Textile Conservation:

Advances in Practice
 SERIES

Butterworth-Heinemann Series in Conservation and Museology

p.
Series Editor: AndrewOddy
Fonnerly of the British Museum. London
Ayres Cowley
Conservation Architect:, New York
David Bomford
The J. Paul Getty Museum, Los Angeles
John Fidler
Simpson Gumpertz and Heger Inc, Los Angeles
Velson Horie
Consultant conservator and conservation scientist
Sarah StaDiforth
The National Trust. Swindon
Jeanne Marie Teutonico
The Getty Conservation Institute, Los Angeles
David Saunders
The British Museum, London

PublUhed titieJl: Architoctural Tt1cs: Conservation and Restoration (Durbin)

Chemical Principles of Textile Conservation (TiIIUir-BaIazsy, Eastop)
Conservation and Restoration of Ceramics (Buys, Oakley)
Conservation of Building and Decorative Stone (Ashurst:, Dime)
Conservation ofFumiture (Rivers. Umney)
Conservation of Historic Buildings (Feilden)
Conservation of Leather and Related Materials (Kite. Thom.soo)
Conservation of Plastics (Shashoua)
Conservation of Ruins (Ashurst)
A History of Architectural Conservation Qokilehto)
The History of Gauged Brickwork (Lynch)
Lacquer: Technology and Conservation (Webb)
The Museum Environment:, 2nd edition (Thomson)
Radiography of Cultural Materials, 2nd edition (Lang. Middleton)
Tapestry Conservation: Principles and Practice (Lennard. Hayward)
The Textile Conservator's Manual, 2nd edition (Landi)
Upholstery Conservation: Principles and Practice (Gill, Eastop)

Related titles: A Practical Guide to Costume Mounting (Fleeker)

Conservation: Principles, Dilemmas and Uncomfortable 'Ihlths (eds Richmond and Bracker)
Contemporary Theory of Conservation (Muiioz-Vliias)
Digital Collections (Keene)
Digital Heritage: Applying Digital Imaging to Cultural Heritage (MacDonald)
Fragments of the World: Uses of Museum Collections (Keene)
Historic Floors (Fawcett)
Managing Conservation in Mweums (Keene)
Materials for Conservation (Horie)
Natural Materials: Sources, Properties and Uses (DeMouthe)
Organic Chemistry of Museum Objects (Mills, White)
Pigment Compendium: A Dictionary and Optical Microscopy of Historic Pigments (Eastaugh,
Walsh, Siddall, Chaplin)
Restoration of Motion Picture Film (Read, Meyer)
Risk Assessment for Object Conservation (AshleySmith)
Structural Aspects of Building Conservation (Beckman, Bowles)
Textile Conservation:
Advances in Practice
Edited by

Frances Lennard and Patricia Ewer

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 CONTENTS

FOREWORD-
LYNDA HILLYER ix
EDITORS' PREFACE xi
ACKNOWLEDGEMENTS xii
PICTURE CREDITS xlii
CONTRIBUTORS xvii

PART ONE: THE CHANGING CONTEXT 1

CHAPTER 1 TEXTILE CONSERVATION IN THE HERITAGE SECTOR - FRANCES LENNARD,
PATRICIA EWER 3
Cass Studies:
1A. The textile conservator's role in the project culture: three loan
exhibitions - Louise Squire 13
1B. Achieving access through collection care, conservation and display-
Ann French 19
1C. A volunteer tradition: the evolving role of volunteers in textile
conservation at the Fine Arts Museums of San Francisco-
Sarah Gates, Beth Szuhay 25
1D. Modern textile conservation at the Victoria and Albert Museum:
roots, evolution and rapid changes - Marion Kite 30
1E. Entrepreneurship and conservation - Patricia Ewer 37
1F. Project planning and management - Ksynia Marko, Claire Go/bourn 43

CHAPTER 2 TREATMENT OPTIONS - WHAT ARE WE CONSERVING?-

FRANCES LENNARD, PATRICIA EWER 53
Case Studies:
2A. Preserving information: two beds with textile hangings dating
from the seventeenth century - Nicola Gentle 63
2B. Conservation and connoisseurship - Linda Eaton 69
2C. Fit for a princess? Material culture and the conservation of
Grace Kelly's wedding dress - Dinah Eastop, Bernice Morris 76
2D. Ethnographic garments: Evolution of exhibition display in
response to curatorial interpretation - Christine Giuntini 84
2E. Institutional developments and their effect on conservation policies:
the Cambusnethan Bog Burial Coat - Helen M. Hughes 92

v
vi CONTENTS

CHAPTER 3 ENGAGING COMMUNITIES - FRANCES LENNARD, PATRICIA EWER 99

case Studies:
3A. Partnership in the preservation of tangible and intangible
cultural heritage at the National Museum of the
American Indian - Susan Heald 108
38. Developing a short-term intensive training course in textile
conservation for non-conservation museum professionals in
Jordan - Mika Takami 115
3C. The Esh Winning Miners' banner project - conservation
involvement in a community initiative - Caroline Rendel/,
Norman Emery. Chris Scott Jim Devenport 123
3D. Negotiation and flexibility: new challenges influencing the
management of large, complex textile conservation projects:
working in the public view- Maria Jordan 130

PART TWO: TECHNICAL ADVANCES 139

CHAPTER 4 REMEDIAL CONSERVA1l0N - FRANCES LENNARD, PA7RIOA EWER 141
case Studies:
4A. The preparation of condition reports for costume and textiles
at the Los Angeles County Museum of Art - Catherine C.
McLean, Susan R. Schmalz 152
48. Recording change: 1978-2008: the cleaning of a needlework
sampler - Patsy Orlofsky. Katherine Barker, Karen Clark.
Rebecca Johnson-Dibb, Mary Kaldany. Barbara Lehrecke 163
4C. The conservation of four 1760s chairs: revealing and reinstating
original upholstery features during in situ treatment-
Kathryn (Kate) Gill 171
4D. Advances in adhesive techniques - the conservation of two
Coptic tunics at the Victoria and Albert Museum -Lynda Hillyer 181
4E. The conservation and replication of the banner covered ceiling
in the Stibbert Museum, Florence, Italy-
Mary Westerman Bulgarel/a 188

CHAPTER S PREVENTIVE CONSERVATION - PATRICIA EWER, FRANCES LENNARD 197

case Studies:
5A. Preventive conservation at the Colonial Williamsburg
Foundation - Patricia Silence 204
58. Preventive conservation solutions for textile collections -
Caroline Rendell 210
5C. Working with synthetic fibres: the response of textile conservation
to twentieth-century dress - Sarah Howard 221
 CONTENTS vii

CHAPTER 6 SCIENTIFIC DEVELOPMENTS - PATRICIA EWER. FRANCES LENNARD 227

case Studies:
6A. Integrated multi-spectral imaging, analysis and treatment of an
Egyptian tunic - Elizabeth-Anne Haldane, Sara Gillies, Sonia
O'Connor, Cathy Batt. Ben Stern 237
6B. A study of the microenvironment within pressure mounts-
Masurni Kataoka 245

PART THREE: THE FUTURE 255

CHAPTER 7 FUTURE NEEDS AND INFLUENCES - FRANCES LENNARD, PATRICIA EWER 257
case Studies:
7A. Defining features of the TCe's MA Textile Conservation programme
1999-2009 - Frances Lennard 263
7B. Decision making and the broadening of conservation boundaries:
a personal perspective - Zoe Roberts 269
7C. Teaching preventive conservation and textile treatments in
Asia and Africa - Julia M. Brennan 277
7D. Modern and contemporary textile art: issues for textile
conservators - Ann French 283

SELECT BIBLIOGRAPHY 291

INDEX 299
 DIE III CAT I 0 III

This book is dedicated to the future of textile conservation education.

viii
 FOREWORD

Textile conservation is a complex, challenging and multi-faceted discipline. Textile conservators work
not only with some of the most vulnerable objects in our cultural heritage, but also with a large variety
of related materials which may form part of a textile artefact. In the last 20 years there have been
significant changes and developments in the profession. This book, written by leading conservators in
the UK, North America and Europe, illustrates not only the technical advances in treatment options
that have been achieved but also the different world in which the textile conservator now operates.
The interaction of these two factors has shaped the profession and broadened the textile conservator's
role into one of far greater diversity. Technical skills are only part of the textile conservator's work. In
order to apply those skills in an appropriate context, the modern conservator needs to understand the
multiplicity of meanings and values that an object can present and the role of that object in a collection.
In an increasingly project-led culture the conservator also needs the ability to assess and manage risk.
Management and negotiating skills as well as financial acumen are needed by conservators in both
museum and private practice.
Many factors have contributed to the advances in techniques and the wider range of materials which
are part of the modern textile conservation studio. There is now a substantial body of practical experience
among textile conservators about the validity of a whole range of treatment options and the reasons
for the failure of earlier applications. These observations are backed by a body of scientific research
into the effects of treatments on historic textiles and have resulted in a more complete understanding
of condition. The profession has grown in confidence over the past 20 years. Most training for textile
conservators is now at MA level. Codes of ethics developed by professional conservation bodies have de-
fined and promoted the field. Systems of accreditation have been established. There is open exchange
of information between different schools of textile conservation and access to online discussion groups
and onlioe journals. Multi-disciplinary meetiogs and conferences have also played a significant part in
contributing to technical advances. The basic methodology of textile conservation remains the same but
there is greater finesse in application techniques, a wider and more informed choice of materials and an
increa..~cd understanding of the effect of those materials and techniques on the object. Conservators view
treatments differently. The concept of reversibility, a basic principle of conservation for so many years,
has been replaced by that of re-treatability and minimum intervention. Solvent-activated adhesives, cold-
lining techniques and pressure moun ts are an alternative to the use of thennoplastic adhesives; inge-
nious non-invasive treatments have been devised for upholstery conservation projects. New materials for
mounts and more sophisticated designs have resulted in the recognition that a well<onstructed mount
can playa greater and often crucial role in minimizing the amount of interventive treatment needed
to stabilize a damaged object. Digital images enable conservators to illustrate the possible outcomes of
treatment proposals and document the condition of an object with more clarity.
These new tools have given textile conservators more flexibility, an essential factor in dealing with
the often rapid changes that have faced them over the past two decades. Pressures on conservators are

ix
x FOREWORD

greater today than they have ever been. The focus on access in the museum world has led to a constant
demand for objects on display in exhibitions and on loans, some of them at a succession of venues. Many
conservators have the added responsibility of acting as couriers of these objects to loan venues or with
touring exhibitions. Cuts in funding and greater demands mean that levels of conservation treatment
have to be balanced against available resources of time and money. There are fewer opportunities to treat
objects in storage. Consequently there is a greater need for preventive conservation and strategies for
whole collections are not uncommon. Extensive conservation treatments for museum objects are often
contracted out to private conservators. Conservators in both private and museum practice consult not
only their colleagues but every stakeholder involved with the future of the object. There is widespread
recognition that the view of an object by a client or curator may change over time and that minimal in-
tervention gives more freedom to re-interpret the object and its role in the future. Perhaps one of the
most positive results of the economic constraints on modern textile conservation is that conservators
have developed a more reflective practice and think in a creative and flexible way of how to balance the
key issues of access and preservation in their work.
The diversity of the textile conservator's work makes it a very rewarding profession. Textiles have
infinite variety and interest and they are often objects of great beauty. The conservator is in a privileged
position and needs to understand the significance of every aspect of the evidence that a textile might
present. Conservators can add to a greater technical understanding of the production and construction
of a textile object and, by doing so, contribute to its historical context. These insights also add to the
enjoyment of the object by its audience. The publication of this book, however, comes at a difficult time
in the history of conservation. Funding cuts have led to a reduction in the number of permanent jobs
available in textile conservation and a contract culture exists in many museums. MA training in textile
conservation is no longer available in the UK. Opportunities for research at university level have been
curtailed. The technical advances of the last two decades and the ability of conservators to make sound
decisions about the objects in their care have never been needed more. The examples in this book
illustrate the great range and competence of the modern textile conservator and the crucial role they
play in preserving a vital part of our cultural heritage.

Lynda Hillyer
 EDITORS' PREFACE

The last comprehensive manual on textile conservation in the UK, Landi's The Textile Conservator's Manua~
was published by Butterworth-Heinemann in 1985, over 20 years ago. This and other pioneering texts,
such as Lcene's Textile Conservation (1972) and Finch's Caring for 1exti1es (1977), focused primarily on
textile conservation techniques, reflecting the needs of the time. This book is intended to demonstrate
the development in the role and practice of the textile conservator since these first textile conservation
manuals were published, hence the sub title Advances in Practice, and to capture the current diversity of
textile conservators' work. The book focuses on four factors which have influenced the development:
the cbanging context, an evolution in the way conservators think about objects, the greater involvement
of stakeholders and technical developments. These four factors are interconnected and are all integral
to effective conservation decision making. The core text in each chapter is written by the editors, and it
is illustrated with case studies by leading practitioners in museums and in private practice. The book is
written primarily from the perspective of conservators in the UK and USA.
Landi commented 'Wide exchange of information must rely on publication but a good bibliography
on the practical side of textile conservation is not easy to compile, as I know to my cost when making the
attempt for my own book, published case histories covering new ground being very hard to find' (1988:
32). Fortunately, this is not the case today; although relatively few books have been published, speciallst
texts and articles in professional journals and conference proceedings discuss treatment case studies and
broader issues. In fact the body of textile conservation literature is now so large - today it includes online
journals and resources - that it is impossible to provide a comprehensive bibliography in this book.
However, one of the airrL. of the book is to highlight some of the published sources; these are given in
the lists of references at the end of each chapter and case study, and in the select bibliography at the end.
Please see the bibliography for a list of abbreviations used in the references.
The editors hope this book will be used by a diverse andience including textile conservators, students
and prospective students and other museum professionals. Within the economic climate in which it
was written (2009-2010), the impact on conservators in museums, private conservation laboratories and
studios was great. How do we react to these new developments, respond to protect the objects that are
entrusted to our care and protect our jobs? Textile conservators have proved, as you will see in this text,
to be extremely flexible and resilient.

xi
This page intentionally left blank
 ACKNOWLEDGEMENTS

The editors would like to thank Dinah Eastop, Ann French and Sarah Lowengard for help with the initial
development of ideas for this volume, and Dinah Eastop for comments on early drafts of the editors' text.
Discussions with Sarah Staniforth and David Saunders of the Elsevier Editorial Advisory Board were also
very helpful. We are extremely grateful to all the contributors to this book for sharing their insights and
experiences.
We owe an enormous debt to Mike Halliwell for preparing the images for publication. Grateful
thanks go to Beth McLaughlin, David Mangen and Julie Williams for their assistance with editing the
contributions.
We would like to thank all those who provided additional images: Lynn Bathke; Marlene Eidelbeidt,
Director, Textile Conservation Laboratory, Cathedral of St. John the Divine; Ann Frisina, Textile Conser-
vator, Minnesota Historical Socieg>; Sarah Howard, Principal Conservator, Hampshire Coung> Council
Museums and Archives Service; Harold Mailand, Director Textile Conservation Services; Christopher
Morton, Assistant Curator, New York State Military Museum; Susan Payne, Principal Officer (History),
Perth Museum and Art Gallery; Zenzie Tinker, Zenzie Tinker Textile Conservation Ltd; Colin Turner,
Director, and Beth McLaughlin, Senior Textile Conservator, Midwest Art Conservation Center.
Finally we would like to thank Hannah Shakespeare, our editor at Elsevier, for her encouragement and
advice, Susan Ii, Project Manager and all the Elsevier team for their work in producing this book.

xiii
This page intentionally left blank
 PICTURE CREDITS

Front cover
Courtesy of Perth Museum & Art Gallery, Perth & Kinross Council.

Chapter 1 - Lennard & Ewer

1.1 Courtesy Hampshire County Council Museums and Archives Service.
1.2 Image courtesy of Zenzie Tinker Textile Conservation Ltd. By pennission of the Asian Civilisations Museum,
Singapore.
1.3 © Textile Conservation Centre and AHRC Research Centre for Textile Conservation and Textile Studies.

lASquire
IAI-2 © Royal Aeademy of Arts, London: photographer Marcus Leith.
IA3-4 Courtesy of The Palace Museum, Forbidden City, Beijing.

IBFrench
IB.I-4 Photographs by permission of The Whitworth Art Gallery, The University of Manchester.

I C Gates & Szuhay

lC.1-2 Photographs courtesy of the Fine Arts Museums of San Francisco.

ID Kite
ID.I © Victoria and Albert Museum, London.
ID.2-3 Courtesy of the Victoria and Albert Museum, London.

IE Ewer
IE.I Image courtesy of the Textile Conservation Laboratory, Cathedral Church of StJohn the Divine, New York, New
York, USA
IE.2 Photo by Patricia Ewer. Courtesy of Michael C. Carlos Museum, Emory University, Atlanta, Georgia, USA.

IF Marko & Golboum

IF. I ~ © National Trust/TCS.

Chapter 2 - Lennard & Ewer

2.1 © Textile Conservation Centre, courtesy of Reading Musewn Service.
2.2 Image courtesy of Minnesota Historical Society, St Paul, Minnesota, USA
2.3 © Textile Conservation Centre, by courtesy of the Essex Regiment Museum, Chehnsforo.
2.4 Digital reconstruction by Mike Halliwell, © Textile Conservation Centre, by courtesy of the Essex Regiment Mu-
seum, Chehnsforo.
2.5 © Textile Conservation Centre.

2AGentie
2AI By kind permission of The National Trust.
2A.2-4 By kind permission of the author.

xv
xvi PICTURE CREDITS

2BEaton
2B.l COurtesy, The Wmterthur Library: Wmterthur Archives. P20C Wmterthur Archives.
2B.2-3 Courtesy, Wmterthur Museum.

2C Eastop & Morris

2C.l © Sipa Press.
2C.2 © Grimaldi Forum Monaco/Guillaume Barclay, 2007.
2C.3 Photographs by Joe Mikuliak, courtesy of the Philadelphia Museum of Art.
2C.4 Photograph by Andrea Nunez, courtesy of the Philadelphia Museum of Art.

2D Giuntini
2D.l The Metropolitan Museum of Art, Fletcher Fund, 1972 (1972.4.66). Image © The Metropolitan Museum of Art.
2D.2 The Metropolitan Museum of Art. Image © The Metropolitan Museum of Art.
2D.3 The Metropolitan Museum of Art, Prestige gown: Purchase, Dr. and Mrs. Sidney Clyman Gift and Rogers Fund,
1987 (1987.163). Prestige cap: The Bryce Holcombe collection of African Decorative Art, Bequest of Bryce Hol-
combe, 1984 (1986.478.60). Image © The Metropolitan Museum of Art.
2D.4 Courtesy, National Museum of the American Indian, Sntithsonian Institution (ARAG1). Photo by NMAI Photo
Services Staff, Ross Muir, 2/1996.
2D.5 Purchase, Museum Collection Fund, 1936 (36.548-.554). Image © Brooklyn Museum.

2E Hughes
2E.1-2 Copyright Culture and Sport Glasgow (Museums).

Chapter 3 - Lennard & Ewer

3.1 Image of Beth McLaughlin, Senior Conservator, courtesy Midwest Art Conservation Center, Minneapolis,
Minnesota, USA.
3.2 Image courtesy Midwest Art Conservation Center, Minneapolis, Minnesota, USA.
3.3 Image Lynn Bathke, courtesy of the Economic Botany Collection, Kew and the Textile Conservation Centre.
3.4 Image by Christopher Morton, courtesy New York State Military Museum.

3AHeald
3A 1 Courtesy, National Museum of the American Indian, Smithsonian Institution. Photo by RA Whiteside.
3A.2-3 Courtesy, National Museum of the American Indian, Smithsonian Institution. Photo by Katherine
Fogden.

3BTakami
3B.I-3 Reproduced by kind perntission of the JICA.

3C Rendell et al.
3C.l Norman Emery.
3C.2 Norman Emery.
3C.3 George Bamfitt.
3C.4 Chris Scott, Beamish Museum.

3D Jordan
3D.I-6 © Historic Royal Palaces.

Chapter 4 - Lennard & Ewer

4.1-3 © Textile Conservation Centre.
4.4 Image Textile Conservation Centre, © By kind permission of the Trustees of the Wallace Collection, London.
 PICTURE CREDITS xvii

4A McLean & Schmalz

4A.l Photographs by Catherine McLean. All costwne and textiles are in the IACMA permanent collection. Image
Lalena Vellanoweth.
4A.2-4 Photographs by Catherine McLean. All costume and textiles are in the lACMA permanent collection.

4B Orlofsky et al.
4B.1-2 By kind pennission of Nikki and Tom Deupree.
4B.3 Drawing by staff conservator, Mary Kaldany.
4B.4 Photo by staff conservator, Katherine Barker.

4C Gill
4C.l & 3-5 Photograph reproduced by kind permission of Conham Court, Bristol's Museums, Galleries and Ar-
chives and the Textile Conservation Centre (TCC 2929).
4C.2 & 6 Line drawings by Kathryn Gill.

4D Hillyer
4D.l © Victoria and Albert Museum, London.
4D.2 Courtesy of the Victoria and Albert Museum, London. Photography Lynda Hillyer © V & A.
4D.3-4 Courtesy of the Victoria and Albert Museum, London.

4E Westerman Bulgarella
4E.1-4 The Stibbert Museum, Florence.

Chapter 5 - Ewer & Lennard

5.1 Photo by Patricia Ewer. Image of Kate Singley, Objects Conservator. 01!iect Courtesy Cousins Properties, One
Ninety One Peachtree, and Helena Hemmarck, artist.
5.2 © Textile Conservation Centre.
5.3 Photo by Patricia Ewer.
5.4 © Textile Conservation Centre. Courtesy of Bristol Museums, Galleries and Archives, accession number
Na 1368.
5.5 © Textile Conservation Centre.

5ASilence
5Al-4 The Colonial Williamsburg Foundation.

5B Rendell
5B.I-3 Courtesy of the National Trust, Wallington. ACM Photography.

5CHoward
5C.1-3 Courtesy of Hampshire County Council Museums and Archives Service.

Chapter 6 - Ewer & Lennard

6.1 hnage by Dr Chen-Chun Ye, © Textile Conservation Centre, courtesy of the National Trust.
6.2 © Textile Conservation Centre.
6.3 hnage by Harold F. Mailand, Textile Conservation Services, Indianapolis, Indiana, USA; courtesy Frank lloyd
Wright Foundation, Spring Green, WISconsin, USA; © ARS, NY and DACS, London 2009.
6.4 © Textile Conservation Centre.

6A Haldane et al.
6Al © Victoria and Albert Museum, London. Photography RenJackson © V&A
6A2 Courtesy of the Victoria and Albert Museum, London. Diagram by Sara Gillies.
6A3 Courtesy of the Victoria and Albert Museum, London. Photography Elizabeth-Anne Haldane © V&A.
6A4 Courtesy of the Victoria and Albert Museum, London. Photography by V&A Science Section ©V&A
xviii PICTURE CREDITS

6BKataoka
6B.I-5 © Textile Conservation Centre.

Chapter 7 - Lennard & Ewer

7.1 The Harriet Tubman quilt was a gift to the Howard Thurman Educational Trust to the pennanent collection of
the Robert W. Woodruff library/Atlanta University Center, Atlanta, Georgia. Conrtesy of the Robert W. Woodruff
Ubrary, Loretta Parham, Library Director/CEO.
7.2 Conrtesy of Perth Museum & Art Gallery, Perth & Kinross Council.

7ALennard
7AI-4 © Textile Conservation Centre.

7BRoberts
7B.l & 3 © Historic Royal Palaces.
7B.2 © Historic Royal Palaces. Photo: Forster and Forster.
7B.4 © Historic Royal Palaces. Photo: Nick Guttridge.

