifact with britt le fibres. A combined

stitched and adhesive support was implemented usingsilk crepeline and Vinamul 3252.

TR,(CEY »EDGE - May 1994, The ConservationTreatment of Two Mixed Media Pole Fire Screens

with Associated Tassels, (TCC 1789.1 and .2)

This report documents the conservationtreatment of two privately-owned framed pole firescreens and two tassels. A wide range of materials isincorporated in the screens, including a printed silkfabric with linen backing through which silk and metalelements have been embroidered, printed paper, awooden stretcher and a frame of wood, rattan and

glass.The panels were removed from their frames

and all elements were treated while still mounted on

the original stretcher. The linen linins to the printedbacking paper required a stitched support while anadhesive treatment, involving infilling missing areas,was given to the paper. Ethical issues were facedwhen infilling the paper.

The frame was treated by a furniturerestoration company before the screens werereassembled. Treatment of the tassels was limited to

surface cleaning and humidification.

THIRD YEAR PROBLEM

INVESTIGATION PROJECTS

SAR,4HFOSKETT-January 1994, An Investigationinto the Properties of Isinglass and Its Use InCon,ervation.

The report defines isinglass and provides anintroduction to the protein chemistry ofgelatm derivedadhesives. Special reference is made to the propertiesof isinglass which render it suitable for conservation.

Conservation literature from a broad range ofdisciplines is reviewed. Additional information

concerning current uses of, and opinions about,isinglass is provided by the results of a conservator

survey.

Experimental work is reported in which theproperties of four isinglass products prepared using

Number 27 28

TCN

three common preparation methods are investigated.The properties are analysed quantitatively andqualitatively. Conclusions are drawn concerning

preparation method and product type.

ABIGAIL HART- May 1994, An Investigation intoMoint Fabrics for Conwrvators.

This report provides an investigation intomoir6 fabrics for conservators. The aim of this

investigation is to assist the treatment of objectsconstructed from modern and historic moirt fabrics.

To achieve this aim the following subjects arecovered.

A review of the published definitions of moir6 fabrics;A discussion of the physical characteristics of moirtfabrics;

An introduction to manufacturing techniques that canbe used to produce moire fabrics;A discussion of the difficulties involved in treating

moir6 fabrics and the suggestion of some solutions tothese difficulties. This includes written and

photographicdocumentation, cleaningandstabilizationand the potential role of Volasil™ 244 and ComputerImage Processing in the treatment of objects madefrom moir6 fabrics

MONIQUE PULLAN - January 1994, A Survey ofStarch Paste Adhesives Used In Conservation: The

Chemistry of Starch and the Properties of VariousPastes.

ASurvey of the current usage of starch pastesin conservation introduces these adhesives to the

textile conservation profession.

Preparation methods and raw materials forvarious pastes are described. The chemistry of starchesand pastes, and the adhesive properties perceived byusers demonstrate the heterogeneity of starchadhesives.

The investigation identifies an increasinginterest in starch by some textile conservators, but alsothe lack ofconfidence to execute treatments because

of lack of knowledge, as well as skill. Particular

concerns and experiences of textile conservators arehighlighted through a questionnaire and practical workundertaken in conjunction with the project

ALEXANDRA SETH-SMITH - April 1994,Investigation in Ihe reconstruclion of a Sth DynaslyEgyptian Bead Dress, (TCC 1826.i)

A rare 5th Dynasty Egyptian bead-net dress

Fall 1994

belonging to the Petne Museum was required for longterm display.

The artifact comprises a re-threaded panel of

faience beads and breast caps which form a wide-meshstructure. Loose beds and a string of mitra shells areretained with the reconstructed components of thedress.

The aim of the project was to formulate areconstruction program which would enable the dressto be safely exhibited. Initial research centered on

accumulating contemporary references of bead dressesto establish a design format. The faience was analysedto confirm whether it could withstand handling.

Appropriate techniques and materials wereresearched to ensure the dress would be well

supported throughout the display period.