7CBrennan
7C.l Image Paul Curntingham.
7C.2 Image Julia M. Brennan.
7C.3 Image Sara Swetzoff.
7C.4 Image Julia M. Brennan.

7DFrench
7D. I -2, & 4 Photographs by permission of the artist and The Whitworth Art Gallery, The University of Manchester.
7D.3 Photograph by permission of the artist, photographerJoel Chester Fildes, and The Whitworth Art Gallery, The
University of Manchester.

Backccwer
Image Julia M. Brennan.
 CONTRIBUTORS

Katherine Barker
Katherine Barker, Field Services Director and Conservator, holds a BA in Chemistry from Miami University
in Oxford, Ohio. Her particular interesll! include research into cleaning techniques, specifically pertaining
to historic iron gall componenll!.

Cathy Batt
Dr Cathy Batt is Senior Lecturer in Archaeological Sciences at the University of Bradford. She has BSc
and PhD degrees from the University of Durham. Her research focuses on scientific analysis of archaeo-
logical materials, particularly on dating, and she recently co-authored Analytical Chemistry in Archaeology,
published by Cambridge University Press.

Julia M. Brennan
Julia M. Brennan has worked in textile conservation for over 25 years. She lectures to historical societ-
ies and collector groups on the care and display of textiles and is passionately committed to conser-
vation outreach. From 2000 to 2008, she led four textile training workshops in Bhutan and helped
establish their Textile Museum, conducted a conservation seminar and mounted a national exhibit of
historic nineteenth-century textiles in Madagascar and taught the first textile conservation workshop
at the National Bardo Museum in Algiers. Julia is a Professional Associate of the AlC and Director of
the Washington Conservation Guild. Her company, Textile Conservation Services, founded in 1996, is
based in Washington, DC. www.caringfortextiles.com

Mary westerman BuIgare11a

Mary Westerman Bulgarella obtained a Bachelor degree in Art History and a Master's degree in the Con-
servation of Artistic Works, and subsequently trained in textile and costume conservation. Her profes-
sional work focuses not only on interventions and their documentation but also on problems pertaining
to the research of materials and methods of storage and display. She has collaborated with an array of
museums and institutions in Italy and abroad and has published many articles on conservation-related
subjects. At present she is a freelance consultant on conservation projects as well as organizing confer-
ences on significant textile and costume themes.

Karen Clark
Karen Clark, Senior Conservator, holds an MA from the State University College Buffalo, formerly Coo-
perstown. She has supervised trealmenll! at the Workshop since ill! inception, and is a Fellow of the AlC.

Jim Devenport
Jim Devenport Freelance Paintings Conservator. Formerly Senior Lecturer, Easel Paintings, MA Conser-
vation of Fine Arll!, University of Northumbria, retiring in 2002.

xix
xx CONTRIBUTORS

Dinah Eastop
Dinah Eastop, PhD MA, FIIC, ACR, FHEA. Senior Lecturer, Textile Conservation Centre, University of
Southampton (1998-2009); Honorary Lecturer, Institute of Archaeology, UCL; Founding Director of the
AHRC Research Centre for Textile Conservation and Textile Studies (2002-2007), a research collabora-
tion between three UK universities. Co-authored Chemical Principles of Textile Conservation (with Agnes
Timar-Balazsy, 1998); co-edited Upholstery Conservation: Principles and Practice (with Kathryn Gill, 2001)
and the Gel Readings in Textile Conservation (with Mary M. Brooks, submitted for 2010). Member of the
CoilAsia2010 programme and contributor to ICCROM's Sharing Conservation Decisions courses. Member
of the research team investigating deformation in hanging tapestries. Leads the Deliberately Concealed
Garments Project: www.concealedgarments.org

linda Eaton
Linda Eaton is currently the director of collections and senior curator of textiles at Winterthur Museum
and teaches in the Winterthur Program in Early American Culture and the Winterthur/University of
Delaware Program in Art Conservation. She did her graduate work on the programme run by the Textile
Conservation Centre in conjunction with the Courtauld Institute of Art. She has worked as a conservator
for the Scottish Museums Council, the National Museums of Scotland and Winterthur Museum. She has
curated a number of exhibitions including Deceit, Deception & DiscrltJery; This WorlI in Hand: Philadelphia
Needlework.frum the 18'" Century; Needles & Haystacks: Pastoral1magery in American Needlewrnk; and Q}lilts in
a Material World: Selections from the Winterthur Collection, also the title of her book. Together with recent
WPAMC graduates, Alison Buchbinder and Samantha Dorsey, she has co-curated the exhibition Who~
Your Daddy? Familw in Early American Needlework

Norman Emery
Norman Emery. Resident Archaeologist, Durham Cathedral. Chairman of the Esh Winning Colliery Ban-
ner Group. Author of Banners of the Durham Coalfold.

Patricia Ewer
Patricia Ewer is the principal of Textile Objects Conservation. She is a conservation professional with
over 27 years of experience in treating textiles, managing, developing and staffing conservation projects.
She has held conservation positions at Historic Royal Palaces (UK), Midwest Art Conservation Center
(Minneapolis, Minnesota), Biltmore House (Asheville, North Carolina), Textile Conservation Labora-
tory at the Cathedral Church of St. John the Divine (New York, New York) and The Textile Conservation
Workshop (South Salem, New York). She has been a Professional Associate of the American Institute for
Conservation of Historic and Artistic Works since 1989.

AonFrench
Ann French trained in textile conservation at the Victoria and Albert Museum from 1984 to 1988, and
worked for Glasgow Museums, the Area Museums Council for the South West and The National Trust,
before joining the Whitworth Art Gallery in 2002. She has served on the committee of the Textiles Group
ofIcon, including as Chair from 1998 to 2001 and as textiles representative on Icon's Accreditation Com-
mittee. Her primary interests are enabling achievable collection care whatever the institutional circum-
stances and communicating conservation beyond the professional sector.

Sarah Gates
Sarah Gates has been affiliated with the FAMSF since 1980 and was named head of the Textile Conserva-
tion Department in 1992. She received a BAfrom Mills College in 1981, interned in the Organics Divisions
 CONTRIBUTORS xxi

of the British Museum in 1985 and received a 3-year diploma in The Conservation of Textile from the
University of London, Textile Conservation Centre, Hampton Court, in 1987.

Nicola Gentle
Nicola Gentle trained as a painter at Winchester School of Art. In 1978 she joined the staff of the Con-
servation Department (Textiles Section) of the Victoria and Albert Museum, London, and as Senior
Conservator (1988-1994) was in charge of the Osterley Textile Studio. Since 1994, she has worked as a
freelance Conservation Consultant in Devon and Cornwall. She is an Accredited Member (ACR) of the
UK Institute of Conservation.

Kathryn (Kate) Gill

Kathryn (Kate) Gill, FIIC, ACR, FHEA. Following her training in the conservation of textiles and uphol-
stery at the Textile Conservation Centre (TCC), England, Kate moved to the USA to set up upholstery
conservation at the Metropolitan Museum of Art. In 1992, after 7 years as Senior Conservator, she took
up a post at the TCC, University of Southampton. Kate was Senior Conservator and Lecturer until the
TCe's closure in 2009. During this period and since then, Kate has combined practical conservation (tex-
tile and upholstery treatments) with teaching and research. She has taught on a number of conservation
programmes and courses for professional conservators in practice. Kate has published widely on textile
and upholstery conservation.

Sara Gillies
Sara Gillies has completed an MSc in Archaeology at the University of Bradford, for which the scientific
analysis of a seventh- to eighth-eentury Egyptian tunic in the collections of the V&A formed the basis of her
dissertation. Previously she received an HBA in history from Lakehead University, looking at the establish-
ment of the textile industry in New France, and an MA in the history of medicine from University College
London, on the redefinition and regulation of English midwifery at the turn of the twentieth century.

Christine Giuntini
Christine Giuntini is the textile and organic artefact conservator for the Arts of Africa, Oceania, and the
Americas at the Metropolitan Museum of Art (MMA) in New York City, where she has worked since 1981.
She attended the Conservation Program at the Institute of Fine Arts and studied textile conservation un-
der Nobuko Kajitani at the MMA. Her particular areas of interest are three-dimensional fibre artefacts,
archaeological textiles and feather work, and the development of mounting and exhibition techniques
for these types of complex artefacts.

Claire Golbourn
Claire Golbourn, BSc, completed her degree in Restoration and Conservation in 1999 at the former
London Guildhall University. She worked as preventive conservator for Historic Royal Palaces at Hamp-
ton Court before joining the National Trust in 2000. Claire has been senior conservator at the Textile
Conservation Studio since 2006. She has managed a number oflarge studio-based conservation projects,
besides participating in on-site teams.

Elizabeth-Anne Haldane
Elizabeth-Anne Haldane is a Senior Textile Conservator at the Victoria and Albert Museum. She graduated
with an MA in Conservation from the RCA/V&A Conservation Course in 1999. Following this she com-
pleted a one-year Historic Scotland/Scottish Conservation Bureau internship based at Glasgow Museums.
xxii CONTRIBUTORS

Over the next 2 years she worked as a contract conservator for the National Musewns of Scotland and the
Fine Arts Museums of San Francisco before taking up a permanent post at the V&A in late 2002.

Susan Heald
Susan Heald joined NMAI's conservation staff in 1994, becoming Senior Textile Conservator in 2001. She
served as textile conservator at the Minnesota Historical Society from 1991 to 1994, and was awarded a
Conservation Analytical Lab postgraduate fellowship in 1990. She holds an MS in Art Conservation with
textile major/objects minor from the University of Delaware/Winterthur Museum and a BA in Chemis-
try and Anthropology from the George Washington University. She served as chair and vice-chair for the
AlC Textile Specialty Group in 1997-1998, and is currently on the board for the North American Textile
Conservation Conference.

Lynda Hillyer
Lynda Hillyer, ACR, FIIC, began her career in the British Museum designing and making perspex mounts.
In 1975 she joined the Department of Oriental Antiquities as an assistant conservator working on a wide
variety of materials and objects. She later transferred to the Organics Conservation section where she
worked on ethnographic and archaeological material, specializing in fibres. She joined the textile con-
servation studio at the Victoria and Albert Museum in 1981 and was Head of Textile Conservation from
1989 to 2005. She has published widely on many aspects of textile conservation.

Sarah Howard
Sarah Howard is Principal Conservator for Hampshire County Council Museums and Archives Service.
She completed a postgraduate diploma in textile conservation from the Textile Conservation Centre in
1992 and subsequently worked for a number of freelance conservation studios and museums. She joined
HCCMAS in 1996 as textile conservator where she has been responsible for the care and conservation of
their Dress and Textiles collection. Sarah is an accredited member of the Institute of Conservation and
has been Secretary and Chair for their Textile Group. She is currently co-ordinating a touring exhibition
in Hampshire promoting conservation to school and family audiences.

Helen M. Hughes
Textiles conservator, Glasgow Museums, Culture and Sport Glasgow. Helen Murdina Hughes BSc, dip
Cons (tex), ACR, trained in textile conservation at the Textile Conservation Centre, Hampton Court
Palace, then worked in textile conservation at the Rocky Mountain Regional Conservation Centre, Den-
ver, Colorado, USA Helen joined Glasgow Museums in 1990 and has worked on numerous exhibitions
and major projects such as the redisplay of Kelvingrove, Glasgow's main Museum and Art Gallery, and
has also supervised Historic Scotland Textile Conservation interns. She is currently working on a tapestry
catalogue project in Glasgow's Burrell Collection.

RebeccaJolmson-Dibb
RebeccaJohnson-Dibb, Conservator, holds an MS in Historic Textiles and Conservation from the Univer-
sity of Rhode Island. Her specialties include woven textiles and historic dyes.

MariaJordan
Mter taking a degree in Politics (BA Hons) at Durham University (1980-1983), MariaJordan gained a post-
graduate diploma in Textile Conservation from the Textile Conservation Centre, Courtauld Institute of Art
(1997-2000). In 2000, she joined Historic Royal Palaces to work for the Conservation and Collection Care
 CONTRIBUTORS xxiii

depar1ment. For the past 4 years she has been the Treatment Conservation Supervisor for the Furnishings
team. Maria was accreditated in 2007.

Mary Kaldany
Mary Kaldany, Senior Conservator, holds an MA in Paintings Conservation from the State University Col-
lege at Buffalo. Her special interests include all aspects of conservation for painted textiles, including
conservation adhesives and the use of the textiles suction table.

Masumi Kataoka
Mter being awarded a BA in Dyeing and Weaving from the Kyoto City University of Arts,Japan in March
2006, Masumi Kataoka studied textile conservation on the MA programme at the Textile Conservation
Centre, University of Southampton, UK. She spent a 3-month internship at the Tapestry Conservation
Project Committee,Japan in spring 2006, and an 8-week internship at the Detroit Institute of Arts, USA
in summer 2007. In October 2008 Masumi joined the Textile Conservation Laboratory at the Museum of
Fine Arts Boston, USA, as a fellow funded by the Sherman Fairchild Foundation.

Marion Kite
Marion Kite. FIIC, ACR, FRSA, is Head of Furniture, Textiles and Fashion Conservation at the Victoria
and Albert Museum. A 'bench conservator' for 30 years she specialized in treating textiles, organic mate-
rials and animal products associated with textiles. She has published widely and lectured internationally;
she co-edited The Conservation of Leather and Related Materials with Roy Thomson (Elsevier, 2006), now in
second impression. She was Chairman of the Leather Conservation Centre, Northampton, for over 10
years and is a Trustee of the Museum of Leathercraft and the Gloves Collections Trust. She has served on
the Directory Board of ICOM-CC and also the Council of lIC.

Barbara Lehrecke
Barbara Lehrecke worked as a costumier before completing a master apprenticeship at the Textile Con-
servation Workshop. She specializes in textile-related objects with three-dimensional properties.

Frances Lennard
Frances Lennard, ACR, FIIC, FHEA, gained the Postgraduate Diploma in Textile Conservation from the
Textile Conservation Centre in 1985. She worked as a textile conservator at the TCC and for 12 years in
partnership with Fiona Hutton in the southwest of England. She was a Lecturer/Senior Lecturer and
Programme Leader of the MA Textile Conservation at the TCC between 2001 and 2009. She has taught
on the MA Conservation programme in Malta. She has published widely on conservation treatments
and is the joint editor with Maria Hayward of Tapestry Conservation: Principles and Practice (Elsevier, 2006).
She is an Assessor for the PACR Accreditation scheme and is on the Editorial Advisory Board for the lIC
publication Reviews in Conservation.

Ksynia Marko
Ksynia Marko, ACR, trained at the Victoria and Albert Museum. She joined the National Trust in 1991
as manager of the Blickling Textile Conservation Studio in Norfolk, having previously run her own free-
lance conservation studio in London for several years. Ksynia has been the Trust's Textile Conservation
Adviser since 1995. Her experience of project planning and management has grown through neces-
sity and practice, from running a business, designing studio premises and working with many different
groups of people on a variety of projects.
xxiv CONTRIBUTORS

Catherine C. McLean
Catherine McLean is the head of the costume and textile conservation laboratory at lACMA. She came
to the museum in 1980 after completing her MS in Art Conservation from the University of Delaware-
Winterthur Museum Art Conservation Program. A Michigan native, preparations for her conservation
career included a BA in Art History with a minor in Chemistry from the University of Michigan.

Bernice Morris
Bernice Morris received an MA Textile Conservation from the TCC, University of Southampton (2005),
and a BA History of Art and Italian from Birntingham University, UK (2002). She came to the Philadel-
phia Museum of Art as the Andrew W. Mellon Fellow in Costume and Textiles Conservation in 2005, and
has stayed on to work as the Assistant Conservator of Costume and Textiles. Bernice has a particular inter-
est in the conservation of textiles used in religious practice and conservation ethics.

Sonia O'Connor
Dr Sonia O'Connor, FIIC, ACR, Archaeological Sciences, University of Bradford, has worked in archaeo-
logical conservation for over 30 years. She specializes in the radiography of cultural material and is co-
author, with Mary M. Brooks, of the book X-Radiography of Textiles, Dross and Related Objects, published in
2007 by Elsevier.

Patsy Orlofsky
Patsy Orlofsky, Executive Director, received a Bachelor of Science degree from Skidmore College and
her graduate work was in the Master's Degree programme for Preservation Administration in Columbia
University's School of Library Service Conservation Education Programs. Her special interests include
American textiles and Judaic objects.

Caroline Rendell
Caroline Rendell, ACR. Trained at the Textile Conservation Centre, she was awarded a diploma in Textile
Conservation. Mter working for Leeds City Museums she joined the National Trust in 1986. She com-
bines her role as National Trust Conservator with responsibilities for her portfolio properties with her
work as a freelance textile conservator.

Zoe Roberts
In 1997 Zoe gained a degree in Modern History from Oxford University. She then undertook an MA
in Textile Conservation at the Textile Conservation Centre, University of Southampton, between 1999
and 2001, followed by a one-year Historic Scotland internship at Glasgow Museums. From 2002 she has
worked for Historic Royal Palaces, first as a textile conservator and, since 2007, as the Commissioned
Treatment Conservation Supervisor. She has always had a strong interest in presenting conservation to
the public and has sat on the committee of the Institute of Conservation's Care of Collections Group for
the past 3 years.

Susan R. Schmalz
Susan Schmalz, Associate Textile Conservator, has worked at lACMA since 1997. Originally from Van-
couver, Canada, she received her graduate degree in conservation from the State University College at
Buffalo in 1996 and also holds an MFA in Studio Arts from Virginia Commonwealth University. Her past
work experience in conservation includes working for a private painting conservator in Richmond, VA,
and interning at the National Park Service, Division of Conservation in Harpers Ferry, West Virginia.
 CONTRIB UTORS xxv

Chris Scott
Chris Scott. Keeper of Industry, Beamish Museum, County Durham. He joined the staff of Beamish Mu-
seum in 2004 after completing a Master's in Heritage Education and Interpretation. His first degree was
in Archaeology.

Patricia Silence
Patricia Silence, Conservator of Museum Exhibitions and Historic Interiors, has been at the Colonial Wil-
lamsburg Foundation since 1999, where she manages the preventive conservation programme. Patricia is
an apprentice-trained conservator with a background in fibre arts and civil engineering. She began her
conservation career in 1984, becoming an objects conservation assistant at the Nelson Atkins Museum
of Art in Kansas City, Missouri, USA in 1991. In 1994 she moved to the current American Textile History
Museum in Lowell, Massachusetts, to focus exclusively on textile conservation. Patricia is a Professional
Associate of the American Institute for Conservation.

Ben Stern
Dr Ben Stern is Lecturer in Archaeological Sciences at the University of Bradford. He has a BSc in Chem-
istry (1992, Bristol) and a PhD Biomineral Lipids in Living Fossil MoUuscs (1996, Newcastle). His research
falls at the interface between analytical chemistry and archaeology and he is interested in the identifica-
tion of the 'archaeologically invisible' by the correct application of analytical techniques.

Louise Squire
Having gained a postgraduate diploma in Textile Conservation from the Courtauld Institute of Art, Uni-
versity of London, Louise Squire worked at the Textile Conservation Centre, Hampton Court Palace for 3
years, before setting up in private practice in London. From her studio she has undertaken conservation
work for many London and international museums and for private clients both in the UK and abroad. She
has undertaken short-term contracts for museum exhibitions and installations. She has recently assisted in
establishing the textile conservation section in the newly opened Museum of Islamic Art, Qatar.

BethSzuhay
Beth Szuhay has been with the Fine Arts Museums as a textile conservator since 2001. She received
her BA in International Studies from Miami University in Oxford, Ohio in 1990 and her MS from the
Winterthur/University of Delaware Program in Art Conservation in 2001.

MikaTakami
Mika Takami is Senior Textile Conservator at Historic Royal Palaces. Mter gaining a BA in Arabic lan-
guage and literature at Osaka University of Foreign Studies, she worked as an assistant registrar and
conservator at the National Museum of Ethnology in Japan. She completed a three-year postgraduate
diploma in textile conservation at the Textile Conservation Centre, Courtauld Institute of Art in 2000,
followed by two one-year Andrew W. Mellon Fellowships at Metropolitan Museum of Art (2000-2001)
and National Museum of the American Indian/Smithsonian Institution (2001-2002), before joining
HRP in 2002.
This page intentionally left blank
 Part one
The changing context
This page intentionally left blank
 Textile conservation in
the heritage sector
Frances Lennard, Patricia Ewer

Conservators have worked within a changing world since the pioneers in textile conservation established
the profession. In both the UK and the USA political and cultural shifts have an impact on the way the
'heritage sector' operates, and this in turn affects the working environment of the conservator.

Developments in the sector and pressures on funding

In both countries the cultural sector is directly affected by the political swings inherent in an electoral
system dominated by two main political parties, although cultural heritage is often low on the agenda.
A separate ministry for arts and heritage, later renamed the Department for Culture, Media and Sport
(DCMS), was created in the UK in 1992, although the then Conservative government was criticized for
its lack ofa strategic vision for museums (MuseumsJournal, Dec. 1991: 7). The USA does not have a desig-
nated cultural department within the President's cabinet (although the President's Committee on the Arts
and the Humanities (PCAH) , created in 1982, administers the Save Americas T71NJSUm Program), but many
cultural institutions rely on government fimding from the National Endowment for the Arts, the National
Endowment for the Humanities and The Institute of Museum and Library Services. But, as in the UK, in
the 1980s and 1990s the funds for these organizations were severely cut under the influence of a coalition
within the Republican Party who felt the arts were eroding the moral fabric of the nation (Koch, 1998).
Pressures on central and local government spending have a direct impact on the heritage sector and
on conservation jobs. In the UK, with a new emphasis on sponsorship and commercial enterprise to
fund museum activities, reduced government spending during the 1980s, and particularly in the reces-
sionary environment of the early 1990s, meant reduced funding for conservation in both national and
local authority museums. In the USA, reduced government funding had a sintilar impact, although US
cultural institutions are less reliant on the Federal government and have more avenues to explore such as
regional, state and local government fimding as well as money from independent foundations, corporate
and individual giving. After the crisis of the late 1980s institutions broadened their sources of fimding,
developing endowments (Farrell & Marshall, 1999) and expanding marketing and retail services. Even
large government conservation projects such as the conservation of the Star.spangled Banner were made
possible by a combination offederal and corporate fimding (Thomassen-Krauss, 2001 ).
A re-evaluation of museum activities led to the restructuring of staff positions and an increased use of
outside consultants (Zusy, 1998; Bryk, 2001 ). The trend towards enhanced collections care became more
economically viable than remedial conservation treatments which could be outsourced to freelance con-
servators. Museums sought to attract more visitors as a way of increasing income. Museum News, the journal

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

3
4 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 1.1 Hampsm:S 1Ba.rum - CeWKating eM eoun,,:s Colltction.r. A Hampshire County Council Museums and
Archives Service exhibition which was shown at two venues.

of the American .Association of Museums (AAM), has regularly discussed marketing, visitor surveys, serving
the public, creative partnerships and other topics intended to help museums increase visitor numbers
(Korle"1999) (Hgure 1.1).
In the UK a major change at the beginning of the twenty-first century brought museums, libraries and
archives together under the strategic leadership of one body. Regional Museums, Ubraries and Archives
Councils replaced the former Area Museum Councils, which had employed conservators to provide con-
servation treatments and advice for smaller local museums. This caused the loss of several textile con-
servator posts, although some conservators have gone on to provide similar services on a freelance basis.
The regional councils now have a more strategic and a less functional role,leaving small museums, many
run byvolunteers, with less access to conservation services. Although increased funding for regional mu-
seums from the government was welcomed following the 2001 report Renaissance in the Regions, it was felt
that collections management and conservation were not given a high enough priority.