TRACEY HEDGE - January 1994, Historic TextileWall Coverings: The Influence of Technical andEthical Consideration, on Treatment Options - AReview and Evaluation of Treatments.

The report outlines di fficultiesencountered by

the textile conservator when considering appropriatetreatments for textile wall coverings in situ.

Past treatments carried out by the Textile

Conservation Centre are evaluated and publishedliterature is reviewed, with emphasis placed on the dry

methods of cleaning used, in particular lhe Wishabsponge.

Ethical considerations are outlined with

regard to the treatment of wall coverings in the UnitedKingdom and New Zealand (Aotearoa).

The following two reports will be presented at a futuremeeting:ALLISON CHESTER -The Role and Performance

of Chelating Agents in Textile Conservation - APreliminary Study.

TAM*INY HEAP - Use of Video Techniques toDocument Teitile Conservation Procedures

(working title)

Diploma Course in Textile Conservation

FINAL YEAR PROJECTS REPORTS

During their final year of study between 1975

and 1991 students researched, conserved and reportedon one special project. The projects were chosen for

the particular problems presented by their materials

Number 27 29

TCN

and make up and were therefore focussed on aparticular object or a set of objects.

, From 1992 students were asked to complete

two reports - one on an Investigation Project and theother on a Practical Project.

Fall 1994

STUDENITYEAR

1975

McCORD, Margaret1976

FRASER, Alison

HARPER, BridgetSMITH, Rosemary1977

BLUM, Dilys

LAMB, Marion1978

RENDELL, Caroline

ROBERTS, Margaret1979

COUSENS, Stephen1981

FLINTOFF Elizabeth

WYLIE, Annnabel

1982

HERBEROER Barbara

GIZA. Mary

LEGO, Sally

SINGER, Poppy1983

BARNETT, Jennifer

FOTHERINGHAM, L.

GILL, Kathryn

GRANT, LynnSYKAS, Philip1984

BOND. LyndallDARDES. Kathleen

EATON, Linda

ROTHWARFMartha

SACK, Catherine1985

AMOS, Anne

DOYAL, Sherry

LENNARD, Frances

POWELL, Eileen

TOULSON, Wendy1986

BROOKS, MaryMcCLINTOCK, C.

ZUBIATE, Rosanna1987

GATES, Susan

JOSE, MaryKIRKWOOD, Irene

MUIR, Caroline

Number 27

EEWECI

18th C. Brocatelle Hangings of a State Bed

Fin de Siecle Tablecover, Hans Burghmair Design19th C. Printed Shawl, Paisley Design

Coptic Tunic with Hood

Study Collection of Peruvian Textiles19th C. Turkish Embroidered Ceremonial Hanging

18th C. Silk Hanging with Bizarre Design19th C. Turkish Woman's Coat

178 C. Mortlake Tapestries, Hero and Lcander

17th C. English Turkeywork' Cushion17£h C. Flower Embroidered Bed Valance

Opus Anglicanum Altar Frontal19th C. Chinese Robe, Tapestry woven Designs

16th C. Stained and Painted Wall Hanging

18th C. Effigy Dress Embroidered on Brocaded Silk

2,000 BC Egyptian Linen Dressc. 1870 Doll in Fashionable Dress

French Tapesuy Woven Sofa Covers

17th C. Hanging Pockets, Metalwork Embroidery17th C. ButT Leather Coat

18th C. Brocaded Silk Sack Dress

16th C. Tapestry of the Prince Arthur Set

18th C. Painted Barge Streamer17th C. Tibetan Tangka, Applique Centrec. MOO Gold & Silver Embroidered Mittens

c. 1800 Kesu Panel

1902 Frances Macknair Embroidered Curtains

c. 1830 Peeler's Uniform

George VI Coronation Court DressPall - Opus Anglicanum

lath C. Chinoiserie Bed Cornice

1588 Spanish Armada Waterlogged Textile18th C. Boy's Coat and Breeches

late 15th C. Fragment from a TaI)estry17th C. Raised Work Box

Painted Silk Guidon

17th C. Raised Work Beaded Picture

30

CLLEMI.