Effect on textile conservation posts

Although there were no major losses of conservation posts in the principal US institutions during the 1980s
and 1990s, conservators' roles and responsibilities changed. In the UK the economic situation has led to
a widening freelance culture. The last two decades have seen the growth of the 'project culture' where
there are fewer permanent positions in museums (Ashler-5mith, 1999). Instead museums rely on short-
term contract posts to service particular prqjects and place greater reliance on the private sector, while
freelance textile conservators now spend a greater part of their time working for museums, both national
and local, as demonstrated in Squire's case study. In the local authority sector conservation has been seen
as a senice which can be 'contracted out'. There was widespread concern at the 10M of 35 jobs in Glasgow's
museums service in 1996, with the loss of core curatorial and conservation posts. Hughes' case study in
Chapter 2 demonstrates how institutional changes impacted on the conservation d.epartmenL
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 5

This situation has led to an increasing degree of specialization. Freelance textile conservators usually
spend the majority of their time carrying out treatmenb, including often lengthy remedial treatments
for museums. Conservators working in small museums are often more concerned with overnll care of
the collection and with preparing objects for display, as illustrated in French's case study. Conservation
d.eparttnents in large museums tend to be occupied primarily with preparing large numbers of objects
for exhibition. Volunteers have often been used as a way of increasing the amount of work that can be
achieved by a limited number of staff. The cue study by Gatea and Szuhay, and French's also, demon-
strate how this can be an effective strategy as a way of providing additional resources, although not as a
substitute for professional staff.
There has been a big increase in 'blockbuster' exhibitions at institutions like the Victoria and Albert
Museum (V&A) in London and the Philadelphia Museum of.Art. as museums have sought to attract visi-
toIl. These m~or exhibitions gather together large collections of objects, usually for short periods, and
require sophisticated display mounting techniques (Reiter et al., 2005). They often go on to tour other
venues around the world, with conservators called upon to courier eldribitions and take responsibility for
objects' safety in transit and during mounting. Innovative techniques have been developed to allow the
safe transport of costumes (Haldane et al., 2007). Kite'li £De study details the pressures on a busy textile
consenation department and illustrates the employer's perspective on the project culture.
The growth in the number of conservators, including textile conservators, working privately in the UK
has been significant and has encouraged a more businesslike environment (Figure 1.2). In 1993 Leigh,
Head of the Consenation Unit of the Museums and Galleries Commission, urged textile conservators
to cost their work more realistically: 'Most conservators do not charge nearly enough to properly cover
overheads, or properly to reflect their true level of training and expertise' (1993: 20). This is also true in
the USA. but in a sense it is related to competition; in both countries many deliberately keep their costs
low to outbid their competitor;!. The Foundation of the American Institute for Conservation of Historic
and Artistic Works (FAIC) has introduced on-line courses on basic business topics such as establishing a

I1gure 1.2 Work in a freelance textile comervation stndio: re-assembling an eighteenth-century Mughal tent panel
following conservation.
6 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

conservation practice, marketing and estimating through its Professional Development initiative. Mem-
bers of the American Institute for Conservation of Historic and Artistic Works (AlC) and Specialty Group
Conservators in Private Practice (CIPP) have for years discussed business issues such as competition,
certification and qualifications. Ewer's case study demonstrates how the development of business skills is
an important part of conservation practice.
The type of work undertaken by textile conservators has undoubtedly changed in response to budget
constraints. Cussell (1998) suggested that conservators need to be more inventive when proposing
treatments for private clients, where limited budgets do not permit lengthy treatments, but it is by no
means the case that museum budgets allow unlimited time for major treatments either. Conservators
have had to develop a range of management skills; Marko and Golbourn's case study outlines the project
management protocols which many textile conservators employ in their daily work.
At the same time conservators have been operating in a more businesslike environment with the
growth of competitive tendering practices. In 1993 Leigh reported that 'the tentacles of competition have
reached the cultural heritage' (1993: 15). The United Kingdom Institute for Conservation of Historic
and Artistic Works (UKIC) produced Guidelines for tke Ctnnmi.<sirming and Undertaking of Conservation Worlt
in 1998 to help conservators and clients manage this development. The tendering or bidding process for
projects with US government agencies has become more uniformly structured.

Increasing access to collections

Conservation has always tried to balance the aims of preservation and access, but in the UK the balance
has shifted in recent years from the preservation of collections towards their use. The National Actirm
Plan for Museums in England, published by the Museums, Libraries and Archives Council in 2009, did not
mention conservation.
The Labour government, which came to power in 1997, promised more funding for museums, but in
reassessing the purpose of museums it increased demands on the sector. The key priority for the new
government was access (Ashley-Smith, 1999); funding was allocated specifically to help museums tackle
social problems, 'recogrtising their potential for enhancing education, combating social exclusion and
promoting urban regeneration' (Museums Journal, Sept. 1998: 25) through involving broader sections
of the community. Anti-discrimination legislation also encouraged museums to become more accessible
to the disabled. A new emphasis on performance management meant that funding was often linked to
targets such as increased visitor numbers. The increased emphasis on access has had an impact on the
work of the conservator and made the balancing act more complex.
In the USA the AAM recently initiated the Center for the Future of Museums, 'a think-tank and re-
search design lab for fostering creativity and helping museums transcend traditional boundaries to serve
society in new ways.' Museums & Society 2034: Trends and Potential Futures alerts museums to the implica-
tions of potential societal changes by the year 2034. Issues discussed include the effects on access of the
ageing population and the increasing cost of preservation and storage compared with the decreasing cost
of digitizing museum objects (Chung, Johnstone & Wilkening, 2008).
The access agenda has not just been taken up by museums. In the UK the National Trust, which opens
its historic houses to the public, is also aiming to widen access to its properties beyond its traditional mar-
ket, commonly perceived to be middle-aged and middle-class (Greenacre, 2005).
There is a continued tension between access and preservation. In December 2005, Heritage Preser-
vation of Washington, D.C., released the results of its Heritage Health Index, the first comprehensive
survey of the condition and preservation needs of US collections held in the public trust in archives,
libraries, historical societies and museums. 'Museums ... devote more money to conservation but also
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 7

have greater needs when it comes to conservation treatment .... They do significaotly more to promote
conservation awareness to their donors, trustees and the general public. Museums do less well than re-
spondents as a whole, including libraries and archives, in cataloguing their collections and making them
intellectually accessible' (Merritt, 2006). Thomas Campbell, Director of The Metropolitao Museum of
Art, New York, explained why it is importaot to increase access: 'engaging visitors who don't feel com-
fortable is one of the primary challenges ... [One of the] key experiences of visiting a museum is that
moment of staoding in front of ao object ... Suddenly you're responding to something physical, real, that
chaoges your own perspective. And great museums will always do that, as long we get people through the
doors' (Cembalest, 2009).

Making collections accessible

Finaocial aod political pressures on museums have impacted on the work of textile conservators in differ-
ent ways. Museums are under pressure to make better use of their collections (Keene, 2005). Nightingale
(2005-6) explicitly cited the desire to make more of the collection accessible as a factor in the develop-
ment of a very large costume display at the Museum of London. Innovative methods of display, such as
visible storage aod the use of haodling collections, also aim to make better use of museum objects; the
Metropolitao Museum of Art in New York introduced visible storage of objects in its Egyptiao Galleries
in the 1980s. These methods cao increase the objects' exposure to risks from light or haodling, but con-
servators' expertise cao help to maoage this tension through good documentation, appropriate packing,
training in haodling aod good display design aod mounting techniques.
Montague (2005) explained how digital photography of the collections of the Museum of Fine Arts in
Boston, and the publication of the images on the museum's website, provided greater intellectual access
to curators, scholars aod the general public, while limiting direct haodling of the objects. In aoother
example, Spicer et al. displayed replicas of flags from the State of Maine's collection in the Hall of Flags
in the State House, where conditions were not optimal for fragile textiles but the traditional method of
display was considered importaot. This successful solution allowed a rotating display of the conserved
originals in a museum environment. In fact 'Rotation, interpretation aod ao on-line photo gallery dra-
matically increased public access to the collection' (2003: 79) (Figure 1.3).
Museums have exploited the development of the Internet in maoyways. As well as promoting access to
collections, a website has become an essential marketing and information tool. This has led to an expo-
nential rise in visitor enquiries in the last 20 years; the Museum of London reported a rise in enquiries
via its website from 100,000 in 1998, to 1.4 million in 2004 aod to 6.4 million in 2007.1 If only a small
proportion of these enquiries are requests to look at objects, this still represents a huge increase in access
to collections, with implications for the treatment of objects aod conservators' workloads. In 1996 Sykas
(1996: 14) noted that, as a curator of a textile collection spending up to 20% of his time answering visitor
enquiries, he was facing an increasing demand from students at all levels to access primary source materi-
als, such as objects and documents.

The professional status of conservators

Conservation has expaoded aod developed as a profession since the 1980s. It now conforms more closely
to the definition of a profession: it has formalized training routes with career-entry qualifications; it has
professional membership orgaoizations which subscribe to ethical codes aod cao levy saoctions against

1 Answering Enquiries. Museums Association seminar at Manchester Museum of Science and Industry. February 26.
2009.
8 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

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members who fail to meet required standards; it has a body of literature and a requirement for continu-
ous professional development. Although there are competing pressures, textile conservators manage to
successfully tread the fine line between being business competitors and professional colleagues; textile
conservation is demonstrably a profession - there is no question but that information should be shared,
and the results of research disseminated.
More conservators today enter the profession with a master's degree, although other routes still exist
Indeed this has become true to such an extent that there have recendy been calls for entry levels to be
broadened. 2 Certainly there is a lack of social and racial diversity in the profession; increasingly there is
a larger proportion of women in the conservation workforce, in common with persorwel in museums
more generally, perhaps in response to the low levels of pay in the sector. This is overwhelmingly the case
within textile conservation. Although conservation has become a profession, the lack of funding in the
sector means that conservators do not receive financial rewards commensurate with their levels of train~
ing and expertise.
There have been developments designed to monitor the conservation profession, although itis unlikely
ever to be regulated by lawin the UK or the USA. The AlC Conservators in Private Practice (CIPP) group
developed the 'Find a Consenator' semce in 1987 while the UK. Conservation Registerwas established in
1988 to provide the public with a means of selecting a reputable conservator. Both require practitioners
to meet certain criteria for inclusion. The Professional Accreditation of Conservator-Restorers (PACR)

2 By speakers at the meeting 2020 Vision - 'I'M Comll"/lation Worltfinu of tM Putun, organized by Icon, at the Thte
Modem,January9,2008.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 9

was introduced in the UK in 1999 (www.pacr.org), aiming to safeguard the public while also raising the
status of the profession. The accreditation system does not require conservators to have undergone a
particular training, but tests their ability to meet a set of professional standards following some years of
post-training experience. While the topic of professional accreditation comes up repeatedly within the
AlC, the membership voted against certification in 2008. Professionalism is a major concern amongst US
conservators but a model for assessing it could not be agreed upon; the country and the discipline in the
USA are just too vast.
In 2005 a number of conservation organizations in the UK, including UKIC, merged to form the
Institute for Conservation (Icon); this has helped conservators in the UK to be seen as speaking with
one voice. The gains have been immediately apparent; for example in 2005--D6, Icon was asked to give
evidence to the House of Lords Science and Technology Committee on Science and Heritage. Despite
this merger the sector remains rather fragmentary with a number of other conservation organizations
still in existence. In the USA by contrast, the AlC is the major professional body and represents almost
3000 conservators (interestingly Icon has a similar number of members despite the UK population being
about 20% of that in the USA). AlC's efforts to speak for the conservation field are growing, especially
in the political arena.

The conservator's image

In any discussion of the character traits of the 'typical' conservator, it is said that conservators prefer
working with objects; they don't look up from the bench. The range of case studies in this book demon-
strates the variety of roles textile conservators now occupy, and this range and diversity makes textile con-
servation a rewarding career. The relatively small proportion of textile conservation graduates who leave
the profession demonstrates this. However, it is tnIe that not many have gone on to management roles
where they could influence policy at a higher level, perhaps partly because the overwhelmingly female
bias of textile conservation has meant that many practitioners work part-time while raising their fumilies,
although many take on volunteer roles for the professional bodies.
Conservators used to be regarded as unhelpful and obstructive by other museum staff. In 1987 Carter,
a museum designer, recommended closer liaison between conservators and designers: 'In my experience
designers very often see conservators as having a wholly negative effect on their activities. They are seen
as for ever hampering one's work with increasingly stringent constraints' (1987: 14). The situation has
manged slowly, and it appears that on the whole the relationship between conservators and curators has
become more productive. In 2000 Wills commented: 'It is also interesting to reflect on the observable
mange in status in the conservator/curator relationship in the British Museum over the last decade or
so. The contemporary, qualified and articulate conservator often (though not always) has a greater de-
gree of input into decisions about objects ... than was the case in the past' (2000: 87). The joint teaching
of students on textile conservation and museum studies programmes at the Textile Conservation Centre
aimed to give students who would be future conservators and curators a common foundation in the heri-
tage sector, and an understanding of and respect for each others' roles (Lennard & Brooks, 2008).
Despite this and other initiatives there is a degree of separation between the conservation profes-
sion and the rest of the museum world in both the UK and the USA. Attempts to engage curators in
professional conservation meetings have not proved fruitful. The North American Textile Conservation
Conference (NATCC) aimed to attract curators as well as conservators, but with limited budgets for travel
this has not happened. The journals of the professional bodies, Museums Journal (of the UK Museums
Association) and UKIC's Conservation News (replaced by Icon News in 2005), reflect different concerns;
conservation is very rarely mentioned in the pages of Museums JournaL Only one article addressing
10 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

conservation was found in a review of 10 years' issues of AAM's Museum News (now Museum), outlining
the findings of the Heritage Preservation Index (Merritt, 2006). The July-August 2009 issue featured
two articles on costume exhibitions, neither of which reported any textile conservation input. On the
other hand, conservators generally only publish in the technical conservation literature - we have been
accused of talking to ourselves (Brooks, 2008).
A curator commented on the lack of conservator involvement at, on this occasion, a seminar on deal-
ing with visitor enquiries. 3 Greater conservation input into the wider sector would bring a more integrat-
ed approach to museum activities and developments. This is recognized by the National Trust, which is
creating a new post for a manager of conservation in its broadest sense (Le. including both cultural heri-
tage and natural heritage) which will represent conservation at the same level in regional and national
planning as marketing and income generation, and the operational management of properties.

Conclusion
Despite the advances made by the profession, conservation is still at risk when museum budgets are
squeezed. Although the role of the textile conservator has broadened considerably, as shown in Chapter 2,
it still appears that conservation is regarded very much as a service industry in the UK and the USA and
so is able to be cut in times of economic downturn. In Europe, on the other hand, conservation appears
to playa wider role in the creation and sustenance of national identity.
In 2009-10, as this book was being prepared, the world was hit by a severe economic recession and
again the cultural sectors faced huge changes. This economic downturn has affected museum endow-
ments and budgets. Ford Bell, the AAM President, noted 'some museums cutting staff, ... cutting hours ...
some have found it necessary to close their doors' (Bell, 2009). Cuts in the USA have affected textile
conservators; many of the contributors to this book wrote their case studies while under threat of losing
their jobs. However, many cultural institutions rose to the challenge by cutting salaries or inviting staff
to take long-term sabbaticals rather than making staff redundant. 'It was a way for some to survive ... re-
evaluating priorities, missions and future goals, as well as finding alternative funding sources and income
streams' (Wolf, 2009). In the UK pressures on funding in both the museum and gallery sector and the
higher education sector have led to the closure of both programmes educating textile conservators at
MAleve!.4
These pressures on funding represent a real risk to the conservation sector. Alastair McCapra, the for-
mer Chief Executive ofIcon, commented: 'Conservation is an afterthought within an afterthought within
an afterthought: Arts and culture generally are an afterthought (DCMS is the smallest government de-
partment). Within this, heritage is an afterthought (most of DCMS is busy with sport, media and broad-
casting). Within heritage, conservation is an afterthought (behind access, communities, identity etc.).'5
But at the beginning of the twenty-first century the role of the professional conservator should be
even more important. Conservators have the knowledge, understanding, skills and judgement to find
solutions; they are uniquely qualified to balance the demands of access and preservation, to prioritize in-
terventions and to judge what can appropriately be done by volunteers. There is some evidence that this
is happening. In French's case study she specifically describes her work as risk assessment. Commoner
(2006) and Paulocik (2006) both described how they responded with ingenuity to requests for creative

!I Personal communication, Ann-Rachel Harwood to Frances Lennard, March 7, 2009.

4 MA programmes at the Textile Conservation Centre, University of Southampton and at the Royal College of Art
and Victoria & Albert Museum.
5 Personal communication: e-mail from Alastair McCapra, former Chief Executive of leon, to Patricia Ewer, February
18,2008.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 11

and unusual exhibition techniques at the Cooper-Hewitt National Design Museum and the Metropolitan
Museum of Art Costume Institute, both in New York. Fenyvesi (2003: 33) , writing about the emotive di..-
play of rows of concentration camp unifonns on open display at the US Holocaust Memorial Museums,
said: 'So it was up to the conservator to help realize the designer's vision and preserve the uniforms at
the same time.'

Acknowledgements
Fig. 1.2 shows the Zenzie Tinker Textile Conservation studio.

References
Ashley-Smith,]. (1999). Editorial. V&A ConsenJatitJnJourna~ 30, 3.
Bell, F. (2009). From the President - Keeping our slice of pie. M ....eum, March-April, 71.
Brooks, M. M. (2008). Talking to ourselves: Why do conservators find it so hard to convince others of the significance
of conservation? In]. Bridgland (Ed.), Preprints, ICOM-CC, 2008, New Delhi (pp. 1131>--1140). New Delhi: Allied.
Bryk, N. V. (2001). Reports of our death have been greatly exaggerated: Reconsidering the curator. M ....eum Nl!Ws,
March/April, http://www.aam-us.org/pubs/mn/MN_MA01_ReconsiderCurator.cm.
Carter, G. (1987). Liaison dangereuse - Museum design and conservation. The Conservator, 11, 14-17.
Cembalest, R (2009). Reshaping the art museum. ARTnews,june, 76-81.
Chung,].,jobnstone, S., & Wilkening, S. (2008). M ....eums & Society 2034: Thmds and potentialJv.tures. Washington DC:
Center for the Future of Museums. American Association of Museums.
Commoner, L. (2006). A case of compromise: Working with guest curators. Postprints, Ale TSG, 2006, Providence RI.
16,21-30.
Cussell, S. (1998). Different methods or one of different choices. In A.. Tfmar-BaIazsy & D. Eastop (Eds.), Inlmla-
tionalPerspectives on Textile Conservatitm (pp. 108-110). London: Archetype.
Farrell, A, & Marshall,j. (1999). The endowment trend: Securing the future now. M ....eum News, july/ August.
Fenyvesi, L. (2003). Preservation of stripes, stars and swastikas. In]. Vuori (Ed.), Tales in the textile. The conservation of
flags and other symixJlic textiles. Preprints, NATCC 2003, Albany NY (pp. 31-36). Albany: NATCC.
Greenacre, M. (2005). Tyntesfield - Open to all. In A. Cogram & M. jordan (Eds.), opening up open disp~. Joint Forum
ofUKIC Textile and Historic Interims Sections, 2004 (pp. 41-44). London: UKIC TS.
Haldane, E. A, Becker, L., Ashbridge, R., & Monaghan, A (2007). Crossing continents: packing costumes for multi-
venue tours. In S. Thomassen-Krauss (Ed.), Facing impermanena. Exploring frrnJentive conservation for textiles. Pre-
prints, NATCC 2007, Washingtan DC. Washington DC: NATCC. Cd.
Keene, S. (2005). Fragments of the world: Uses of m....eum coUections. Oxford: Elsevier.
Koch, C. (1998). The contest for American culm.re: A leadership case study on the NEA and NEH funding crisis.
Public talk: The OnlineJournal ofDiscourse Leadership, Penn National Commission. University of Pennsylvania. www.
upenn.edu/pnc/ptkoch.html.
Kotler, N. (1999). Delivering experience: Marketing the museum's full range of assets. Museum News, May/June.
Leigh, D. (1993). The implications of competitive tendering for conservators. In F. Lennard & Z. Tinker (Ed•. ), C0m-
promising situatitms: Principles in everyday practice. Postprints, UKIC TS, 1993 Forum (pp. 11>--21). London: UIac TS.
Lennard, F., & Brooks, M. M. (2008). Looking forward, looking back: Revisiting the development of interlinked con-
servation and curatorial Masters programmes - A further perspective. In]. Bridgland (Ed.), Preprints, ICOM-CC,
2008, NI!WDelhi (pp. 109-115). New Delhi: Allied.
Merritt, E. (2006). This is not a test: Museums and heritage preservation. Museum News November/December.
Montague, M. (2005). Improving accessibility of a textile and fashion arts collection at the Museum of Fine Arts,
Boston. Postprints, AlC TSG, 2005, Minneapolis MN, 15, 53-{;2.
Nightingale, C. (2005/6). Designing an exhibition to minimise risks to costume on open display. The Conservator, 29,
31>--49.
Paulocik, C. (2006). Costume dilemmas: 'Dangerous Liaisons'. Postprints, AlC TSG, 2006, Providence RI, 16, 5~4.
12 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Reiter, S., Sutcliffe, H., Sutherland, K, & Price, B. A. (2005). Second time's the curse: The shattered silks ofSchia-
parelli. Pastprints, AlC TSG, Minmapolis MN, 15,43--49.
Spicer, G., Lahar, L., Adler, S., Scharoun, M., & Smith, D. (2003). Saving Maine's colours: Strategies in flag conserva-
tion & exhibition at the Maine State Museum. In J. Vuori (Ed.), Tales in the Textile. The Conservation of Flags and
()(her Symbolic Textiles. Preprints, NATCC, 2003, Albany NY (pp. 79--S6). Albany: NATCC.
Sykas, P. (1996). Vicious circles, or just running in circles. In F. Lennard (Ed.), Costume in Conl<xt. Pastprints, UKIC TS
1996Forum (pp. 12-16). London: UKICTS.
Thomassen-Krauss, S. (2001). The cost of conservation: Preserving a national treasure - The Star Spangled Banner
project. Pastprints, AlC TSG, 1999, St. Louis MO, 9, 19-24.
Wills, B. (2000). A review of the conservation treatment of a Romano-Egyptian cuirass and hehnet made from croco-
dile skin. T'Iu Conservator, 24, 80--88.
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Zusy, C. (1998). The stranger among us: Managing the guest curator relationship. Museum News, September/
October.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 13

Case study 1A

The textile conservator's role in

the project culture: three loan
exhibitions
Louise Squire

This case study focuses on one aspect of conservation and the 'project culture' (UKIC, 2004), that of preparing
textiles for temporary loan exhibitions. The author's experience of working as a freelance textile conservator
for three temporary, intemational loan exhibitions hosted at the Royal Academy of Art (RA) in central London
Is analysed. The work ranged from assessing the condition of loans, checking the condition of exhibits before
and after display, mounting textiles for display, advising on the choice and display format of potential exhibits
and accompanying loans as a courier. Working venues ranged from the author's private studio in outer
London, to the exhibition galleries In central London, to the overseas Institutions making the loans.
The Royal Academy was established in London in 1867, and is housed in Burlington House, an early
eighteenth-century Palladian House which belonged to Richard Boyle, 3'" Earl of Burlington. The RA is a
famous London Institution, with an annual 'open' summer exhibition and blockbuster, loan exhibitions.
Rather than having conservators on its permanent staff, the RA's practice is to employ a core group of
freelance conservators for its exhibitions. Subject specialists (e.g. conservators of paintings, papers, textiles)
are employed to meet the needs of each exhibition. This means that the conservation requirements for the
bigger exhibitions are usually met by a consistent team of freelance specialists.
For the past five years the author has been employed by the RA for the textile conservation work required
for loan exhibitions. This work has involved liaising with the RA's exhibition team of designers, curators,
collections and gallery managers, a core group of in-house art handlers and freelance mount makers (highly
skilled In the use of PerspexIPlexlglass™). Briefing takes place at meetings organized by the RA's exhibition
department and held at Burlington House in Central London. The RA exhibition team recognizes conservators
as professional consultants, whose opinions and advice are respected. Communication is promoted to
avoid problems at the Installation phase of the RA exhibitions and to ensure the best compromise between
preservation and display. In this context, effective liaison has proved to be an influential factor for effective
textile conservation.