Ispmwich Museum

Private

TCC

Private

Private

Private

Waddesdon Manor

Shambellie House

Lyme Park

Winchester Cathedral

Private

TCN

Brixham Church

Private

Ancient House, Ipswich

Geffrye Museum

Pell-ie Collection

Turnbridge Wells MuseumWallace Collection

Warwick Museum

Hatfield House

Newbury Museum

Magdalen College, OxfordThe Glaziers CompanyPrivate

Usher Gallery, London

Private

Private

Mchpolitan Police MuseumCourt Dress Collection

Lying Parish Church

Chippendale SocietyUlster Museum

Museum of London

Private

Private

Private

Private

Fall 1994

STUDENT¥E,4 R

PETSCHEK, Carla

STEVENS, Crosby

1988

FINE, Anna

HUGHES, Helen

JOELS, Naomi

MACKIE, KjerstinREYNOLDS, Ann

SCHINDEL, Terri

WORBOYS, Melanie

1989

BOTT, Gillian

CUSSELL, SusanneDIDION, ClaudiaHOWIE, Heather

PILKINGTON, C.

ROWE, Amber

RUBIN, Nancy

SELM, Rosemarie1990

GIDNEY, Kveta

GREGORIOU, Manolia

HAYWARD, Maria

LISTER, Alison

MORGAN, Helen

STOCKWELL, Kate

TELFORD, Emma

1991

BILSON, Tom

MANITTA, Sharon

PARDOE, TuulaSTOUGHTON-HARRIS

Clare

WOOLMORE, Harriet

1992

ANDREW, Sally

COOK, Phillips

DEVITT, Cliodna

Number 27

piwia

Painted Egyptian Mummy ShroudSet of Painted Silk Banners from the American

Revolution

Shephardic Torah Mantle

Tibetan Tangkac. 1760, Top Covers of a Chinese Chippendale Chair19th C. Three Pairs of Working Breeches

c. 1760, Top Covers from a Northey Suite Chairc. 1690-1720, Grave Garments from a Spanish ColonialBurial in Santa Fe

16th & early 17th C. Ecclesiastical Embroideries

17th C. Embroidered Panels, with Braid18th C. Archer's Waistcoat

c. 1823, An Evening Dress and OverdressA Coptic Tunicc. 1825, Court Train

Two Small Central Asian Knotted Textiles

Thme Late Pre-Hispanic Textile Fragments from theLima Valley, Peru

17th C. European Padded Saddle

A Russian Court Dress

7(h-Sth C. AD, Boy's Coptic TunicTwo Oriental Panels: A Kakeomono and a KalagaThree Small Clothed FiguresThree 18th C. Women's Shoes and a pair of Clogs17th C. Knitted Jacket

Early 20th C. Dress

Roman Egyptian Painted Shroud FragmentMid-l9th C. Fully Clothed Wax-Headed DollTwo Early 19th C. Painted Silk Banners

Rubberised Multi-Media Costume: A Raincoal

Designed by Mary Quant18th C. Altar Frontal

• Infared and Ultraviolet Radiation

19th C. Carriage Parasol* Underlays in Historic Houses18th C. Sct of Canvas Work Top Covers• Woolen Cloth Garment from Coal Mine

1580-1630, Large Flemish Tapestry

31

CU,EMILPetrie Museum

Private

Spanish & PortugueseSynagoguePrivate

Private

Guildford MuseumMarble Hill House

Museum of

International Folk Art

Private

TCN

Private

Harrow School

Worthing MuseumPrivate

Court Dress Collection

Private

Field Museum. ChicagoPrivate

Luton Hoo

Private

Private

Epping Forest MuseumChertsey MuseumGallery of English CostumePlatt Hall. Manchester