The Turks exhibition: modifying costume mounts

The exhibition Turks: a Joumeyof a Thousand Years (600-1600) was designed to explore 'the art and culture
of the Turks from Inner Asia to the B05phonus over the thousand year period between 600 and 1600 AD'
(Royal Academy, a; Roxburgh, 2(05).' The main concem, from a textile conservation perspective, was how
to handle, mount and install a collection of magnificent but fragile kaftans (T-shaped garments) made from
brocaded silks, wool and fur, one of which was to be displayed vertically. These had been lent by the Topkapl
Palace Museum, Istanbul, Turkey. The designer's idea was to display the garments lying flat in a sloping
display (at an angle of 30 degrees from the horizontal), whilst the vertically displayed kaftan, viewed as a
centre piece of the exhibition, was to stand In a significant position In one of the main galleries (Figure IA.I ).

6 Turla: a Joumeyof a Thousand Years (600-1600), at RA.: 22 January-12 April 2005.

14 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure lA.l Ottoman robe with a padded form inside, displayed at a ~O degree angle, in Th1is: AJoumey ofa
TIIowand Yean 600-1600, Royal Academy of.Arts' Exhibition, 2005.

To display the kaftans to their best advantage from the perspectives of both preservation and appearance it
was determined by the author that custom-made internal pads were required to support the fragile and heavy
garments and enhance their appearance. tt was therefore arranged that templates would be taken at Topkapi
Palace Museum during the condition aHessment phase, prior to packing the kaftans for transit to London.
During the three-day visit made to Istanbul by the group of five freelance conservators and one member of
the RA exhibition team, condition assessments were made of all the objects. Relevant measurements were also
taken. checked and passed onto the designer, and any pOHible problems relating to display were identified.
As representatives of the Royal Academy, the conservators worked closely with the Topkapi Palace Museum
staff, who initiated criteria for handling and packing. Co-working with museum staff required tact and
diplomacy, e.g. in acknowledging the different institutional culture and local norms of object handling.
The condition asseHment of the kaftan selected for vertical display determined that it was structurally
fragile and would not withstand being simply hung on display as originally planned without substantial
interventive conservation treatment. Liaison with the designer and exhibition team at the RA led to the
decision that a new display case and method should be devised, rather than withdrawing such a significant
object from the exhibition.
During the three days' work at the Topkapi collection, the author made condition asseHments of 11
kaftans, and 2 talismanic shirts, and made templates of each one. The condition assessments formed the
basis of an illustrated report and the recommendation that the kaftans, including the one for vertical display,
would require custom-made, padded mounts if they were to meet the display requirements. The templates
were made in transparent polyester film (Melinex) by the author while at the Topkapi. On the basis of the
templates, the author designed padded mounb for the kaftans. On return to the UK. the templates were
used to prepare the padded mounts. so they would be ready by the time that the kaft,zlnS arrived at the RA.
The loan agreement between the RA and Topicapi Palace meant that the kaftans could not leave the RA and
so the mounts had to be made in the author's private studio and brought to the RA for fitting.
The couriers from the loan institutions supervise all handling of their collections. watching everything that
is done while the exhibits are mounted. Mounting the kaftans under such scrutiny was unnerving at first.
Co-working with the couriers and acknowledging their concerns earned their respect, and the courien; gained
confidence in the professionalism of tile UK's conservation team. During the unpacking of the kaftans, one
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 15

of them proved to be very creased. This led to the author preparing another condition report and a proposal
for a crease-removal treatment. The treatment, which had to be agreed by both the lenders and the RA,
was undertaken at the RA. When working at the RA, conservation materials and equipment have to be
provided and brought from the author's studio. Once the exhibition installation had taken place, the author
was contracted to undertake weekly condition assessments of all the textiles (kaftans and carpets), including
Inspections for possible Insect Infestations, and to attend regular review meetings with the exhibition team.

Matisse exhibition: influencing the design ethos

The textile conservator's role was slightly different In the exhibition Matisse, his Art and his Textiles: the
Fabric of Dreams, which was held in the much smaller setting of the Jilian and Arthur M. Sadler Wing of
Galleries, on the top floor of the RA. The ·core of the exhibition was Matisse's own working library - -rna
blblloth~ue de travail" - of fabrics, curtains and costumes' (Royal Academy, b) which had been packed away
in family trunks and store cupboards for the half a century since the artist's death in 1954 (Spurling, 2004).'
The initial brief was quite straightforward: first, to assess the condition of the textiles in the Musee Matisse
In France, where they were on display; second, to pack them In France for transport to the RA In London; and
third, to re-hang them, on open display. in the Sadler galleries. For display in the small provincial museum in
France, Matisse's textiles had been viewed simply as the artist's 'props' and were shown as they were found in
the family's possession. The RA staff had assumed that the textiles could be simply unpinned, moved and pinned
up in the Sadler galleries, but inspection of the textiles highlighted significant issues. The first was that several
of the textiles were exceedingly weak and one was hanging in shreds. The second was that some of them were
extremely thin and draped awkwardly. Third was that the display of the textiles as tatty props was not in keeping
with the style of RA exhibitions and the subsequent exhibition venue of the tour (the Metropolitan Museum,
New York). The author therefore prepared the necessary condition assessments, noting features of both condition
and appearance, but also adding recommendations for mounting, lining and interventive treatments, none of
which had been expected when the initial briefing was given. A meeting was held with the RA's exhibition team
and the author's recommendations were accepted and the exhibition plans were modified accordingly.
There was one week in which to gather together a team of textile conservators to make the textiles safe
for display, and to improve their appearance by mounting them appropriately for exhibition in a London
'fine art' venue. For example, In the original plan It had been decided that two moucharablehs (pierced,
lattice-like window-coverings) would be displayed, but both textiles were very weak, and there was not
enough time to treat both of them before the exhibition opened in London. One was treated and exhibited
In London; the other was not exhibited and was sent untreated to the next venue with support fabric, dyed
by the author, so that it could be treated with matching materials in New York. The treated lattice-piece
was exhibited at the RA in front of a 'light box' to suggest light coming from a window. The author's initial
concern about the effect of the heat and light was taken seriously by the designers. Conservators' advice
about lighting is respected at the RA, with the type, intensity and direction of lights modified to meet
conservation concerns.
The restricted budget for the Matisse exhibition meant that most of the textiles were exhibited on open
display (Figure lA.2). Regular surface cleaning was therefore required to avoid soiling that would damage
the textiles or disfigure or Impair the look of the exhibition. The author's work therefore extended to weekly
checks on the exhibited textiles and regular surface cleaning to remove air-borne dust.

The Three Emperors exhibition: meeting technical and cultural challenges

The third exhibition worked on by the author for the RA was The Three Emperor>, 1662-1795, held In the main
galleries of the RA (Royal Academy, C). This explored the artistic and cultural riches of Imperial China and exhibited

7 Matlsse his Art and his Textiles: the Fabric of Dreams, at RA: 5 March-3 May 2005.
l
16 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 1A.2 MatWc His..4.11 and his Thmw. Royal Academy of Arts' Exhibition, 2005: textiles on open display
in the Sadder Gallery.

over 370 treasures, including precious robes and palace furnishings {Rawski & Rawson, 20(6).1 It was acknowledged
at a very early stage in the exhibition planning process (in view of the 'last minute' mounting challenges
experienced in the previous two exhibitions) that the conservators would have to visit the loan institutions in
China early in the process. The team of freelance conservators, consisting of two object conservators, one paper
conservator and one textile conservator (the author), plus members of the curatorial, design and exhibition
team, visited The Palace Museum in the Forbidden City, Beijing. Hospitality was generous and cultural exchanges
were encouraged following local protocols; dialogue was made possible by the Chinese museum staff serving as
interpreters (Figure lA.3). The choice of exhibits had been made over many months during previous curatorial
visits; however. it was now recognized that object condition played an important part in assessing display feasibility.
In one instance, the condition of one textile led the author to express concem for its long-term preservation if
it were displayed at the RA. The lenders wanted to know why a textile, viewed as a national treasure in China,
would not be accepted for loan to the RA. Clarity and tact were required to juSlifythis curatorial-curn-conservation
decision. in order to reduce the risk of causing offence. while reducing the risk of damage to the textile.
The lenders stipulated that no stitching should be carried out on the textiles. This limited the range of
mounting options; for example, no contact fasteners (VelcroTM) could be used. However, this constraint led to
some ingenious solutions. The hanging display of an altar cloth was made possible after discussion between the
author, the designer and the mount maker, which led to the use of magnets to secure the cloth without stitching.
Such effective teamwork is one of the pleasures of working on these exhibitions. Another requirement of the
lenders was that the original fastenings should not be used; for example, the buttons on robes could not be
secured with their loop fastenings. However, a solution developed in China was demonstrated using temporary
ties made from custom-dyed paper so that they were well camouflaged. Another aspect of this exhibition work
was serving as a courier, with the primary aim of promoting object safety during transit (Figure lAA).

Discussion
It is important to consider the role of documentation in this type of work. Although conservation
education may stress the importance of recording objects in great detail, both as a process (to encourage

• The Three Emperors. 1662-1795, at RA: 12 Novambllr 2005-17 April 2006.

 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 17

Figure I.A.5 International, inter-dilciplinary liaiaon at The Palace Museum, Forbidden City, Beijing.

Figure IA." Crated o~ecb in transit; the comervator acted as the courier.
18 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

looking) and as an outcome (the documentation record) (Eastop & Similaa, 2007), in the case of such
exhibition work, the main aim of the documentation is different. The lenders generally know their objects
and do not require extensive object records. What they and the borrowers require is precise information
on the condition of the lent material, before the loan, after the loan has been received by the borrowers,
after the exhibition and after the return of the textiles to the lenders. This is so that any changes can
be monitored, accounted for and taken care of. Photography, in the form of digital Images, plays an
important role, with details of creases, stains, worn edges, loose fringes, missing fasteners, etc., making
up the majority of the records. Photographs are often taken as the packing crates and boxes are unpacked
so that any changes that may have occurred during transit are recorded. Such documentation is also
essential to ensure that objects are packed in the same way for return to the lenders. In the case of loan
exhibitions, documentation is a tool for condition monitoring rather than for making object records. It is
also important for UK government indemnity insurance, which stipulates weekly checks on the condition of
lent items.
As these examples indicate, conservators, curators and designers can playa significant role in national
and international cultural and political affairs. This calls for cultural sensitivity, and the appropriate use of
expertise and professional power. Sensitivity to the expectations of the exhibition visitors evisitor expertise')
is also useful. In the case of the Matisse exhibition, this involved recognizing differences in what was
acceptable at the Musee Matisse compared to what is expected of an international touring exhibition hosted
by the Royal Academy of Art and the Metropolitan Museum of Art. Diplomacy can be required to raise and
address such Issues In an effective way.
Exhibition work of this sort also necessitates being receptive to new ideas and different ways of doing
things. For example, all the large carpets in The Turks exhibition were mounted and installed by a team
from the Museum of Turkish and Islamic Art in Istanbul. They were not conservators but extremely
able weavers, and did an excellent job in mounting their textiles. Meeting the conservation, display
and insurance requirements of exhibitions demands effective compromise. This can be facilitated by
clear briefing, and building and sustaining professional relationships. It is achieved at the RA through
maintaining effective communication, supporting teamwork and demonstrating mutual professional
respect.

Acknowledgements

The author would like to thank Dinah Eastop for her encouragement and assistance in writing this chapter.
She wishes to acknowledge the kind permission of the Royal Academy in allowing the chapter to be
published and to all the textile conservators and staff at the Royal Academy for assisting in the mounting and
installations of the exhibitions.

References

Eastop, D., &. Simila, K. (2007). Documentation as process and outcome. In R. Varoli-Piazza (Ed.), Sharing conservation
decisions (pp. 114-117). Rome: I(CROM.
Rawski, E. S., &. Rawson, J. (2006). China. The three emperors 1662-1795. London: Royal Academy of Art.
Roxburgh, D. J. (2005). Turks. Ajoumeyof a thousand ye.113, 600-1600. London: Royal Academy of Art.
Royal Academy, a. Website accessed 18 January 2009. http://www.royalacademy.org.ukleventslexhlbitionslturks-a-joumey-of-
a-thousand-years-6001600-ad,121,EV.html.
Royal Academy, b. Website accessed 18 January 2009. http://www.royalacademy.org.ukleventslexhlbltlonslmatI5~Is-art­
and-his-textiles,120,EV.html.
Royal Academy, c. Website accessed 18 January 2009. http://www.threeemperors.org.uk.
Spurling, H. (2004). Material world: Matisse, his art and his textiles. In Material world: Matisse, his art and his textiles
(pp. 14-45). London: Royal Academy of Art.
UKIC. (2004). COnselVOtion and the project culture. Post Prina of the Conference held In Liverpool by UK/c. London: UKIC (DVD).
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 19

Case study 1B

Achieving access through

collection care, conservation
and display
Ann French

Introduction

The Whitworth Art Gallery (WAG) was founded in 1889 as The Whitworth Institute and Park, a memorial
to the industrialist. Sir Joseph Whitworth, in the form of a voluntary cultural, educational and technical
institution. The Whitworth was created to inspire the region's then textile industry, to give pleasure to
Manchester citizens and to instruct students and artists about the visual arts. In 1958 the responsibility
for caring for the Gallery and its collections was transferred to the University of Manchester, resulting in
significant development of its building and collections, including study room facilities to increase access
to the stored collections. Textiles have formed part of the Gallery's core collections since it opened to the
public in 1890, and form the largest and most comprehensive collection of flat textiles in the UK outside
London.
The importance and range of this collection, both geographical and chronological, as well as the facilities
for research, make it second only in importance to that at the Victoria and Albert Museum. Objects in the
collection, which number around 19,000, encompass post-Pharaonic textiles from Egypt. European textiles
and vestments from the fifteenth to eighteenth centuries, Mediterranean and Islamic embroideries from
the seventeenth to nineteenth centuries, the work of William Morris and other Arts and Crafts designers,
twentieth-century British furnishing textiles and contemporary art textiles. These collections are of
international renown and were 'Designated' as being of national importance in 1997 together with the
Whitworth's collections of historic wallpapers and water-<olours. However, the collections contain few textiles
produced locally and little western tailored fashion or dress. As such, they complement the textile collections
(predominantly costume) of Manchester City Museums and Art Galleries.
The Whitworth has always considered access to its stored collections a priority. The collections are available
by appointment to all, from school groups to academic researchers. This level of access is supported by
full-time specialist curators, a research library and a collections database that can be accessed through the
Gallery's website. In 2008 the Textiles Study Room received around 500 visitors.
The Whitworth has employed a full-time conservator for works of art on paper since 1983. In 2002
after 15 years of employing a part-time textile conservator, a full-time textile conservation post was
created. The conservation and collections care for the entire Whitworth collections, which currently
number 53,700 objects, is therefore provided by two conservators, with additional support provided by
a conservation technician funded through the UK government's Renaissance in the Regions initiative
and two technicians dedicated to delivering displays and exhibitions. Both technical and conservation
facilities remain basic, having been carved out of original office or basement space, making certain
activities and conservation treatments impossible. This case study will discuss how collection care and
conservation for textiles is delivered given the demands and challenges of access, lack of staff and
limited facilities.
20 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Access through display

The Whitworth has had a gallery dedicated to textile displays since the building opened in 1908, unusually the
first gallery on the visitor route through the building. The case fumiture and lighting have undergone several
modifications, most recently in 2005. The basics, however, date back to the modemization of the gallery in
the mid-1960s and comprise twelve 2000 mm high )C 750 mm deep 'cases', built into and around the original
Edwardian arched niches, six on either side of the gallery. The shape and size of the cases poses constraints;
there is space for light fittings above but the glass doors are awkward and opening tkem requires practice.
The 'cases' are supplemented by four wall display areas and two 'browser' or glass-topped, drawer-based
display units. After fifteen years with few display changes, Renaissance in the Regions funding, supplemented
by grants from a number of foundations, enabled a low-level refurbishment of the Textile Gallery in 2004-5.
This most recent refurbishment, undertaken with considerable user consultation, aimed to tackle clearly
identified issues: to provide clear thematic displays based on the strengths of the textile collection, to
improve the gallery and case lighting,. to enable regular and straightforward changeovers of the case
contents, and to improve and clarify access to and knowledge of the textile collections. Close collaboration
between curators, conservators and technicians was essential througkout, as was specialist knowledge of tke
collection contents and building limitations.
Eack case now houses approximately ten textile pieces. Tke case structure largely dictates the design layout;
large textiles kang on the rear wall of the case, with narrower or shorter lengths on either side wall, and
the floor of tke case is filled with textiles on free-standing mounts or stands, some of which are deliberately
placed at floor height to facilitate easy viewing for ckildren (Figure 1B.1 ). Four overarching themes kave been
identified witk three cases allocated per theme: 'Making Patterns witk Textiles', 'Textile Journeys', 'What do
Textiles Say?' and 'Textile Life Cycles'. Tke 'browser' drawer units feature more textiles on related themes such
as wkitework embroidery and lace, or textile printing.
An initial ambitious selection of textiles is made by tke curators; tkis is then rutklessly triaged by the
conservator to establish the level of conservation treatment or mounting required against time and facilities
available, with considerable discussion and compromise taking place to finalize the list. The underlying
assumption behind all conservation treatment is to concentrate on effective mounting ratker tkan interventive
treatment. Tkis involves calculated risk assessment for eack object to estimate how and whether the textile

I1gure IB.l The north end of Darbishire Hall, the textile: gallery at the Whitworth Art Gallery showing wall
cases, display mounting and browser units.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 21

might be damaged during the display period of three to four years. and whether the 'story' being told by the
textile requires illustrating with any specialist mounting, treatment or clelining. Conservation treatment is not
assumed or assured, and on average one to two objects in thirty will receive significant interventive treatment.
This approach is balanced against a growing acceptance that many textiles are fairly robust. and
that potential deterioration and damage can be controlled by other means. Another factor in keeping
intervention to a minimum is the realization that curatorial interpretation of a textile alters over time with
developments in academic and collection scholarship. Intensive interventive conservation can locate or fix
a textile to suit a very particular interpretation and thus prevent re-interpretation. Minimal intervention
combined with adaptive mounting allows new stories to be told without re-treatment.
The mounting methods used ,Ire kept simple and consistent, using a core selection of materials: card
tubes. cotton domette. polyester wadding. unbleached linen, fluted polypropylene (Cor~ and Tyvek•.
The display stands have evolved to their current specifications. Initially they were made in house from
formaldehyde-free multi-density fibre board (MDF) by the display technicians. but further steel versions were
made externally for a temporary exhibition Indigo: A Blue to Dye For in 2007 and these are now re-used
throughout the gallery .. nd for in-coming loans.
These stands, which can be re-sprayed to .. ny colour required. were designed in-house by conservators and
tedmidans bllsed upon the dimensions of the Whitworth standard card storage roller. They comprise three styles of
steel base plate. with upright short steel tube(s) welded in place. into which timber dowel. rut to whatever length
is required. can be inserted. Two kinds of br.lckets fit on to the upper end of the dowel. one that wps a roller .. nd
an alternatiYe version that can be screwed to MDF plates adhered to the reverse of fluted polypropylene textile
display boards. Matching hook supports for rollers, designed to SCA!"N on to walls. are .. Iso used. A combination of
these stands and brackets can be used for the entire textile collection, except for the few pieces of tailored dress for
which papier-machi! torso mannequins have been purdlased. Thus. a totally flexible display method has evolved
which can be used within and without cases (Figure 1B2). Although the mounting is usually carried out in-house by
conservators or by technicians, the simplicity of the majority of the mounting methods allO\/\lS mum preparation to
be carried out by volunteers or by students on uniwrsity vacation work without sacrificing consistency or quality of
finish. This allows the Gallery to provide useful work placements for local textile and museology students.

Figure 1B.2 Installation shot from the Whitworth touring exhibition Indigo: A Blue to.DJt! For showing multiple
adaptatiOD3 of the diJJplay stand using fabric-covered rollers, battens, padded rollers and coat hangers.
22 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

A few complex mounts are made by conservation staff with considerable assistance from technicians, but these
remain exceptional and are the result of careful planning of time and resources. Temporary displays of textiles
within other exhibitions In the gallery follow the same model. Colour can be varied according to display or
design need, as can the fabric covering the textile display boards, yet the core methodology remains the same.
The mounts provide an important benefit: the ability to install or move them quickly, easily and safely. This
has eased planning for display changes and for building work on several occasions since the gallery was re-
furbished, and for the entire de-installation of the textile gallery for the two-week period of the Manchester
International Festival 2009 event Marina Abramovic Presents... featuring live performance art. These features
of the core display method, based upon curatorial and conservation knowledge of the collections, together
with acceptance of the textile gallery's limitations, reveal the impact conservators and curators could have on
case and display design In general. The Whitworth methods have evolved out of compromise, communication
and debate, but enable displays to change easily and relatively cheaply and simply. A display and case design
imposed by an external party might easily not fulfil these objectives.

Access through storage

As stated above, the underlying assumption for the Whitworth's stored collections is that they are accessible
to all. Access is by appointment with curatorial staff who retrieve the textiles required. Until 2008. textiles
were made available for viewing and examination In the Textile Study Room, but recent Improvements to the
textile storage areas will enable additional viewing within the stores themselves from 2009. Storage methods
therefore have been designed as far as possible to facilitate easy physical access. This level of access remains a
key objective, in addition to preservation.
Being an Edwardian building and foundation, storage areas for collections at the Whitworth (whatever
the media) have been carved out of basement and other spaces. No area was purpose designed to store
collections, and the storage fumiture used has been designed around the space and location. The textiles
collection is stored in two areas of the building, the Textile Study Room and a set of interconnecting
basement rooms. The basement space has been recently expanded to Include an extra room. The division of
the collection is largely by size, with small or frequently requested textiles in the Study Room and large or less
requested textiles in the basement. The disadvantage of this arrangement to date has been the need to carry
textiles up four flights of stairs for viewing In the Study Room; there Is no goods 11ft.
Improvements to textile storage are a constant and continuous activity involving various staff. Ideally
improvements to location, to storage furniture and to storage methods would be in progress, but while a
change of location away from the basement would be desirable, It Is felt to be a long-term strategic goal
dependent on major, probably extemal, funding.
Improvements to the storage furniture are tackled Incrementally and with strategic application of
available funds. Designation Challenge Funding from 2000 to 2002, for example, enabled wholesale
replacement of the storage furniture in the Textile Study Room. Wooden cupboards housing deep and
heavy wooden drawers were replaced with mobile racking housing shallow polypropylene trays, shelves
and dress rails for the ecclesiastical textiles (Figure 1B.3). The choice of a tray mechanism, as opposed to
drawers, was a curatorial preference that enabled textiles to be easily carried to the study room tables
for access. Subsequent re-houslng of the collection In these trays continues. Experience has revealed that
more space efficient storage would have been created using a variety of tray depths, and this is now being
researched.
In the basement storage areas, much of the furniture does not meet modern conservation standards, being
timber cabinets for the rolled textiles or domestic-quality metal shelving for boxes. However, recent work on
improving storage methods is ensuring a clear set of criteria for improvements. The industrial grade shelving,
bought for the additional space, has allowed much of the domestic grade shelving to be removed from other
areas. The shelving was chosen to maximize the number of boxes stored, while allowing for no more than
two to be stacked at anyone time. New boxes that made the system modular were purchased. The space
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 23

Iigure lB.! Study Room sto~ uaing lift-out trays. MclinCll: decvea or MelinCll: and stockinette rollcn.

released has been dedicated to rolled storage, made easier by the design and production of a simple wall
bracket made by a local furniture company that can be attached to any available wall by the Whitworth's
technicians.
Current resources do not allow replacement of the timber cabinets and effort has therefore been
concentrated on improving the method of storage within them, while ensuring that this method is
transferable should funding materialize. This may now happen following a successful first-stage application
to the Heritage lottery Fund in 2009. Plans for improved access to the collection are included in the
whiteworth's 2010 Heritage lottery fund bid. Currently the cabinets largely contain rolled textiles, and
where possible, the same method and materials are applied to all. The latter have evolved to make
maximum use of volunteer labour (who frequently provide useful insights, especially into aCCeD iHues),
with curatorial or conservation supervision. Each element of the process can be carried out separately and in
volume, while ensuring consistency. Card tubes of identical diameter and length are covered with a barrier
layer of polyester film (Melinexe), before the textiles are rolled and covered with an outer transparent
wrapper of Melinex for ease of identification. The width of the Melinex is pre-purchased to the length of
the card tubes. UnieH the nature of the textile surface demands protection, no tissue is used for interleaving
to ensure easy and rapid return to store after unrolling (Figure 18.4). The same method is applied to textiles
stored rolled in trays in the Textile Study Room, but here the rollen are made from Melinex inserted into
tubular finger bandage, and the Melinex used for the study room trays is pre-purchased to the width of
the trays.
The major expenditure is for textiles that can lie flat in the study room trays where customized Melinex
sleeves are used. These are modular, ranging from one-eighth the size of the tray to the full size of the tray.
A 50 mm envelope flap along one long side enables easy insertion into the sleeves, and also easy retrieval
should this be required. Photography, in particular, is a frequent user request. No tissue is employed unless
absolutely necessary. Ease of handling and retrieval is prioritized; a degree of fibre loss is assumed and
accepted. Volunteen are used to sort and insert textiles into the envelopes, but the simplicity of the method
keeps handling problems to a minimum. Textiles that need to be stored in their frames, either to permit easy
24 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure IB.4 RoUcr storagc; effort is conccntIatcd on improving individual o~cct storagc, but within unauit-
ablc furniture.

access or because the frames are original to the works, are stored like paintings on mesh attached to walls
inappropriate for rollers, or on mobile racks made by the Whitworth's technicians.
These storage methods can be .. pplied to the majority of the textile collection using volunteers or staff on
a gradual and piecemeal .. pproach. It requires th..t a standard stock of materials is held, pre-purchased to
modular sizes,. that can be replenished out of an .. nnual budget when required. Improvements to storage can
therefore be carried out gradually in response to available labour, and can evolve to suit changing demands
and standards. Crucially, such gradual progress also permits the affiliated work of collections management,
such as location updates .. nd furniture labelling, to be carried out almost simultaneously. This work is assisted
by wireless computer access in the stores, the use of magnetic labels on metal shelving and laminated
photographs to help identify textiles.
Inevitably, there remains a core number of objects that require specific and complex storage supports. in
particular the contemporary works. the significant collection of Late Roman clothing and costume accessories.
Wherever possible these are placed within the existing storage furniture, such as the Study Room trays, but
with more customized storage supports. These suppom are often the result of the textiles being required
for display, and the display mount is carefully designed and made to double up as a storage support. The
opportunity of preparing objects for exhibition or display is now deliberately exploited to improve their
storage conditions,. as this is often the only chance available for considerable conservation time and attention
to be applied. All the Late Roman children's clothing was dealt with in this way. Alternatively complex
storage mounts have been made by conservation student interns.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 25

While not without its drawbacks, the Whitworth's approach to storage is based on a number of key
underlying principles, namely of access, a stock of basic and consistent materials acquired with available
annual funding, the use of modular systems and methods that can be applied by non-professlonals, and
consideration for Mure portability and adaptability. As with display, the approach depends on close
and honest collaboration between different teams of Whitworth staff and on having full-time dedicated
personnel In curatorial and conservation teams, who can supervise and train volunteers.

Summary

The Whitworth presents an example of how a sole conservator attempts the care of and penmits access to a
significant textile collection. The approach evolved assumes and depends on minimal amounts of interventive
conservation treatment based on risk assessment, concentrating rather on preventive approaches of careful
mounting for display and easy access storage methods. Both display mounting and storage share a core stock
of basic materials and are kept simple, requiring few specialist skills or equipment, although controlling a
consistent quality of finish is vital. Volunteer and student labour playa key role as does the close co-operation
and contribution of curatorial and technical staff. Knowledge of the nature of the collections and a clear
understanding and shared vision of how to achieve good access is shared. It must also be acknowledged that
the approach depends on a conservator being prepared to take risks and utilize all prior experience, which can
at times be personally frustrating as patiently acquired treatment skills become underused.

Acknowledgements

Thanks to all those at the Whitworth Art Gallery without whom no conservation or collection care of textiles
would have been possible: Jennifer Harris, Deputy-Director and Curator of Textiles; Frances Pritchard,
Curator of Textiles; Dominique Heyse-Moore, Assistant Curator of Textiles; Z~ Lanceley, Gallery Technician:
Conservation and Collection Care; Paul Smith, Danny Sheehan, Mark Buchanan, Joel Rogers, Gallery
Technicians: Exhibitions and Collection Care.

Case study 1C

A volunteer tradition: the

evolving role of volunteers in
textile conservation at the Fine
Arts Museums of San Francisco
Sarah Gates, Beth Szuhay

Introduction

The Fine Arts Museums (FAMSF) of San Francisco incorporates two museums at separate sites: the Palace of
the Legion of Honor in Lincoln Park. located on the peninsula headlands overlooking the Golden Gate Bridge,
26 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

and the de Young Museum in Golden Gate Park Museums. The Legion, as it is known, first opened in 1924.
It is an adaptation of the eighteenth-century Palais de la Legion d'Honneur in Paris and was remodelled and
rebuilt after the 1989 Loma Prieta Earthquake. It houses the Museums' European and Ancient Art collections
as well as the Achenbach Foundation for the Graphic Arts. The de Young, formerly the M.H. de Young
Memorial Museum, has been open since 1895. It was recently redesigned by the Swiss architectural finn
Herzog and de Meuron and rebuilt completely, opening again on its original site in October 2005. It houses
the Museums' non-western, contemporary and textile collections.
The Museums have a long history of utilizing the talents of volunteers. Today the museum-wide volunteer
count totals some 400 individuals in various capacities, though not including the docents who are part of
the Education Department. The Textile Conservation l..1b, as it has been called since the beginning. has
worked with volunteers since it was first organized in the early 1970s. The lab was founded and supervised
by unsalaried textile curator Ann.. Gray Bennett as part of the Decorative Arts Department. The first salaried
curator was hired in 1982 to work on the Museums' carpet collection. Three other unsalaried textile curators
were also on staff at this time. Following that, in 1987, the Conservation Department was separated from the
supervision of the curators. Although the Textile Lab is often spoken of as part of the Textile Department, it is
in fact part of the larger Conservation Department, comprising paintings. paper, objects and textiles.

Beginning the textile conservation volunteer tradition

The original group of lab volunteers was formed in 1973 to prepare the Museums' European tapestry
collection for the exhibition Five Centuri~ of Tapestry, which opened at the Legion in 1976 (Figure 1C.l ).
The exhibition included 33 tapestries and preparation included conservation, mounting and catalogue
photography. The exhibition was also planned to travel to three venues: the Memorial Arts Gallery, University
of Rochester, New York; the Fine Arts Gallery of San Diego, Califomia (now San Diego Museum of Art) and
the Dallas Museum of Fine Arts, Texas. The enormity of this task prompted Anna Gray Bennett to enlist help
from the community. At that time, there were still a lot of women who did not work outside the home and
who were at a stage in life to be able to volunteer; others were textile artists or talented needlewomen who
wanted to contribute to a good cause.
The names of 68 volunteers are listed in the catalogue that accompanied the tapestry exhibition, although
75 is the number most often verbalized. 'A group of intrepid but untrained volunteers, young and old,

Figure 1C.I Volunteer! repairing a tapestry in the public gallery, 1976.

 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 27

gathered to participate. Professional instruction came from Pat Reeves, textile conservator at the Los Angeles
County Museum of Art. The group soon learned the techniques of washing, blocking and mending tapestries,
and some members went on to learn the Intricacies of re-weavlng' (White, 1976). It Is estimated that 95% of
the tapestry conservation effort for this exhibit was carried out by the volunteer needlewomen.
As part of this volunteer enthusiasm. Anna Gray Bennett's husband Ralph joined in by engineering many
of the storage units, such as hanging chain racks, where the tapestries were rolled on tubes, suspended from
dowels and hung from each end to the chains on the rack. He also made a compacting storage unit which
housed the carpets and other rolled textiles, and was responsible for the building of all lab equipment such as
tables, carts, stools and a hoist for assessing hanging textiles before treatment. attaching linings and placing
Velcro for mounting. He was instrumental in working out how to install the tapestries for display. Much of the
equipment and furniture that Ralph built was still In use until the re-openlng of the new de Young In 2005.
By 1976, the volunteers were led by former volunteer and weaver Bruce Hutchison, who had spent a grant-
funded year in Europe learning tapestry conservation techniques. He returned to take up the first FAMSF
textile conservation post, funded by the City of San Francisco. While the 33 tapestries travelled nationwide In
1978, a smaller team of volunteers continued conservation work on other textiles in the Museums' permanent
collection. By 1979 the team was supervised by another former volunteer, Birgitta Anderton. a Swedish-born
conservator who had been raised learning textile skills and who had spent six months with Karen Finch at the
Textile Conservation Centre at Hampton Court Palace in the UK. Her education also included three months at
the Royal Armoury in Stockholm and a year of tapestry weaving instruction at West Dean College in England.
For the rest of the 19705 until her departure In 1985, there was a team of 20-25 volunteers, each giving
about five or six hours a week to the lab. In addition to this group there were fluctuating numbers of student
interns from college and university programmes statewide.
Supervised by the Head Conservator, and later also by a salaried Associate Conservator, along with several
textile curators. this team was responsible for many fine exhibitions and publications at both the Legion and
the de Young, showcasing the Museums' collections of costume, fans, hats and lace. In line with the original
mission of the volunteers, tapestry conservation continued to be a mainstay in the programme during this
time. The care of the tapestry collection was taken very seriously and induded the creation of tubular, cotton
sateen dust covers with hand-sewn bound buttonholes for the twill tape ties to cinch at each end. Both
curatorial and conservation volunteers kept volumes of handwritten inventories of the textile collection,
which served as the record of the collection until the registration department created a computer database.
Managing and working with volunteers as part of the conservation staff, as a way to carry out the Museums'
and department's programmes, had become a part of the Museums' culture. It was not so much a decree
from the administration, but an understanding passed from one conservator to the next.

Continuing volunteerism

Throughout the early 19805, the needs of the exhibition schedule, the maintenance of the collection and
the care of new acquisitions were met by volunteer labour. It was understood between the conservators In
the textile lab that if they wanted help with the workload, the administration would only support volunteer
help; no additional staff would be hired. The conservators and volunteers at this time were very proud of the
work they accomplished. The administration did not direct what the volunteers could or could not do, so the
conservators at this time made all the decisions as to how to use them. The conservators based the volunteer
duties on what had been past practice as well as on the needs of the department.
An abrupt change occurred In the mld-19805 due to the departure of the two staff textile conservators; the
volunteer team was disbanded and the lab essentially closed. The years 1985-117 were a time of transition for
the lab staff, with different conservators working on a temporary basis, and records of this time are sketchy
at best. At one point there was a paid assistant who oversaw the volunteers, although It Is unclear what their
duties were. later, a core group of four volunteers continued to serve the lab and spent time re-housing
fringed silk shawls that had been left discarded on tables from a curatorial survey.
28 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

By 1987 two conservators were again in permanent positions in the lab. Despite the Museums being
partially unionized, the directive from the Museums' administration to the two salaried lab staff continued
to utilize volunteers for any project, In any capacity, because additional assistance would not be funded. This
continued to create a team with a wide variety of backgrounds, from hat makers to tailors, ballet costume
designers and opera wardrobe managers. As before, many pre-programme and student interns came
through the lab. Students' studies were diverse; they Included students of exhibition design, museum studies,
anthropology and art history as well as those destined for conservation programmes.
By the mid-1990s the lab staff was purposefully reduced by the administration to a department of one.
It was about this time that the lab was charged by the Museums to start what is called a 'private lab'
programme, which continues today. In a model initiated by the Museums' paper conservation lab, private
conservators generate their salaries by treating material owned by private dlents and smaller Institutions.
Although more than one conservator works in the lab, the private lab conservator does not work on museum
projects unless there is funding to hire him or her. This creates a situation where the sole staff conservator
stili relies on volunteer labour to help with the maintenance of the permanent collection.

The textile lab's volunteers today

The only directive that has come from the administration about the use of volunteers in the twenty-first
century has been that a volunteer Is not to be used for work that can be or has been done In the past by
a paid staff person. This was raised in connection with the technician department, which is protected by
a union. Although the conservators are not unionized, the textile conservators had been using this as a
rationale throughout the late 19905 to the present in order to have conservators hired for conservation work.
rather than relying on volunteer labour.
There Is stili a place for volunteers within the textile lab, but the duties they perform are based on their
specific talents as they apply to the lab's needs. The team currently comprises five very dedicated and skilled
volunteers. Three of them began volunteering in the very early 19805. Another was recruited after being
referred by the other volunteers. The fifth, the husband of another volunteer, was brought In to keep the lab
accounts, which became quite complicated once the private lab programme began. The volunteers range in
age from 62 to 80. All are well versed in weaving, spinning, dying and sewing, skills which have been a part
of their lives since childhood. One Is a published author on textiles, and another could be considered a weave
structure expert; they are members of weaver's guilds, knitting clubs and textile study groups.
Since the mid-1990s, staff conservators have formalized the parameters as to how volunteers were treated
and what projects they worked on. The basic rules are never keep them waiting; always have projects
appropriate to their skills and interests organized in advance and ready to start upon their arrival; give them
as much cancellation time as possible; always be present when they arrive to start work and always have a
staff person supervising.
The volunteer team today works on a different range of projects compared with the team of the 19705
(Figure 1C.2). Generally conservation treatments, as well as exhibition Installation and de-Installation, are
the responsibility of salaried museum staff and temporary contract conservators. Under supervision the
volunteers undertake the following:

• archival storage projects Including custom padded hangers, muslin costume covers, and hat and shoe
storage supports;
• condition reporting new acquisitions about which they have expert knowledge; for example, the vol-
unteer who has a tailoring background writes condition reports for costume (the condition sections are
reviewed by staff conservators, including documentation of preventive incoming pest treatment);
• attachment of Velcro for exhibition of large hangings, including tapestry;
• supervised, non-<leadllne 'craft restoration' treatments such as knotted and woven 'plugs' for pile carpets and
• clerical work such as filing, label making, supply lists and record updating.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 29

Figure Ie.! Volunteers preparing cUlltom storage mounts for hats in the conaervation lab, 2009.

It was also around the mid-1990s that the intern programme started to become formalized. Portfolio reviews
were required for interviews in keeping with the prerequisites for entering graduate school. Interns came
from or were admitted to graduate programmes in the USA. Canada and the UK. Although originally they
had always worked unpaid, by 1997 the lab began a regular practice of seeking some level of funding to
support their work for at least a month or two. The volunteers contributed to the interns' experience, often
teaching them new textile techniques to build on their studio work for their portfolio.
By 2000 however, the parameters for accepting bath new interns and new volunteers were changed
because a previous intern falsely cited the de Young as providing conservation training that she did not
receive. In order to protect the Museums' and the lab's integrity, staff conservators realized that past practices
needed to change. Since then, r&um& are perused with more formality and caution. Portfolios are required
to prove established hand skills. Only interns who prove to be committed to pursuing entry into one of the
conservation graduate school programmes and who have unblemished referrals are considered. Only one
temporary volunteer has been accepted since that time, via referrals from other lab volunteers. although
there continue to be many letters of interest.

The future role of volunteers in the lab

The volunteers continue to provide a wealth of expertise and knowledge by bringing in their unique talents
within the fibre art world. Staff conservators gratefully acknowledge that many of the archival storage
mounts would never have been made if not for the volunteers' efforts; the Museums' budget does not allow
for many of the maintenance 8nd conservation issues of the perm8nent collection unless it accompanies an
exhibition. Staff conservators also realize th8t conservation treatment must be C8rried out by profession811y
trained conservators for consistency of treatment methodology for the collection 8nd in keeping with ethical
conservation practices. The evolution of the role of volunteers within the lab has proven this last point. In
1973, 68 volunteers began conservation treatments of 33 tapestries under the supervision of unpaid curators.
In the late 19905 conservation began on a series of three tapestries. Over the following 12 years, between one
and two formally trained textile conservators specializing in tapestry conservation carried out the treatment.
Although professional conservators provided the treatment,. volunteers still played a supporting role by
30 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

repairing slits under the supervision of the conservator, assisting with attaching the lining, and attaching
Velcro for exhibition.
The lab has changed the focus of volunteer activities from the Museums' policy of using them for any type of
work or project, to supporting the work of the professionally trained staff conservators within the scope of their
specific talents. For example, one volunteer with a tailoring background primarily works on incoming acquisition
condition reports and storage mounts for costume. Two others with expert knowledge of weave structure prepare
plugs for loss compensation on carpets. Although the staff conservators continue to work towards promoting
conservation as a trained profession, there is still a place for volunteers within the lab. Volunteers have provided
a wide range of expertise and knowledge as well as an esprit de corps that cannot be denied. And the volunteers
have expressed satisfaction in being able to put the knowledge they have acquired to use in the Museums.

Acknowledgements

The founder of the Textile Conservation Lab: Anna Gray Bennett. The current core of volunteers: Barbara
Arthur, Don Ellison, Kathy Murphy, Barbara Nitzberg, Jean Scardina.

References
White, I. (1976). Foreword. Five centuries of tapestry. San Frandsco: FAMSF and Charles E. Tuttle.

Case study 1D

Modern textile conservation at

the Victoria and Albert Museum:
roots. evolution and rapid
changes
Marion Kite

Roots

In order to understand textile conservation at the Victoria and Albert Museum (V&A) today, it is essential to
understand its roots and the massive changes which have occurred in conservation in general. and especially
In textile conservation, stili a very young profession spanning only the last half century.
One hundred and fifty years ago the V&A had workers, predominantly men, called 'repairers'. In 1856
the site thought most suitable for the 'Art Workshop' was a dark, damp basement. There remains very little
reference to the materials and techniques they used, although every medium and every type of work was
attempted, including: 'taking down tapestry in the Raphael Gallery, framing paintings in the North Court,
mounting miniatures in Reception. framing and mounting needlework in the North Court from 8 am to
8 pm' (Webber, 2005).
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 31

Textile conservation training at the V&A

During the 19605 and 19705 textile conservation training was undertaken in post and the textile conservator's
skills developed within the overarching professional frameworik but also to meet the direct needs of
the museum work required. Recruitment was at 'Assistant Conservator' level (the most junior grade and
equivalent to museum band 5 today) and it was usual for a trainee textile conservator to enter the post with
a first degree and highly developed practical skills within the field of textiles. Many came from Art School
badkgrounds with National Design Diploma, Diploma in Art and Design or Bachelor of Art qualifications
in Fashion or Textiles. These recruits had therefore studied history of art. textile history and the history of
fashionable dress and had gained many of the practical craft skills of weaving, textile printing, embroidery,
pattern cutting and drawing.
In-post training in the V&A during the 19705 was not unlike an apprenticeship, based around aptitude and
craft skills. Some formalized In-post training was provided In materials science and particularly In chemistry
if necessary. In the 19705 there were few textile conservation publications for the trainee to study. The basic
reference woriks of the day were 'The Rice Papers' (such as Rice, 1967, 1969), The Conservation of Antiquities
and Works of Art by Plenderleith (1956), Leene's Textile Conservation (1972) and Waterer's Guide to Leather
Conservation and Restoration (1972). The Crafts Council Conservation Science Teaching Series did not follow
until the early 19BOs (Moncrieff & Weaver, 1983; Newey et al., 1983; Weaver et aI., 1982).
After four to five years the suitably skilled Assistant Conservator was promoted to Conservator (equivalent
to museum band 4 today), and was considered suitably skilled and knowledgeable to take responsibility and
make informed decisions about the treatment of an object. A further 10-25 years was required to attain
the advanced skills, publication output and International reputation required for a further promotion to
Chief Conservator (equivalent to museum band 3 today). The training was influenced by the abilities of the
Individual and the needs of the worik programme. Publication was not mandatory but was encouraged. The
first formal qualification at the V&A was the Museums Association Certificate, which trainee conservators had
the opportunity to pursue. although many considered it irrelevant having gained promotion to Conservator.
The mlndset was stili very much that a position at the V&A could be a job for life.
By the mid-19805 the V&A also started to employ the first textile conservators graduating from formal
conservation training courses. From 1989, the Royal College of Art (RCA)N&A Conservation Course itself
provided postgraduate learning and research opportunities through partnership and collaboration with
leading museums and heritage organizations in London, and in association with Imperial College London
(Von Imhoff. 2009). The foundation of the MA experience was the use of the professional work environment
for learning, and each student was hosted by a leading conservation studio. This Integrated approach,
combining workplace practice and a programme of academic learning, produced graduates at an advanced
level. many of whom now occupy senior positions in the profession both in the UK and internationally.