Private

Fitzwilliam Museum

Kensington PalaceJew's Hospital

Platt Hall

St Mary's ChurchBuscot, Oxfordshire

TCC Reference Collection

Private

Leicestershire Museums

Fall 1994

STUDENDYEAR

HAKARI, Anna

HOWARD, Sarah

MILANESCHI, Anna

REPONEN, Taria

ROLLINS, Alison

1993

ALLAN, Victoria

GIBSON, Lynn

GREENSLADE, Irene

JENKIN, Charlotte

THOMPSON, Karen

PROlECI

• Removal of Rust Stains from HistoricCellulosic Textile Material

Bark Cloth

• Historical Window DraperiesMid to Late 19th C. Beaded Canvas Work Chair* Degraded SilkDressed Madonna Figure* Wet Cleaning Woollen TextilesLate 17th C. Embroidered Cushion0 Pattern Cutting for Historical Costume18th C. Sack Backed Dress

0 Application of· Enzymes to Textile Conservation19th C. Printed Cotton Dress

* Drawing and other visual imaging techniques forRecording17th C. Garments Fragments from a Mine• Methods of Application on Adhesive Supports19th C. Painted Masonic Silk Banner

* Identification of Degraded Vegetable Fibres inUpholstery18th C. Silk Brocade Torah Mantle and AssociatedFragments• Use of Poultices for Removing Adhesive Residuesfrom Textiles

c. 1904 Doucet Bodice

1994

CHESTER, Allison * Removal of Natural Rubber Adhesive Residues andSubsequent Treatment of a Painted Silk Banner

FOSKETT, Sarah • An Investigation into the Properties of Isinglassin Conservation

Reconstruction of the Top Border of a Thang-ka, APilot Treatment

HART, Abigail • Moirt

The Conservation of Major General Urgquart's FlagPULLAN, Monique • Chemistry of Starch Paste Adhesive in Conservation

The Conservation Treatment of a 1907 Japanese FoldingScreen

SETH-SMITH, A * Investigation into the Reconstruction of a 5th DynastyEgyptian Bead DressThe Conservation of a Jockey Silk

WEDGE, Tracey 0 Historic Wall CoveringsThe Conservation Treatment of 2 Mixed MediaFire Screens

The Textile Conservation Centre

Apartment 22, Hampton Court PalaceEast Molesey. Surrey KT8 9AUTelephone 081-9774943Facsimile 081-977-9081 • Investigation Projects

Number 27 32

CUEMIL

Private

Private

Private

TCN

Textile Conservation Centre

Leicestershire Museums

Private

Leicestershire Museums

Private

Private

Private

Horniman Museum

Pnvate

Private

Petrie Museum

Private

Fall 1994

NNOUNCEMENTS

NNOUNCEMENT OF THEFORMATION OF A NORTH

AMERICAN TEXTILE

CONSERVATION CONFERENCE

A number of American and Canadian

textile conservators have expressed interest in

the formation of a North American groupwhose purpose would be to work together toorganize a biennial conference devoted totopics relevant to textile conservators andinclude the participation of scientists,museum designers and art historians etc. astheir contribution would relate to the textile

conservation community.

The organization initially is

functioning with a steering committeeconsisting of Ela Keysertingk, CanadianConservation Institute; Catherine McLean,

Los Angeles County Museum of Art; LindaEaton, Winterthur Museum; Chris Paulocik,Metropolitan Museum of Art; and Jane

Merritt, National Park Service, Harpers FerryCenter.

We are seeking the assistance of otherconservators who would have the support oftheir institution to get this organizationstarted. Institutional support may mean thedonation of your time or allowing you togenerate an occasional mass mailing, andmost importantly the availability of a lecture

hall or auditorium where a 2 day meeting of150 plus attendees could be held.

We would like to see each conference

hosted by a regional group consisting of

Number 27 33

TCN

conservators belonging to larger institutionsas well as those in private practice whowould be responsible for arranging the

meeting for that year. This work wouldinclude making local arrangements, programdevelopment and publication of postprints.

The venue for the meeting would move toanother host group two years later.