Rapid changes 1980-2000: politics and focus on the visitor experience

In the early 19705 the V&A focus was on displays and gallery work. core collections and occasional small loans.
There were approximately eight permanent textile conservation staff plus a part-time seamstress who sewed
objects onto boards and made linings. Whilst all textile conservators were expected to have a broad skill
base, two worked permanently on tapestries and carpets, which were regarded as a separate specialism. The
conservator would discuss the object with the Head of Textile Conservation and with the curator concerned.
Close collaboration with curators was an essential part of V&A conservation work and continues into the
twenty-first century. Once a treatment had been agreed the worik commenced and went on until It was
completed. By today's standards the pace of professional life was slower, and although there were deadlines,
there were fewer conflicting priorities.
With dress, the conservator undertook the conservation and a curator usually mounted the garment,
but by the late 19705, a shift had occurred and textile conservators were becoming more involved with the
32 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure ID.I Evening dresa and rouleau belt by Madame Gres. The Cecil Beaton Collection. T.246V&A-1974.

mounting. This shift coincided with the re-display of Gallery 40, known as the Dress Courl:, the primary gallery
for dress and accessories (Figure 10.1 ). By its re-opening in 1985 costume mounting had been brought firmly
into the discipline of textile conservation, and complex underpinnings had begun to be developed to support
heavy dress objects for the 25-year projected life of the gallery. This work was assisted by the seamstress who
took patterns and made some of the underpinnings.
Within the VIA the first major multi-venue international tours started around the early 1980s and these
also influenced work practice. Conservators started to take on project management roles because of the
huge quantity of objects to be conserved, mounted, packed and made ready for shipment by a given date.
A more structured, businesslike approach was introduced into studio practice, with an understanding of
time management and the resource implications required to deliver a project to a deadline. There was also a
greater understanding of risk from handling and movement.
It is particularly relevant that from the early 19705 to the mid-1990s. many VIA conservators were
encouraged to undertake private conservation commissions in their own time. The ViA permitted studio
space to be used after hours, but many set: up well-equipped workrooms in their own homes. This out of
hours' opportunity not only increased the income potential but enabled an astute conservator to develop
business skills and widen his or her practical skills, leading to an increased speed of working, financial acuity
and an understanding of good business practice.
This privately gained experience reflected on the individual conselVlllltor's ViA work in a positive way. Some
built up personal reputations as specialists with particular types of objects and developed networks of contacts
in the museum and art worlds. Many also worked for other museums which had no in-house conservators.
There were very few formally trained textile conservators working in private practice during the 19705, and
for many museums and collections, these conservators provided an important service. Such was the demand
that under the direction of the Head of VIA Textile Conservation, Sheila Landi, an 'outside work scheme' was
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 33

set up, based in the V&A Textile Conservation Studio devoted to large objects at Osterley Park House. This
income-generating initiative enabled work on important large textiles from historic houses, the National Trust
and other national collections to be undertaken by freelance, trained conservation staff into the 19905.
By the time Lynda Hillyer took over as Head of Textile Conservation in 1989, the V&A had developed a
long-term future planning strategy for the systematic updating of suites of galleries; at the same time the
exhibition and loans programme was gaining momentum. The museum sought to consolidate its status as
an international museum with an unmistakable brand through a mark.etable commodity - its collections.
The success of the Hankyu loans programme. a series of five large multi-venue loans travelling within Japan.
pointed the way forward for making the V&A brand and its collections directly accessible the world over.
By the close of the twentieth century a change had occurred in the role of the conservator within the
context of engagement with the museum's overall strategy. Conservators had to make the shift from
concentrating on developing themselves as highly skilled specialists in a chosen area of interest to a deeper
understanding of how their role fitted into the overall strategy of the museum. Professional development
had to fit within these parameters to ensure the availability of knowledge and skills the museum would
require in the foreseeable future. The V&A exhibition strategy has led to focused research on, for example,
environmental conditions for display, dust monitoring and the effects of vibration during travel (Ashley-Smith
et aI., 1993; Shah, 2007).
The exhibition strategy has had a major effect on the textile conservators' worlk and has precipitated
rapid development in several areas. A greater understanding of the effect of environmental fluctuations
on textile materials has been developed. There has been targeted research into materials, Including those
from species of fauna used within textiles of all cultures represented in the V&A collections. Species'
identification has become an essential part of the travelling exhibition and loans programme so as to meet
the restrictions imposed by the Convention on International Trade in Endangered Species (CITES) legislation.
Costume mounting skills and packing methods have also undergone marlked development over the past
five to ten years (Flecker, 2007). In order to improve visual display, provide suitable support for fragile dress
and allow for the safe multi-venue transport of large numbers of dress objects, worlk practices have had
to be reconsidered to increase efficiency and improve practice. Freight charges are a major consideration
for travelling exhibitions and the conservator must bring skills to bear not only to keep conservation and
mounting costs to a minimum, but also to assist the technical services team by designing and manufacturing
soft packing to keep size and bulk to a minimum whilst still ensuring that mounted dress arrives at its multi-
venue destinations in a condition fit to display without further intervention.
Conservators also began to take a more important and active role in the interpretation and understanding
of objects. Pattern taking and facsimile making came within the remit of textile conseNation, as they were
regularly used in gallery display worlk as part of the learning and interpretation initiatives associated with
major projects. As a further demonstration of their strategic engagement, by the close of the twentieth
century conservators were beginning to be routinely invited to project meetings for most of the museum's
object-focused activities early in the development stages, and were represented on planning teams and
focus groups. Conservation input at an early stage had become recognized as an essential part of the
practical delivery and feasibility of any major project and an essential element for budget planning.

Textile conservation at the V&A, 2010

At the close of the first decade of the twenty-first century all work at the V&A is governed by the Strategic
Plan and the overall Future Plan development strategy. The underlying philosophy is rooted in making the
collections accessible, inspiring creativity and enhancing the visitor experience. The V&A is directly reliant
on government for annual funding, through the Department for Culture, Media and Sport. and has to meet
predetermined targets relating to visitor numbers and audience diversity as well as cost-effectiveness.
As an essential element of forward planning, conservation input to each project is now routinely estimated.
For the textile conservator this costing exercise breaks down into conseNation time. mounting time. mannequin
34 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

costs, materials costs, packing costs, condition reporting and documentation. Due to the enormous costs involved
it is finanaally desirable for each major exhibition to travel to as many international venues as possible. Multi-
venue International exhibitions also allow many visitors, who cannot travel to the V&A, to access the collections;
visitors are an essential element in meeting targets, so a strong travelling exhibition and loans programme is
likely to continue for the foreseeable future. In 2009 there were 14 international multi-venue exhibitions already
travelling with a further four or more likely to be added to the list over the next one to two years. Courlerlng,
condition checking and exhibition installation have become a routine part of conservation work.
In order to keep costs down, conservation intervention must frequently be kept to a minimum and this too
has led to a change in how V&A textile conservators select possible treatments. Less interventive treatments,
designed solely to make the object stable, are often possible if the mount provides full support to the object
concemed. If the object then also travels upon the mount handling is kept to a minimum and costs are
saved. In the current financial climate cosmetic interventions, which improve the overall appearance but
offer little improvement to structural integrity and stability, are less likely to be undertaken.
It is part of a conservator's professional responsibility to share their knowledge and research findings,
and certainly the grade individuals achieve is partly determined by the number of their peer-reviewed
publications. Today there are new opportunities for publication as on-line publications and short
contributions submitted to the V&A website are excellent outlets for busy conservators to share their work.
V&A career progression and grade are determined with reference to the V&A Conservator and Science
Excellence Model designed to work alongside the Institute of Conservation Accreditation scheme. This
excellence model precisely sets out the framework of skills and achievements required by each band or grade
within the V&A conservation structure.
In house resources for analytical research projects are limited, so it has become the norm to seek
collaborative partners from universities and other institutions with whom to develop mutually interesting
research projects which could not be achieved by any other means in the current financial climate (see the
case study by Haldane et al. in Chapter 6). Such collaborations also make V&A research more relevant to a
wider group of people. V&A conservators are constantly on the look out for possible partners and apply for
national and international funding to foster research.

Managing textile conservation

Since 2004 the new Fumlture, Textiles and Fashion (FTF) conservation specialist area has been part of
the Collections Services Division, which also includes Exhibitions, Loans, Documentation and Collections
Management, Technical Services and Photographic Studios. The FTF conservation team comprises some 20
permanent staff plus a number of contract workers, students and interns (Figure 1D.2), including freelance
conservators undertaking project-based contract work in their own studios. All the textile conservators
are able to mount costume but most are not as fast as the specialists. The skill base amongst the textile
conservation team includes the ability to deal with all textile materials, natural fibres, synthetic polymers, and
organic and inorganic decorative elements associated with textiles of the various cultures represented within
the V&A collections. Textile conservators are required to have broad general textile conservation knowledge
but several have also developed specialist expertise in certain areas, such as tapestry conservation, Asian
material, archaeological textiles, animal products and others. It is essential that specialist skills be shared so
that skills are not lost when a team member moves on.
With the overarching requirements of the V&A always in mind - the ambitious public programme, the
need to deliver within strict budgetary parameters and increasingly restricting financial constraints - there
has been a marked change in the management style of the Conservation Department. This swing towards
conservation as a cost-i!ffective business has been rapid and has escalated within the last three years as we
have moved increasingly towards a project culture.
Managing the FTF team, and particularly textile conservation, is centred on ensuring sufficient resources
are available to deliver the constantly evolving five-year strategiC plan, and the touring exhibitions and loans
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 35

Figure lD.2 A view of the V&A te%til.e conaervation studio.

projects. which are continually updated as new requests come in. The textile conservation work programme
is fully committed a year in advance. At a mid-ZOO9 planning update, textile conservation had work already
scheduled for the next two to three years for the full-time equivalent of 15 staff.
Managing the section's annual consumables budget is part of the Head of FTF's role. Budget bidding
and planning take place six months before the annual budget is allocated; strategic upgrades and ongoing
improvements to studio facilities and equipment must also be included. Since ZOO6 additional space has had
to be negotiated to accommodate the extra staff required. and for large object work. bulk materials storage
and completed objects awaiting installation or shipping. Business acumen and negotiating skills are essential
for a textile conservation manager as is the ability to plan at least five years ahead. Finite staff numbers and a
work programme requiring greater input than there are staff hours available mean that as well as treatment
compromises, contract staff are essential and these must be negotiated against project budgets and planned
for well in advance.
The textile conservators must work as a team and understand the common goals. All must be good at
time management. efficient adaptable and willing to constantly refine and re-asseH work practice in order
to balance budgets and deliver programmes on target. It is essential to constantly re-appraise the skill base
of permanent staff against future projects in order to ensure that skills are continually developed and in
place to meet the Future Plan as it evolves. Assisting conservators in continuous profeHional development is
therefore an important part of a manager's role. Textile conservators are encouraged to pursue professional
acueditation as they gain in experience; attaining this status reflects well on both the individual conservator
and the VaA..

Future skills needs

Textiles, and p.1Irticularly dress. have become increasingly high profile both within the VIlA and internationally,
and demand for dress display is high for the foreseeable future. New methods of interpreting dress to
36 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure lD.S Today conservators are frequently asked to mount dress 110 that it is fully supported but inter-
preted without a visible mannequin. Compare this style of mounting with the same dreM as it was displayed in
the Costume Court in the late 1980a (YtgUtt ID.I).

enhance understanding are also of high focus (Figure 10.3). An increasing amount of time is now spent on
costume display in addition to interventive conservation treatments. More textile conservators are required
to meet the increased demand, even though minimal interventive work is undertaken. The seamstress POst
which supplied limited technical assistance in the 1970s, has evolved into a major dress mounting specialist
role undertaken by four full-time staff. In the next five years it is likely that a team of five to six costume
mounting specialists will be required in order to deliver the VIA Future Plan and Public Programme.
The demise of training courses offered by the Textile Conservation Centre and the RCANIA has created
a particularly challenging situation for the VIA A way to ensure a continuity of suitable skills and trained
conservators must be found urgently. It is a paradox that good training takes time but new skill development
needs to be fast to be in tune with rapidly developing professional and museum needs. One practical solution
is to set up fonnal apprenticeship training undertaken over a minimum three-year period, including a solid
academic grounding and broad-based skill set which could be adapted and re-focused according to the
need to provide a highly skilled and adaptable conservator. Working in a busy studio alongside practicing
conservators. the apprentice would gain on-the-job expertise in project management as well as practical
conservation skills.
It is currently a paramount consideration that financial constraints curb intervention on many occasions;
risk of technical skill loss in the current climate is a serious concern. From a manager's perspective there is a
need to maintain a sophisticated and broad range of skills to better inform the increasingly complex decision-
making process; this is particularly important in a climate where more compromises must be made. A greater
knowledge base will make selecting the most suitable treatments and appropriate compromises easier and,
in the long tenn, provide greater safety for objects. A project-based staff culture has the practical effect
that the in-house core skill base is always being depleted. This could mean that there is a broader skill base
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 37

outside in the freelance world, but there are already insufficient numbers of skilled freelance conservators to
call upon. The most skilled are also in highest demand and not always available.
In recent years courses have not always caught up with the changes In the skills currently most In demand
within the museum culture. In order to satisfy a rapidly changing profession, future educators need to work
closely with those working within the sector who will be the future employers of students undergoing
training. The most serious challenge and pressing question which must be answered without delay is: where
will our next textile conservators come from?

References
Ashley-Smith, J., Martin, G., a Ford, D. (1993). Monitoring. packing and environment for multi-venue loans. Poster no 34, In
J. Bridgland (Ed.), Preprints. ICOM-CC 1993, Washington D.C. (pp. 905). Paris: ICOM.
Flecker, L. (2007). A PractIcal guide to costume mounting. Oxford: Elsevier.
Leene. J. E. (1972). Textile conservation. London: Butterworth.
Moncrieff, A" & Weaver, G. (1983). Science for conservatof.J, Book 2, deaning. Crafts Council.
Newey, C., 80ft, R., Daniels, V" Pascoe, M., &. Tennant, N. (1983). Science for conservators,. Book 3, adhesives and coatings.
London: crafts Council.
Plenderleith, H. J. (1956). The Conservation of antiquities and works of art: Treatment, repair and restoration. Oxford:
Oxford Univ.Bity Press.
Rice, J. W. (1967). Principles of textile conservation science, No. VIII: Dry-cleaning of fine and fragile textiles. Textile Museum
Journal.
Rice, J. W. (1969). Principles of textile conservation science, No. XII: Adhesives for textile conservation. Textile Museum
Journal.
Shah, B. (2007). V&A Analysis Report 07-61-85. Review of Dust Monitoring Exercises at the V&A. October 2007.
Von Imhoff, H. C. (2009). Aspects and development of conservator-restorer's profession since VvWU. e-conservation
magazine. No.8, pp. 53-61. http://www.e-conservationline.com/contentlvlewn17.
Waterer, J. W. (19n). A guide to conservation and restoration of objects made whol/YOT in part of leather. London: George Bell.
Weaver. G., Ashley-Smith. J.• Roy. A., Stanlforth. S.• & Barker. H. (1982). Science for conservatof3, Book ,. an Introduction to
materials. London: Crafts Council.
Webber, P. (2005). Rising damp - A history of the conservation department. V&A Conservation Journal, SO, 3--6.

Case study 1E

Entrepreneurship and
conservation
Patricia Ewer

Introduction

Of the thirty-six conservators represented in this book, twelve or one-third are in private practice, have been
in private practice at one time in their lives, or currently work in an independent lab. What this illustrates
is that private practice is in fact a quite common occurrence in the career path of a conservator. It can be a
valued and rewarding portion of - or perhaps your entire career.
38 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

How I became a business person

Those of us in textile conservation most likely started because of a love of textiles. The idea that this can
become a career comes later. The type of work situation that suits each individual is important and may not
be readily obvious. At first take, this work seems Ideal; we work In beautiful historic buildings surrounded
by incredible art. challenging projects, intellectually stimulating colleagues, being part of a prestigious
organization, exciting benefits like the potential for world travel and [perceived] access to important people.
In many respects it is not unlike a romantic novel (Cass, 1980). The work can also be isolating, tedious, mind
numbingly oppressive with bureaucratic management, physically challenging and dirty (Silence, 1999). How
does one progress from bench conservator to entrepreneur? Where can one use one's skills most effectively,
while providing a service and be financially rewarded?
My love of textiles brought me into the world of theatrical costuming. This career provided an exciting
opportunity. What I learned was that I could combine my love of history, art history and dressmaking to
formulate a viable career. I am amazed how many of us started in this business. Theatre also provided the
ultimate in problem-solving challenges, technically and financially (400 costumes in six weeks, four staff
members), beautiful surroundings, creative artistic colleagues, the ability to schedule my own time between
contracts and the benefits of free admittance to plays, operas, ballet and concerts. The reality was very
long hours, midland pay, short-term contracts coupled with the insecurity of needing to find the next job
and some unpleasant working conditions. This also taught me flexibility and fiscal responsibility, provided
me with an increased technical skill set and gave me the ability to hire the right people for specific jobs.
Unbeknown to me at the time was that this was all great experience for running my own business; a great
value to me, but what value was the client receiving? There Is no better affirmation about a job well done
than an opening night round of applause.

Transition

Now it was time for me to experience how museums are run. My first textile conservation position at the
Minneapolis Institute of Arts (MIA) was only part-time due to funding limitations. This position restraint led
me to initially do theatre costume work on the side. Soon I was asked by curatorial staff members if I could
assist certain donors and their private collections. This grew to fulfilling the needs of other underserved
Institutions In the Midwest, Including churches, private clients, galleries and historical societies. The need was
obvious. I could provide a needed service, and my affiliation with the Minneapolis Institute of Arts was the
marketing mechanism. Here was something else that was important to learn: how to get jobs.
This scenario Is not unlike the one Kite says existed at the V&A from the 19705 to 19905. There were other
permutations on this theme that occurred in the UK and USA as well (Gates & Szuhay, Chapter 1; Trupin,
2(01 ). Kite relates the positive effects and departmental benefits that resulted from the conservators
performing outside work at the V&A. What I recall from that period of my life was that the museum did
in fact benefit substantially from the good will generated by my working with their donors and other
institutions. I. on the other hand. was exhausted from working long hours. running between several
Institutions to make a reasonable wage, and received no benefits (health Insurance, sick days or vacation).
Yes I was fulfilling a need and providing a much needed service but to what end? This was a very good early
conservation business lesson. Luckily these types of situations are no longer prevalent in institutions; most
now focus exclusively on their own collections and hire full-time conservation staff If they have sufficient
resources and need.
From the Minneapolis Institute of Arts I joined the staff of the Textile Conservation Workshop. What was
remarkable about the workshop, and very good for me to learn, was the streamlined administrative processes
they used. They simplified the object tracking number systems and the treatment report templates. It was
fascinating. Work progressed swiftly and efficiently, as we were all Individually and collectively responsible
for the estimates on treatment time, but there always seemed to be plenty of time to thoroughly discuss
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 39

Figure IE.I Textile Conservation Laboratory, Cathedral. Church of St.John the Divine, New York.

treatment options with the entire staff providing input. Billable hours weren't discussed; there seemed to be
an overriding economic balance among the projects. Some treatments were more cost-effective than others,
which balanced against the ones that took more time. Balancing different initiatives was a very good lesson
to learn.
I was getting ready to leave the New York area but felt I should try to work with the late Bruce Hutchison,
Director of the Textile Conservation Laboratory at the Cathedral of St. John the Divine (Figure 1E.1). Bruce
was known for his tapestry expertise, which was also an interest of mine. This lab concentrated on large-scale
projects such as tapestries and rugs. The information gained here was more specific to treatment rather than
business. In an odd twist I think I was able to inform my dear friend Bruce about business principles rather
than the other way around. What I did gain from this experience was the realization of the amount of work
in need of treatment that existed not only in the Northeast, but across the entire country. At that time (early
1980s) there were three major textile conservation treatment facilities and a good handful of freelance
conservators. All were busy.
After I started work as a textile conservator at Biltmore House the idea of providing a service for an
underserved region came up immediately. During my first month in residence, a water disaster happened
across the State at the North Carolina Museum of Art in Raleigh. I was asked if I could help. The Biltmore
Company graciously allowed me to go and assist, never underestimating the positive public relations benefits
of such an endeavour. Requests for textile conservation work grew and grew as our tapestry project was
a favourite topic for the marketing department (Ewer & Ward, 1988). We seemed to be in the regional
media on a regular basis. I knew from my experience at the MIA that I did not want to work 'after hours'
especially while having a young child at home. The Biltmore Company also paid a very fair wage, so needing
extra income was not a huge issue. The Vice-President and I sat down and worked out a business plan and a
costlbenefit analysis to see if the department could indeed consider doing outside work for other regional
institutions and private clients while not neglecting the Biltmore's collections. On paper all looked good. The
lab was well set up with equipment; there was no extra investment needed there. An increase in staff was
going to be necessary. Luckily we had a bonus summer in 1990 with three pre-programme interns. One of
these students stayed on and another former intern returned after completing her master's degree.
40 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

What working at Biltmore House (1 988-2000), a for-profit organization, provided me with initially was a
steady stream of internal and external business-related educational opportunities. Two specific programmes
that I was funded to attend were the Duke University Program for Non-Profit Management and the Bell
Leadership Institute in Chapel Hill, North Carolina. The Biltmore Company was also very transparent with its
financial situation, sharing pertinent information with its entire staff. This gave me a clear understanding of
where resources were going and what the available limits were. As a management group we decided together
on the organizational focus for the coming year. Each manager or supervisor brought forth their section's
needs, negotiating for their priority projectJ. Textiles conservation was well funded during my tenure. We also,
as previously mentioned, were able to offer textile conservation services to a range of Southern museums.
This income funded SO% of our total budget. Ultimately, in the later 1990s other initiatives took precedence
over conservation for a time. M,magerial changes were not sympathetic to maintaining the outside business.
Although I knew it was a phase and conservation as a priority would come back after other initiatives were
accomplished, it seemed like a perfect time to venture out on my own. All the outside consulting work done
under the auspices of Biltmore, but now abandoned, seemed to indicate that this was the right time to begin.
After those years of working in the safe environment of different institutions I was ready to go on my own.
I ran a very successful business for three years. The third year is key in any business. That is the turning point.
when you should be making a profit,. and I was blessed with a core group of valued, profitable clients. The
experience of freelancing can be quite intense, rapidly shifting from intellectual solitude while trying to work
through a nagging and intractable problem, to intellectual stimulation while meeting with my clients and
colleagues at Michael C. Carlos Museum at Emory University (Figure 1E.2).

' .........-'"

Figure lE.2 Private practice CODllervator working on site, Chimu textile in the coUectiom of the Michael C.
Carlos Museum, Parsons Conservation Laboratory.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 41

I was pulled away from my business by the opportunity to work in my home state with an incredible
set of colleagues at the Midwest Art Conservation Center (MACC), which provided me with another
great business learning experience. MACC Is a large regional lab that provides a multitude of
services for paintings, objects, paper, textiles and an outreach programme that is fascinating and
complex. A conservation business on this scale requires professional management skills. Because the
organization Is well run and open and collegial, there Is a willingness to discuss and share some of
both the conservation and management principles. Perhaps because I had some academic and practical
experiences in business management, I was able to learn more about the professional management of a
conservation lab.
These experiences then culminated in the challenge of working overseas for Historic Royal Palaces. The
Conservation and Collections care section previously had a viable textile conservation business. The last
fragments of that business were still in the studio when I arrived. One of my remits was to see if the business
could be resurrected. Unfortunately our base costs had become too high, and with the large amount of
competition In the region we could not compete and offer good-quallty conservation at the low prices
offered by the regional competitors.
Today, I have returned to my home in Minnesota and once again set up a private practice. I have learned a
lot and have more I can continue to learn about business, and always textile conservation. It Is the beginning
of my third year, and a difficult year in this economic climate. I am blessed with a reasonable amount of work
and look forward to a profitable and fulfilling future.

Business lessons

Where Is the work? Have you established that there Is a need for your services In your specific area?
Big corporations spend thousands of dollars doing analytical studies of consumer needs, competition
and affordability. Just because there are important but badly degraded textiles in the local museum
doesn't mean someone should, or will, pay you to fix them. It Is not only the large museums with
significant collections that have needs for conservators. Numerous entities hold art, ranging from
private clients, corporations, religious institutions and small to mid-size museums. Most of these
cannot afford the skills of a full-fledged conservation staff. We provide value to these clients by
providing work on a fee for service basis.

• How do people find you? Marketing Is not a favourite word In our field. If you want to 'educate'
your constituency, so be it. Marketing can be done in many forms. How many people know what it
is you actually do for a living? Does your hairdresser. your grocer. your family. neighbours or church
members know what you do?1 gave lectures about the Triumph of Virtues tapestries at Biltmore
House to many Lutheran Churches in Western North Carolina. You don't have to put up a billboard
to let the world know that you have hung out your shingle, but you do need to let the world know
somehow.
• It is not about the textiles. We may wish it to be so, but it is about the needs of the owner, stakeholder
or client. What are their needs, and how can we help them help the textiles? First and foremost you
must designate who that stakeholder is, whether in the museum, regional lab or private sector. In large
organizations it could be a number of people. a single individual or a group - curators, educators,
administration, directors, design, marketing and even retail. This Is particularly Important for the
contract conservator to work out quickly.
• What exactly is the work that needs to be done (Spicer, 2006)1 Can you do it or do they need another
specialist? How much are you charging (Wellnitz, 2(01 )? Have you done a business plan that delineates
how much you need to live on, your overhead expenses, and any needs for unusual equipment? Are you
prepared to start recording billable hours, and sticking to your billable rate7 What are your colleagues in
your region charging?
42 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

• Think about the work environment. Do you like working alone? Do you have colleagues to consult when
you need conservation assistance? Will they be there to provide some of the emotional support that you
almost certainly will need from time to time.
• can you make it three years until you make a profit? Do you have the resources to survive during the
difficult first years?

What I learned is that business is a distinct discipline not unlike conservation. There are methods, skills and
references that can enhance the growth and development of an entrepreneur. I am not saying I am the most
successful example of an entrepreneur, but I thoroughly enjoy the challenge and work.

Business resources

Aside from the educational opportunities afforded to me while at Biltmore, I since have found many other
resources. When I first decided to go Into private practice In 2000, free business classes were being offered
from our local community college as they were encouraging economic growth in the area. These were
extremely useful as an Introduction to the greater network of Individuals whose services you may need such
as accountants, lawyers, website designers, marketing specialists, graphic artists and photographers.
Another tremendous source of information for private conservators in the USA is the sub group of the Ale
Conservators In Private Practice (CIPP). CIPP was established In 1987 because the majority of AIC membership
was made up of conservators who worked for institutions. and private conservators wanted to have their
needs addressed. In essence CIPP strives to provide support for conservators in private practice. to provide a
forum for discussion of their Interests, to support the AIC Code of Ethics and Guidelines for Practice, and to
support just and equitable business practices. At their annual meetings the group provides its members with
information about business topics such as record keeping. legal issues. insurance. employee recruitment,
and marketing and public relations. They also Include topics such as how a private practice conservator may
acquire scientific testing. They have a large archive of materials and engage in lively discussion on their
cippnews emaillistserv. Other educational programmes available to all AIC members are the FAIC on-line
courses Including such topics as Establishing a Conservation Practice and Marketing for Conservation.

Other conservation business models

If going into private practice totally on your own does not appeal to you. there are many scenarios of
businesses that offer conservation services to a variety of clients outside the Institutional museum realm.
There are very large and small non-profit practices such as those belonging to the US Regional Alliance for
Preservation (RAP), large and small for-profit practices and individuals who may need short-term help. Some
of the larger conservation organizations do not have textile conservators and contract textile specialists if
needed. The individual practitioners are never non-profit (we must pay our bills) and work in a variety of
realms, either for specific Institutions on site, In separate studios or out of their homes. These models are
much the same in the UK and USA.
What all these scenarios represent is business. Business means work in exchange for money. while
acknowledging competition In the market place. How does an organization or Individual profit from the
work experience in the best possible way, while providing best practices?

Conclusion

In the economic climate of 2009 conservators are being laid off or made redundant. It Is a very difficult
situation for the individuals, but ultimately the institutions must survive and increased job potential hopefully
will come about again. This not only relates to large museums but mid-size to small museums. conservation
laboratories (profit and non-profit) and studios and Individuals In private practice. With the recent economic
circumstances there may be many more conservators entering private practice. Textile conservators are
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 43

flexible. creative and intelligent. There is plenty of information available on starting a business. It can be
done on a small conservative scale to start and grow in a moderate, sensible manner. I have found that being
In private practice Is a rewarding experience that provides me with the ultimate flexibility to pursue other
interests. It also needs to be said. we may be competitive by nature. but no matter how conscientious we are
with preventive techniques, textiles will continue to degrade. There is plenty of work for everyone.

References
(ass, Z. (1980). A Twist in the Silk. London: Granada.
Ewer, P., a Ward, S. (1988). Tapestry conservation at Biltmore House. The International Journal of Museum Management and
Curatorship.
The Foundation of the American Institute for Conservation (2009). www.conservation-us.org.
Regional Alliance for Preservation (2009). www.rap-arcc.org.
Silence, P. (1999). A dlS8Ster1lnjurlng ourselves through the work we love. Postprlnts, AlCTSG, 1998, Arlington VA,8, 79-83.
Spicer, G. (2006). Mounts altered: mounting textiles to meet the needs of clients. Postprlnts. Ale TSG, 2006, Providence RI,
16.1-10.
Trupln, D. (2001). The saga of New York State's battle flags: how to fund conservation for a 'Herttage at Risk'. Ale TSG
Postprints, 1999, st. Louis MO, g, 49.
Wellnitz, S. (2001). A balancing act: determining textile conservation treatments working within budgetary concerns of the
client and the Textile Conservation Center. Ale TSG Postprints, 1999, st. Louis MO, 9, 53-58.

Case study 1 F

Project planning and

management
Ksynia Marko, Claire Golbourn

Introduction

Project management is a discipline required for the planning, organizing and managing of resources for any
sized project Involving one or more pe",,"s. The aim Is for the successful completion of specific objectives. We
are all probably managing projects without realizing it. Qualifications for project management can now be
obtained through the professional associations, but few conservators are actually trained as project managers;
rather they acquire the skills over time or they find themselves acting as project managers almost by default.
In a large studio several projects run simultaneously, each with its own project manager, that in tum are
co-ordinated by a studio manager. The studio manager must accommodate the varying needs of each project
whilst working within the constraints of available resources and fixed budgets. All this can be quite complex,
but even if a conservator is working alone, perhaps in a freelance capadty, the desired outcome is the same: the
project to be completed on time. meeting quality objectives and within budget (Harper-Smith & Derry. 2009).
The need for good project planning and management within the heritage sector has grown over the past
20 years due to the demands of greater accountability and public access. It is now rare to be able to spend
unrecorded time on conserving a single object at leisure. or to conserve something that Is In store and simply
44 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

part of the collection. Competitive tendering is now commonplace with the emphasis on value for money,
costing work to a pre-determined specification and undertaking the work within a set time frame.
The greater emphasis on collections surveys coupled with exhibitions, loans and needs of objects on
permanent display have helped to prioritize our work. Objects, like conservators, now have to work for their
living and justify their existence. The number of support teams and wider stakeholders engaged with an
object or event has grown and the conservator Is often one amongst many having to respond to the demands
of a project. Planning and clear communication are vital.

Project plan

Projects come in all sizes. from the building of a new museum or the acquisition of an historic house to
the conservation of small individual items required for display. Projects may be undertaken by teams or
individuals. The reason for conservation, whether preventive or remedial. dictates the planning process.
The project plan defines the overall outcome, but Is likely to change over time; this Is where management Is
important. Successful planning relies on realistic assessments of ability, capacity, timescales for treatment and
available budgets (see project 2). The conservation of complex objects may first require an initial pilot project
to Inform treatment proposals and tlmescales, before a full realistic project plan can be devised.
Embarking on a project assumes some sort of physical or intellectual change process; the object is physically
changed through conservation and display coupled with an intellectual shift in perception through research
and participation. Change could lead to chaos If alms are not clearly defined. There may be resistance to
ideas which need to be sensitively managed. Regular interim reviews of how things are going can eliminate
concerns and re-invigorate the team (see project 2).
The following factors need to be considered when planning a project:

• What are you or the team trying to achieve? The aim or required outcome should be clearly defined
and agreed by all concemed.
• How much time is required? Start and end dates, not only of the overall project but also of elements
within it. should be defined. The end date may not be easily changed, e.g. the opening of an exhibition,
and may also be dictated by the start of the next project.
• How will you or the team carry out the project? Tasks should be defined with timescales and priorities
determined. If everyone feels Involved, there will be less resistance to change.
• Who will do what? The roles and responsibilities of team members need to be defined from the start. It
will help to consider the team's strengths and weaknesses. No assumptions should be made as to
knowledge and technical abilities. The team leader must be able to delegate where possible and when
required to ensure tasks are manageable. It is essential to recognize that individuals may have concerns
and require support. Team members should try to be flexible to additional demands, accommodating
as much as Is realistically possible but not being afraid to say 'no', making reasons clear. The team may
require training in the use of specialist equipment or site.,.pecific procedures. If volunteers are part of the
work force, they will also require careful training and close supervision.
• Are all necessary resources, equipment and materials available? Ensure adequate lead times are built Into
the plan, for such things as the design and manufacture of display cases, custom-made fabrics and mounts
and anything involving another contractor.
• Does the project require health and safety assessments and audits? Projects involving chemical processes
or treatments, the moving of heavy equipment and the use of tower scaffolds and ladders will
necessitate the compilation of risk assessments. It may be necessary to take steps to reduce risks. This may
be as simple as making the team aware of the risks or may involve specialist equipment and training.
Health and safety is now an important aspect of our work which may simply have been overlooked or not
considered a few years ago. It can often seem onerous, but If It becomes a natural part of the planning
process, the team will feel confident and secure, allowing work to proceed smoothly.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 45

• Are you tracking the project phases and planning contingency? TIme management is important, as one
process will affect another. Contingencies allow for possible delays or unforeseen circumstances. In reality
a large project nearly always requires a minimum contingency of 15% extra time, especially when
working towards gallery or exhibition openings.
• Are you creating clear lines of communication and providing regular updates? Complex projects
will Involve many people with different expertise. Assumptions should not be made about levels of
understanding. This is especially true when working with non-specialists and less experienced team
members. to ensure that aims and expectations are clearly understood by all concerned. There may
be opportunities for communicating conservation to the public, by allowing them to see work at
different stages of a project; this has associated time and budgetary implications. All those involved
In the project need regular updates. Decisions taken need to be recorded and the project documen-
tation circulated to all concerned; minutes of meetings are important for the recording of decisions.
Regular review meetings provide reassurance for all involved and ensure any problems can be
rectified quickly. If potential difficulties are encountered the client must be notified without delay;
early warning is everything. The project manager should also consider the right time to hand over
information: too soon and it may be lost or forgotten. and too late and it may delay the project. If a
large project Is split between two studios, the lead studio must ensure quality control through
constant dialogue.
• How are budgets being managed? Procedures should be agreed, budgets delegated where necessary,
all costs must be accounted for and any changes reviewed and agreed. No assumptions should be made,
especially as to the amount of information required by the client, financial adviser and other team
members.

Projects sometimes need to be phased and completed over a number of years, allowing for the costs to be
spread and for fund raising to be carried out. This can make planning challenging; the lack of a fixed end date
makes flexibility essential. In this situation it is necessary to maintain the momentum of the project over time
regardless of delays and changes of tactics and priorities. This requires dedication. enthusiasm and retention
of vision. Communication Is vital, even If detailed planning proves difficult.
Often time constraints prevent a final project review, but it is essential for future planning to learn from
experience gained before. during and after each project. This is an opportunity to assess how the final
outcome related to expectations of quality, time and budget and whether lessons were leamt. The review
should be informal and can be used as a chance to thank people as well as to review performance.

Context for case studies

The following case studies are of projects taken from the authors' experience as conservators working for the
UK's National Trust, a registered charity founded In 1895 to look after places of historic Interest or natural
beauty permanently for the benefit of the nation, across England, Wales and Northem Ireland. Its properties
contain textile collections of international importance, numbering well over 60,000 individual items. The
majority of these often unique objects remain on open display In the houses for which they were made or
acquired. Visitors can admire grand furnishings such as state beds, fine tapestries, carpets. embroideries and
costume as well as ordinary domestic items.
The Textile Conservation Studio is run as a business enterprise, serving both the needs of the Trust and
private clients. All costs are covered by the work undertaken. The studio employs professionals who carry out
treatments and guide and train property staff In the care of textiles. Other training opportunities are offered
through internships and short-term placements. The studio manager has overall responsibility for planning
the work programme. for setting and monitoring annual and project budgets, and for quality control and
deploying conservators when and where required. Individual projects are run by the elected conservator who
takes on the role of project manager reporting to the studio manager (Figure 1F.1 l.
46 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure IF-I A team of conserw.tors working together to meet the project deadline for a set of embroidered
bed curWw.

Project 1: Seventeenth-century English Mortlake tapestry from Cotehele. Cornwall

Cotehele was built between 1485 and 1539. Apart from important embroidered bed hangings and
upholstered seat fumiture its walls are covered with tapestries, mostly dating from the late seventeenth
century. The focus of this project was the treatment of one of a set depicting the story of Hero and Leander,
woven in wool and silk. which had suffered from failure of previous stitched repairs and the breakdown
of adhesive covering 70% of the reverse. A large section at the lower right corner had been cut out and
patched with plain tapestry weave fabric. The tapestry was heavily soiled and discoloured rendering the
design almost unreadable. The aim of the project was to reverse the previous treatment. to clean the
tapestry and to undertake a full stitched repair, allowing for some form of infilling of the large missing area
to improve visual appearance.
The conservation was undertaken as a result of a tender or bid process whereby the treatment was
in part dictated by the specification. The formal process asked for the inclusion of client visits, detailed
documentation and supply of regular bulletins for public engagement purposes as well as the timing of the
different stages of conservation, each of which had to be priced on a bill of quantities. This in effect set out
the budget and project plan with start and end dates.
One aspect of the project plan was the adhesive removal (Figure 1F.2). The methodology involved a
repetitive task shared amongst a team of six people which itself required careful planning to meet the
objective and timescale for wet cleaning. To allow the work to continue when the project leader was
absent, detailed instructions were written to ensure everyone was working to exactly the same standard to
achieve the same result. Materials were accounted for to ensure the budget was adhered to and information
gathered for future reference. Individual concerns about health and safety were met by writing risk
assessments and ensuring everyone was comfortable with the use of fume extraction equipment. tt was
essential to create a rota and not to overestimate the time each person could work safely on the task in one
day. Personnel were closely monitored during the process.
Another process which required careful planning wu the creation of .. photographic patch to infill
the large missing area. This involved several stages: liaison with a professional photographer, arranging
access to view a tapestry at another site for the purposes of photography. discussion with the printer and
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 47

Figure IF.I Training given in the uac of safety equipment and monitoring for adhesive remowl phaae of
Cotehele tapeatry project (Project 1).

finalizing fabric and colour choices. The process proved to be slower than anticipated and therefore required
agreement with the client on an extension of time on the overall project. Another reason for extending the
project was the additional work found when the adhesive patches were removed. This work also had to be
casted and agreed as extra to tender.
The overall stitch support required careful time management and quality control. as this is often open to
individual creative interpretation. Simple stitch guides were used to control spacing of stitching, ensuring
uniformity of work from one person to another. An easy way of ensuring the project was running to plan
was the creation of a chart detailing the number of tapestry sections and the time taken for each with
infonnation plotted on a graph in relation to the estimate (Figure 1F.3). Where objects can be treated in
measured sections this gives a quick visual representation of the project progression.
As in any project conservators managed their own time. Personal daily time sheets with details of tasks
are transferred to a job or project sheet (Table 1F.1 ). Materials used are also recorded. All these records go
towards invoicing. For long projects the frequency of invoicing is agreed with the client to ensure regular
cash flow. Staged payments are another ingredient of successful project planning. A simple financial
spreadsheet ensures actual costs are checked against the budget balance.
A particular aspect of this project was the need for detailed planning of processes within the overall project
plan. Specialist equipment allowed for safe working. and therefore risk factors were minimized and the team
fett secure. The roles and responsibilities of team members were clearly defined, and communication and
close liaison with the client were essential.

Project 2: Packing up for building works at Snowshill Manor, Gloucestershire

Snowshill Manor is a house crowded with one man's spectacular collection of artefacts, representing
craftsmanship and design in a variety of materials from across the globe. Charles Wade amassed the
collection from 1900 until 1951 when he gave it and the manor to the National Trust. By the 1990s
the electrical wiring, fire detection and security systems were inadequate and unsafe, and parts of the
internal structure of the building were deteriorating, resulting in a high risk for visitors, staff and the
collection.
48 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

BUckling Mortlake Tapestry Stitching time

~'r--------------------------------------------

'OO,t-------------------------~~---------------------­

'OOt-----------------------~t__+\---------------------
, " r-.
"O,t-------~c_----------_1~--HC--~----------------------

~ "Q "'/ \ /\
.~ 100 II \ / ~ I-- ESfi malcd Hours

6=:;=7'/_ _ _-\:~-:::;/~~:===:_--
L j---- - -\-'.:=l\'/ \ _ A"", Hoo",

OOt------------------------------------\~
,/-~
\ ----\~
"I-----------------",
"' ~-- \
2Ot--- - - - - - - - - - - - - - -"--
----=-
o ~~~~~~~~~~~~~~~~~~~~
2 3 4 5 6 7 R 9 10 11 12 13 14 15 16 17 16 19 20 2 1 22
Section Number

Figure IF.! Example of a graph uaed to monitor estimated hours of work. against actual hours per 20cm
section of a tapestry (Project 1).

The project mission was to pack the entire collection of some 25,000 items to enable the renewal and
installation of services to be carried out. Multi-disciplinary teams of both internal and external conservators,
property staff and art handlers worked together, carefully packing and transporting objects to an off-site
store. The aim was to empty tke building in a given time, record and store objects safely and return them
without damage after completion of building works.
The project team was led by the project director with overall responsibility for setting the brief and
objectives and for ackieving tke desired result with assistance from tke project board. The board was made
up of a further six people, four of wkom were responsible for their own budgets, split between the needs
of the building and tke collection. Tke appointed project conservator was tke key person on site during the
packing up of the collection and was responsible for communication with tke board.
Tke project was split into five phases. First,. the initial evaluation and costing was carried out. Advisors from
each conservation discipline visited the property beforehand to assess numbers of objects,. packing requirements.
time and materials required. This was carried out some three years in advance of the initial project start date.
Second. a day-to-day. month-to-month timetable was created for the packing and removal of tke contents.
allowing a period of seven months for completion. Teams of conservators from different disciplines were
allocated specific periods of time. The house was divided into various activity areas for packing and labelling
and tken for collection and moving to the waiting removal vans. A form of documentation was identified
and was adhered to by everyone on site to avoid the possibility of losing track of objects in so large a
collection. Fixings wkich were fragile or missing. requiring attention before re-display. were noted. It was
essential to identify and make space for objects needing immediate attention before packing if they were
found to be mouldy or damp. It was necessary for tke project conservator to lay down strict rules and also to
be able to respond to the needs of tke moment.
Third. the replacement of services and conservation building repairs took place wkile objects were in store;
this kad its own project team which also reported to the project board. Regular monthly meetings for all
team members were essential, and it was found that the inclusion of appointed contractors and consultants
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 49

Tabla 1F.1 Work shHt anabling COMelYaton to kHp track of houn ah...dy worbd
on a project and those remaining

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50 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure IFA 'Iextile comervators working on site at Snowshil1 Manor during re-instatement of the contents
(Prqject 2).

was critical. Monthly reviews of financial plans were undertaken with a continued assessment of priorities
with minutes of meetings circulated. Fourth, teams returned on site over a period of five months to unpack
and redisplay objects transported back from store (Figure 1 FA). The fifth phase was the post completion
contract for snagging of building works during the retention period.
Project reviews were carried out at the end of each phase of work to identify good practice and the
improvemenb required. There were several lessons learnt and the final debriefing review was an essential
and important part of the project. The following are just a few examples taken from the final review.
Because the project focused on the building works no provision had been made for b.isic conservation
of the contents, although some essential work was carried out during re-display. Also, whilst the removal,
storage and return of contenb had been resourced and planned, the curatorial requiremenb of the project
had not. Significant extra time, effort and re-allocation of funds had to be allowed for curatorial input.
Time should be allowed to establish and develop a project team prior to the start date. This encourages team
working and understanding of individual roles. Role profiles were produced to clarify responsibility and dedsion
making. Agreement by the whole team on the objectives of the project was critical. However, the expectation of
what could be adlieved varied between team members, which reinforced the need for clarity of the project brief
before planning any detail. Project milestones were identified for crudal stages and proved to be a k.eyto success.
Finally, when appointing a project team, managers must ensure staff have sufficient time to fully commit to
a project without it becoming an additional work commitment. For lome team members the lack of capacity
led to stress and tiredness.
This was the largest contents' removal project undertaken by the Trust at the time; over 150 individuals
were involved. The project was completed both within timescale and under budget (Clark. 2005).

Project 3: Embroidery exhibition at Hardwick Hall. Derbyshire

Hardwick Hall, an Elizabethan house, is home to an important collection of sixteenth- and seventeenth-
century textiles and furniture. A new exhibition of needlework and embroidery, The Threads of Time, was
opened at the property in 2005 to celebrate the wealth and status of its builder, Bess of Hardwick. The three
main exhibition rooms required building works with new display cases designed to house selected pieces. The
largest case, housing a large embroidered table carpet measured 7 by 2.5 by 3 metres.
 TEXTILE CONSERVATION IN THE HERITAGE SECTOR 51

The textiles had to be prepared and mounted in time for the opening of the publicized exhibition.
The exhibition aimed to provide physical and intellectual access to previously stored objects. Some of the
embroideries had undergone conservation previously but others required treatment. However, the aim of the
project was not primarily about conservation but involved an interpretation strategy around learning and
emotional and behavioural objectives, set out in the design brief.
Many people were Involved whose Input to the project had to be planned and organized: curatorial staff
and advisers, conservators, property staff, learning and interpretation staff, internal and external design
teams, architects, manufacturers of display cases, building, publicity and press departments. Labels and text
panels had to be written, decisions made on appropriate materials and the visual quality of the design, on
the lighting required and the form and presentation of the objects. It is easy with such a large group for
communications to break down, for vital Information to be missed. Different team members tend to focus on
their specific area of expertise and a good project manager is one who can blend all the activities together
within the defined timescale.
The design of the smaller display cases caused some difficulty. The conservators were not Involved In the
initial design stage, so consideration of how the objects were to be mounted within the cases had been
overlooked. Thirty-two internal removable panel boards had to be constructed and covered with fabric
onto which Items could be mounted; this was remedied at the last minute and the exhibition date was met.
However, when installing the table carpet. another challenging problem arose. Building works had not been
completed, insufficient time had been allowed for the settling of dust and for general cleaning, and there
were major defects found In the display case. This caused several weeks' delay In the final Installation.
This project shows how important it is for the conservator to be involved in the initial stages of project planning
and decision making for exhibitions. Communication within large groups is paramount and information needs to
be imparted at the right time. With unmoveable deadlines it is often necessary for teams to pull together, even at
the last minute, to overcome difficulties and bring the overall project to a satisfactory condusion.

Conclusion

What makes a good project plan? A good plan requires beginning and end dates. The plan will reflect the capacity
of different team members and the length of time required for different defined processes, allowing contingency
time. The budget will dictate a number of these factors. The continual review of the project Is essential. Use of
Gantt charts' or simpler management frameworks (Figure IF.5) to plot the project progress and changes can help.
What makes a good project manager? Project managers need to inform, inspire, motivate and
encourage their workforce, using Individual skills to the best advantage, able to delegate tasks, have good
communication and problem-solving skills and the ability to be flexible and to remain calm under stress.
Project management can be complex but it is something all conservators do, whether working as part
of a team on a large project or working alone on a small object. Both circumstances require organization
and some form of time management and financial planning. A textile conservator may find that they are
particularly good at project management and this skill may eventually take precedence over bench work.
A conservator's work In the heritage sector can vary widely. carrying out on-site conservation treatments,
involving communication of the work directly to the visiting public, requires careful time management if
the task is to be completed on time. Packing up historic house contents for building works requires the
organization of teams of people, from volunteers and other conservation professionals to builders and
transport companies (Figure 1F.6). In all these varying activities a core framework can be applied which
remains fundamental: the classic time/cost/quality triangle.
Finally, don't forget to end a successful project by giving thanks and praise to your team.

9 A Gantt chart devised by Henry Laurence Gantt for the building industry is a type of bar chart that illustrates a project sched-
ule with start, Intermediary elements and finish dates, now commonly used.
52 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

...

Figure IF.5 Excel spread sheet detailing a six~ phased work progr.mune on a state bed and associated furniture.

Figure IR6 Furniture and textile conservators working together on site.

Acknowledgements

The author would like to thank all propetry staff and conservators who have shared their experience and
knowledge on this subject.