If you and your institution areinterested in supporting the organization ofthis North American Textile Conservation

Conference please contact Ela Keyscrlingk(613) 998 3721, ext. 209 or Jane Merritt(304)535 6142

A HISTORY OF TEXTILES

AND DRESS IN THE HISTORY OF

ART ANDDESIGN DEPARTMENT

WINCHESTER SCHOOL OF ART

The Ma History of Textiles and Dress,validated by the University of Southampton,is now recruiting for the academic session

1995-6. Open to students with a wide rangeof career and academic interests, this course

studies the history of textiles and theirapplications in dress and furnishings from the18th century to the present day. It exploresmuseums, archives and other off-site

resources and includes both a study visit tothe north of England and one to a Europeansite. Attendance is two days a week for ayear plus a dissertation or one day a week fortwo years plus dissertation. Applications forMPhil and PhD research will also be

considered. For details and applications formsplease contact: Academic Registrar,Winchester School of Art, Park Avenue,

Winchester 5023 8DL, England. Tel. 09628442500.

Fall 1994

UBSCRIPTIONS

The TEXTILE CONSERVATION

NEWSLETTER is published twice a yearin the · spring and fat The two yearsubscription costs:

Canada 35.00 Cdn.America & Overseas 38.00 US.

Back issues of TEXTILECONSERVATION NEWSLETTER mdsupplementaries:

Canada - 4.00 Cdn.America & Overseas - 5.50 US.

postage and handling included.

Method of PaymentOur bank has recently returned some moneyorders (some drawn on Canadian banks) fromoutside Canada and U.S.A. that did not havethe sufficient encoding for the bank inCanada to process them. These items costTCN from $3.75 to $10.00+ to be handprocessed which quickly reduces the fundsavailable for producing the Newsletter. Whenordering back issues or subscriptions, pleaserequest an "International Money Order"drawn on a Canadian clearing bank encodedwith the following three part coding line:(5 digit no.)-(3 digit no.)-(acct.no.)(branch code)-(bank code)Thank you for your cooperation.

UBMISSIONSWe welcome submissions on: TextileConservation, History, Technology, Analysis,and information and exhibitions. Submissions,address changes, and correspondence shouldbe addressed to:

Number 27

TEXTILE CONSERVATIONNEWSLETTER

P.O. Box 4811, Station EOttawa, OntarioCanada, KlS 5J1

TCN

Please send all submissions in typed form orif possible produced on IBM compatibleWordperfect 4.2, 5.0, or 5.1, on 5 1/4" or 31/2" disk. Submissions sent by electronicmail (FAX) are welcome. Illustrations sent byFAX will not reproduce well, and so shouldbe sent by mail or courier if time is runningout. For the best production of illustrationsand clear black and white photographs, copy-ready artwork is required. Your disks will bereturned but we cannot return artwork.Articles can be as short as 1 page and as longas 6 or 7. Anything longer than that will beconsidered for publication as a supplement.

Editors :

34

Leslie Redman

Helen Holt

Lesley Wilson

Disclaimer

Articles in the TEXTILE

CONSERVATION NEWSLETTER are notintended as complete treatments of thesubjects but rather notes published for thepurpose of general interest. Affiliation withthe TEXTILE CONSERVATION

NEWSLETTER does not imply professionalendorsement.

Deadlines for 1995 are 1 March and 1

SeptemberISSN 11-80-3649

Fall 1994

Name:

Mailing Address:

TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION

Please check appropriate boxes

Subscription Year 1995-1996:

New Subscription:Renewal:

Personal Subscription:Institutional Subscription:Invoice required:Back Issues: (please see list and specify)

Please send cheque, international money order* or bank draft in Canadian or American funds payable to:TEXTILE CONSERVATION NEWSLETTER: mailto TCN, P.O. Box 4811 Station E. Ottawa , Ontario, K 1 S SJ 1, Canada*please request an 'international Money Order" drawn on a Canadian clearing bank encoded with the following threepart coding line: (5 digit number)-(3 digit number) - (account number)

(branch code) - (bank code).