References
Cllrk, L. (lOOS). SnowJhfff Project review report. Unpublished report, N.uonll Trull:.
Ha.".r-5mith. P., Il Darry, S. (l0(9). Fut trade to succeJJ: Project ma".gemetn. Hlrlow: Pl1Imtoca Hall.
 Treatment options -
what are we conserving?
Frances Lennard, Patricia Ewer

This chapter looks at treatment options. Textile conservators' understanding of object significance has
changed over the past 20 years, and the preservation of infonnation contained within the object has
become a more significant aspect of conservation.

Interpretation
Conservation has been described as a process of investigation, preservation and interpretation (Eastop
& Gill, 2001 ). Textile conservators are not only concerned with preserving, or prolonging the life of,
objects but are also involved in gathering infonnation from objects and helping audiences to understand
what they see. Conservators can add significant value to the study and display of objects by contributing
to their investigation and interpretation.
It has always been considered important to mount textiles so that they can be interpreted correctly on
display, but conservators can contribute far more to the understanding of objects (Figure 2.1 ). Conserva-
tors' close contact with objects can reveal intricate details, as Gentle's case study demonstrates. Eaton's
case study also illustrates how the study of objects can provide curators with information which cannot
be retrieved from written sources alone, a model which conservators understand and which could aid
collaboration between conservators and curators. At the Los Angeles Museum of Art in 1990, Knutson's
careful observation, research and reconstruction revealed that a recently acquired mantua and petticoat,
thought to be dated from 1620 to 1720, could more usefully be attributed to a narrower date range of
1680-1710 (1992).
Instrumental analysis can provide additional information about objects, as discussed in Chapter 6,
either to inform treatment decisions or to enhance interpretation by revealing more about an object's
composition or use. These tools can also be used more directly, to provide information as part of a
display - X-radiographs were displayed next to multi-layered quilts in an exhibition at York Art Gallery
(O'Connor & Brooks, 2007: 284).
In complex situations the needs of preservation and interpretation may be hard to reconcile when
selecting an appropriate treatment. Eastop and Morris' case study illustrates how the interpretation, or
the overall presentation of the object, may in some cases be more important than the preservation of in-
dividual components. The way a textile is interpreted and displayed may change over time, as Giuntini's
case study demonstrates. French explained how she would approach the task differently if she were now
undertaking the conservation of a cope used to make an altar frontal, which she had treated 15 years
earlier. She re-presented the object as a cope, in what she now calls 'an act of subjective interpretation'.

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

53
54 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 2.1 Woman's shoe, c. 1700. The damaged areas were supported with semi-transparent silk crepeline so that
the shoc's construction was still visible.

She argued that the interpretation of the cope had been ':fixed' by its method of mounting, which was
unlikely to be reversed and did not allow for future re-interpretation (French, in press). The display of
the First Ladies' gowns at the Smithsonian Institution is another case in point. A very iconic and popular
display, the previous incarnation was a somewhat static arrangement of mannequins in the 1ik.eness of the
fonner first ladies set in a White House room setting. The 19908 re-displayfocused on a more researched,
sympathetic presentation of the women and their lives using a variety of conservation display solutions
(Wilbmm, 1990).

Authenticity
For the pioneers in textile conserwtion, the 'authenticity' of a textile was a fundamental concept. Flury-
Lemberg removed. later embroidery from an antependium depicting scenes of the Passion, to reveal the OIig-
inal thirteenth-centuryembroidery beneath. She felt that the restoration was Ie&'! impOItmt than the work of
art which it was concealing (1988). She chose to recover the textile's true nature through this intervention.
Similarly Landi wrote: 'When an object of the character and age of the York Cap of Maintenance
[believed to be that of 1580] is to be consenred the emphasis thus falls, not on the technical problems of
conserving the fabric, but on the discovery of any original structure that may have survived and the elimi-
nation of later addition.' The hat had been altered over the centuries; a photograph of 1913 showed it
in its latest configuration, worn with the brim turned up. The hat was taken apart. supported and recon-
structed in its presumed original configuration. 'The braid, tassel and "jewel" were not replaced as they
were out of keeping with the new appearnnce of the hat'. It was presumed that the hat should be taken
back to im earliest form. Today such decisions would be more likely to be made collaboratively with the
involvement of stakeholders (1986: 25, 30).
On the other hand,jedrzejewska aimed rather to preserve an object's authenticity by accepting that
it had undergone changes; she wrote: 'Old objects ... are, first and above all, documents of the past....
They convey information about the history and development of mankind .... It is our ethical duty to
preserve as much of this evidence as possible' (1980: 99). She felt that both 'primary and secondary
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 55

pieces of evidence' were important and should be preserved, i.e. both original features and those
added later.
The selection of conservation treatments is now more likely to be influenced by a concern to preserve
the object's history, than to recover its true nature. Changing attitudes to the removal of repairs illustrate
this. Lennard, treating the 1821 Tin Plate Workers' banner in 1989 removed linen ties at the top edge, used
to hang the banner, as they 'were not believed to be original' (1989: 4). The decision might have been the
same today, but it would have been more consciously made, the stakeholders' views would have been sought,
and the ties are more likely to have been preserved as evidence of a later stage of the banner's history. In
2003 McClean and Haldane discussed the ethics of removing repairs from a Covenanting banner. Repairs
have become worthy of conservation in their own right. Curtains from the National Trust house, Uppark,
damaged in a major fire in 1989 were supported onto new fabric. Repair stitching carried out by a previous
owner of the house in the 1920s was retained and even reconstructed where missing (Marko, 1997).

Object role and context

Technical publications were common in the 1980s and 1990s, reflecting the fast pace of development
in textile conservation. With their details of innovative treatments and new techniques, the focus was
on preservation rather than the purpose of treatment. Reports such as Kite and Webber's support of
embroidery onto paper using starch paste (1995) were early examples of their kind and aimed to pass
on details of treatments to aid other conservators. Publications were often presented as solutions to
technical problems, such as Chapman's discussion of the use of enzymes to remove starch paste from
textiles (1986). Many publications included dramatic before and after images as evidence of the success
of treatments. In the USA it was felt for many years that for textile conservators to be taken seriously as
professionals, more information needed to be shared. The North American Textile Conservation Con-
ference (NATCC) was created to replace the Harper's Ferry Regional Textile Group (HFRTG); NATCC
was dedicated to the publication of the presentations at its conferences. These types of technically useful
publications continue into the twenty-first century and demonstrate that conservation is a continually
developing discipline with many facets.
By the late 1990s there was also a developing awareness that the role of an object could affect its
treatment. A costume or embroidery might be treated differently depending on whether it was to be
displayed, prepared for long-term storage or used as part of a study collection. It ntight have different
requirements depending on whether it belonged to a museum or to a private owner, or if it was to be dis-
played as part of a fine art museum or a social history collection (Figure 2.2). Lister, treating a rare bead-
net dress, dated 2456-2323 BC, from the Petrie Museum, University College London, explained that the
museum's policy 'to illustrate the development of Egyptian culture, technology and daily life' affected
the treatment of the dress. It had to be displayed vertically so that its use could be made clear to visitors,
necessitating a more interventive treatment than if it could have been displayed lying flat (1997: 146).
Publications began to articulate reasons for carrying out treatments in particular ways. Gill and
Boersma (1997), detailing the development of solvent-activated adhesive treatments, began each case
study with a heading 'Role and use of the object'. Orlofsky and Trupin (1993) argued for a more con-
scious decision-making process, depending on the role of the object. Eastop suggested that 'the role
attributed to textiles has a significant influence on the choice of treatments. In making decisions about
treatment, an important question is, "What will be the role/use, for this item?" ... This is because the
role attributed to an artefact varies with context.' She added: 'the interpretation of the "true nature"
of an artefact may change with time' (1998: 43, 44). There were no intrinsically right or wrong ways to
treat textiles.
56 TEXTILE CONSERVATION : ADVANCES IN PRACTICE

Figure 2.2 Docum.enring a Ihattered IIilk bodice lining component before encapsulation in Stabiltex'"".

Eastop and Morris' C25e study arguel!l that 'both the changing phyaical and aocial environmenb must
be taken into accOWlt' when formulating consenation treatments. Appelbaum also talks about the con-
servator's bias tow.mls the material properties of the object when formulating treatments, and achoo-
cates that it mwt be b;.Ilanred by the 'other, non-material, aide' (2007: 10). Appelbaum' s suggestion of
a four-quadnmt grid coruisting of o~ect specific information, non-o~ect specific information, material
aspects and non-material aspects can a.uist the comenratoT in decision making and provide other stake-
holden with information.

Object Integrity
Changing views have been reflected in changes to the professionaJ ethical codes.
The Victoria and Albert Museum's Conservation Department introduced an ' ethics checklist' to in-
form conservation decision making within the museum, and it has become used much more widely
(Richmond, 2005) . Significantly, the United Kingdom Institute for Coruervation (UKIe) Code of Ethics
was introduced in 1996, supplanting the 1983 Guidance fur ConsmlGtion ~ti€.. Whereas the earlier
guidance had included the phrase 'Conservation is the meaIUI by which the true nature of an oqject is
preserved', this was no longer included in 1996.1 The American Institute for Conservation (Ale), the
fint body to formulate a code of ethics, also mewed away from the concept of 'true nature' in its 1994
c...cxu of Ethics and GuitWifW fiw Pmdiu. At this date the Guidtlin«! fiw Prac&;, replaced the earlier, more
preacriptive StandmW (Jf Prtu:tia, recognizing that conaenaton po8IIeMed the judgement and skillI to
make their own decisions within a broad framework of recommendatiom. 1'b.ia document was supple-

1 Icon doeanol have iu own code ofeth.i.ca but hal adopted the European ConfedetatioD oICollJe.l'Valor-Rotorcn'
0 _ _... (ECCO) code.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 57

mented with a commentary 'to amplify the Guidelines for Practice so that they serve the needs of the
different areas of specialization in the profession and accommodate growth and change in the field'
(AlC, 2009).
At this period terms in common use were discussed. Oddy, then Keeper of the Conservation Depart-
ment at the British Museum, questioned the notion of reversibility and suggested that re-treatability
was a more important concept (Oddy, 1994; Oddy & Carroll, 1999). Eastop and Brooks noted 'The
ethos of minimal intervention appears to be replacing reversibility as a key criterion in conserva-
tion' (1996: 687). The AlC 1979 Code of Ethics and Standards of Practice and the UKIC 1983 Guidance
for Conservation Practice both included the recommendation that conservation treatments should be
reversible. This term was no longer used in the 1996 UKIC code as it was recognized that few conser-
vation treatments were actually reversible in practice (Caple, 2000). The aim of treatment was more
important. While the most recent (1994) edition of the AlC Guidelines for Practice still recommends
that 'compensation (for loss) should be reversible', the commentaries state that there are extreme
cases where reversibility is impossible, and the importance of documentation recording the aim of
the treatment is emphasized.
There have been noticeable trends in treating particular groups of objects; the treatment of uphol-
stered furniture using non-invasive methods is a good example, analysed by Gill in Reviews in Conservation
(2004). Balfour et al. described the treatment of a mid-eighteenth<entury Chippendale chair: basing the
re-upholstery on a brass shell eliminated the need to tack into the frame and avoided the obliteration of
important historic information: 'The non-intrusive methods developed during this project have proved
that it is possible to reupholster a chair without damaging the frame and at the same time produce his-
toricallyaccurate profiles' (1999: 27).
Cruickshank et al. demonstrated the benefits of a minimally interventive approach for the treatment
of a group of painted Egyptian shrouds: 'The importance of studying the physical evidence integral to
Egyptian textiles is increasingly being recognised' (1999: 37). However, Ashley-Smith noted: 'In a climate
of increasing antipathy to intervention of any sort, treatment to improve stability is usually seen as more
"acceptable" than treatment to improve appearance. This ignores the purpose of objects acquired by
museums which is to be seen, enjoyed and technically understood' (1994: 3). While museums which
display textiles as fine art still put a strong emphasis on appearance, other museums aim to convey the
object's history, helping the public to understand the significance of objects even though they may not
be in pristine condition.

Preserving evidence
Textile conservators must make conscious choices about what it is they are aiming to conserve. This could
be the object itself - in some cases it may be appropriate to wet<1ean a textile to remove harmful soiling
to prolong the life of the object. However in other cases the significance may lie in the information pre-
served in the object. Soils and stains, creases and wear patterns and previous repairs could be valuable as
sources of evidence of use or history and this may preclude cleaning (Eastop & Brooks, 1996; Clayton
et al., 2003) (Figures 2.3 and 2.4). Upholstered furniture needs careful examination to recover evidence
of previous interventions (Frisina, 2004). The value of a textile may reside in the evidence it contains, of
its original state, or its use, or the environment in which it was used. Thomsen declared: 'Our laboratory
has come to the conclusion that the only good flag is an unwashed flag' (2003: 95). She was referring
to the loss of information caused by cleaning American Civil War flags; particulate soils could give vital
evidence about the place where the flag had been used. She advocated the use of pressure mounts as less
invasive than other forms of support.
58 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 2.5 Regimental flag of the lot Battalion Es&eX Regiment flown in Korea in the 19505. It was nailed to a broom
handle and flown from the back of the wagon taking Group 5w7 to Kowloon Docl for discharge. Very little cleaning
was undertaken so as to preserve faint chalk lettering commemorating the jowncy.

Figure 2.4 A digital reconstruction of the flag, with the lettering enhanced, as it would have looked in the 19505.
The purple colour of the flag has been enhanced to recapture its original appearance; it was matched to a sample of
regimental 'Pompadour Purple'.

McEwing, a molecular zoologist, was able to extract DNA from baleen or whalebone in an eighteenth-
century corset, which provided valuable information about whale evolution (Eastop & McEwing, 2005).
Asked about the possibilities of recovering DNA from. historic artef.t.cIJi, he replied that while blood
stains are generally a good source, wet cleaning would make it much harder to recover datal! (see also

2 Lecture at Textile Conservation Centre, February 23, 2004.

 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 59

Boersma, 1996). Buenger, textile conservator at the Chicago Historical Society, whose collections in-
cluded the clothes worn by Lincoln on the night he was killed by an assassin's bullet, explained how the
clothes would not be treated until techniques were available to extract all possible information from the
garments (Buenger, 2000).
Archaeological textiles have often heen regarded as a repository of evidence. Other types of textile
are now regarded in the same way, as historic documents, valuable for what they can tell us, as well as for
their intrinsic beauty or historic associations. Mackie described the discovery of a five-hundred-year-<lld
man's body, wearing a robe made of ground squirrel pelts, in a glacier in north western British Columbia.
Pollen samples, plant and fish remains and glacial sediments provided evidence of the man's movements
prior to death (Mackie, 2005).
Swann discussed the preservation of evidence on shoes: 'Here I make a plea to refrain from cleaning
off old dirt which the shoe has accumulated during its period of wear. The study of the history of shoes
is still in its infancy and often the only way we can at present distinguish between indoor and outdoor
wear ... is by the presence or absence of street dirt' (Swann, 2000). Windsor (1999) argued against the
removal of needlework pieces from their original mounts and frames, if it was not essential for the pres-
ervation of the textile, as this destroyed evidence present in the original ensemble. In focusing on the
whole object, she challenged the prevailing norm that the long-term preservation of the textile itself
should be the main concern.

Treatment choices
Ideas about what it is the conservator is trying to preserve have changed over the past 30 years. While
some conservators took pride in their ability to transform objects, another group felt that less was more.
While minimal intervention may look less labour intensive to the untrained eye, in fact it demands just
as much skill and judgement. Hughes' case study demonstrates the importance of working closely with
curators and other stakeholders to determine the treatment rationale.
The documentation of treatment choices is important. In her 1998 paper Eastop suggested that 'The
inclusion of explicit statements in treatment reports about why a textile was treated in a certain way
would enhance documentation records and professional communication' (1998: 46). While carrying out
research into textile conservation treatments, Lennard noticed that treatment reports from the 1980s at
the Textile Conservation Centre, UK, rarely included details of the reasons underlying treatment choices.
Is this something that is done routinely even now? Do museum conservation reports include the reason
for treatment? It is important to capture the rationale for treatment and the reasons for carrying out
treatment in a particular way, as information for the client, to aid future treatments of the object, and to
provide information for future research into similar treatments.
In choosing whether to remove repairs and alterations, conservators have to make conscious choices
about which stage of an object'S history is deemed the most significant, accepting that this is the cur-
rent view, imposed by the contemporary role and value of the object, and that a different stage may be
considered more significant in the future. A man's doublet found concealed within a building was not
treated, beyond minimal surface cleaning. It could have been cleaned and supported and presented as
an example of seventeenth-century dress, but this would have destroyed the evidence of the practice of
deliberate concealment, believed to confer protection on the building. Instead a replica garment was
displayed alongside it as evidence of how it once looked (Figure 2.5).
As Munoz Vinas remarked, 'The only authentic state of an object is tautologically the one that it has
now. Any attempt to take the object back to another presumed and favoured state is first and foremost
a matter of choice' (2002: 26). Discussion with the custodian of the object is a vital stage in the process.
Villers, in her critique Post Minimal Intervention (2004), suggested that 'Post minimal intervention as an
60 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 2.5 An early sc:ventccnth-ccntury linen doublet, a rare example of working dreM, preserved in the wall of
a howe. A storage and display mount was made for the doublet, and a replica was made to show how it would have
looked when new.

attitude would foreground interpretation, negotiation and communication and would not hide behind
the construction of conservation as impartial.'

Acknowledgements
Figure 2.1, the conservation treatment was carried out by Kate Gill; Figure 2.2, treatment by Ann Frisina;
Figure 2.3, the treatment of the flag was by Karen Horton; Figure 2.4, the digital reconstruction was by
Mike Halliwell; Figure 2.5, treatment by Susan Stanton.

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Appelbaum, B. (2007). Con.smIation tIMtnlent methodology. Oxford: Elsevier.
Ashley-Smith,j. (1994). Editorial. V&A ConservationJOfI.'f'n6l, 11,~.
Balfour, D., Metcalf, S., &; Collard, F. (1999). The first non-intrusive upholstery treatment at the VlCtoria &; Albert
Museum. The Conuroator, 23, 22-29.
Boersma, F. (1996). The COnsen'ation of an Indonesian flag. In A. TfIruiIt.BalMsy &; D. Eastop, (Eds.) International
perspectives on textile con.snvation (pp. 23-25). London: Archetype.
Buenger, N. (2000). Wet with blood: The investigation of Mary Todd lincoln's cloak. In Ewer, P., McLaughlin,
B., Read, S. &; Rehkoph, K. (Eds.), Consnvation combinations. Preprint.f, NATCC, 2000, Asheville NC (pp. 40-51).
Asheville: NATCC.
Caple, C. (2000). Conservation sIr.ills.]udpment, mdhod and deti.rion mMing. London: Routledge.
Chapman, V. (1986). Amylase in a viscous medium - To:tile applications. The Conservator, 10, 7-11.
Clayton, S., Dodd, W., Gill, v., & Kirkpatrick, B. (200~). Clear as mud: How cultural significance determines pres-
ervation choices. In j. Vuori, (Ed.) ThIes in the Thaile. The Consnvation ofJl1.ap and Other Symbolic Thailu. Preprints.
NATCe, 2()()3 (pp. 23-30). Albany: NATCC.
Cruickshank, P., Pullan, M., & Potter,j. (1999). Recent treatments of painted shrouds: the influence of condition
and intended role. The Conservator, 23, 37-48.
Eastop, D. (1998). Decision making in conservation: Determining the role of artefacts. In A. TfIruiIt.BaIazsy & D.
Eastop, (Eds.) lnttrnationol jJmJJtctives on textile con.snvation (pp. 43-46). London: Archetype.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 61

Eastop, D., & Brooks, M. M. (1996). To clean or not to clean: The value of soils and creases. In]. Bridgland (Ed.),
Pmprints,ICOM-CC, 1996, Edinburgh (pp. 687--{)91). London: James &James.
Eastop. D., & Gill, K. (2001). Upholstery conservation as preservation, investigation and interpretation. In K Gill &
D. Eastop, (Eds.) Uplwlstery Conservation: Principles and Practice (pp. 1--9). Oxford: Butterworth-Heinemann.
East.op, D., & McEwing, R (2005). Infonning textile and wildlife conservation: DNA analysis of baleen from an
18th-century gannentfound deliberately concealed in a building. In R Janaway & P. Wyeth (Eds.), Scientific analysis of
ancimt andhistmic textiles. Postprints, AHR£R£:rCTSFirstAnnuoJ Conference, 2004 (pp. 161-167). London: Archel}'pe.
Flury-Lemberg, M. (1988). Textile conservation and research. Bern: Abegg-Stiftung.
French, A. A re-eva!uation of the conservation of the Othery Cope. In Mind the GaP! Structural and Aesthetic optionsfor
the Treatment of Loss in Textiles. Postprints, Icon TG 2009 Forum. London: Icon Textile Group (in press).
Frisina, A. (2004). For the public eye: The excavation and return of original upholstery chosen by Mrs. Anna Ramsey
for a reception room suite of furnishings from 1872. Postprints, Ale TSG, 2004, Portland OR, 14, 33-42.
Gill, K. (2004). The development of upholstery conservation as a practice of investigation, interpretation and pre..
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Gill, K., & Boersma, F. (1997). Solvent reactivation of hydropropyl cellulose (Klucel G) in textile conservation:
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 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 63

Case study 2A

Preserving information:
two beds with textile
hangings dating from the
seventeenth century
Nicola Gentle

Introduction

Two case studies concerning beds with textile hangings dating from the seventeenth century illustrate
the contribution a freelance textile conseNator can make towards preseNing information to be found in
significant objects. The first describes a commission from the National Trust, an organization caring for Places
of Historic Interest for which the author of this paper has worked over several years as a self-employed
conservator. The second involves an important object in private ownership. Both projects evolved from a
request for practical treatment through the conservator's personal Interest In and commitment to furnishing
textiles of this period.

The bed from King Charles's Room, Cotehele House, National Trust Cornwall

While the room takes its name from the belief that Charles I slept there in 1644, the bed itself appears to
be made up of various sixteenth and seventeenth century carved wood parts, thought to have been put
together In their current form In the late eighteenth century. The principal hangings retain embroidered
slips - wool and silk yarns worked mainly in cross-stitch on linen canvas - and multicoloured silk fringes from
the seventeenth century, which were reapplied to a dark brown wool jersey fabric in the twentieth century.
An Initial conservation brief, In the mld-1990s, discussed minimal treatment for the textiles. It was
proposed, in agreement with the Regional Conservator, that the twentieth-century fabric of the upper and
base valances would be retained: small areas of moth damage and losses would be supported so that the
stitching of the seventeenth-century embroideries and fringes could be strengthened to them. Remains of a
dark brown glazed cotton lining the bases, possibly of earlier date, would also be preserved but covered with
a new similar glazed cotton which would also be used to replace the very degraded twentieth-century linings
on the upper valances and curtains.
The decision to retain the main textile of these valances - rather than replace with new - was made for
several reasons. Cotehele House has a long history of many alterations and repairs of which there Is little
written documentation to clarify exactly what was done when and by whom. However, James Lees-Milne,
writing of an episode at Cotehele in the 19405, gives a vivid insight to past attitudes and previous treatment
of the textiles, and the bed-5tock, of King Charles's bed:
'Then there was the bogus, highly carved Charles I bed illustrated in Condy's book. It was in the last stages
of decay. Should we scrap it and replace it with a spare genuine bed from some other house? We decided
not to. Just as someone on the estate had doubtless faked It up around 1800, so we handed It over to
an incomparable jack of all trades, William Cook, who ... dismantled and plunged the bed into a bath of
64 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

de-worming solution, having first extracted and thrown away the worst infected bits ... Meanwhile we had
the bed's original deep fringe with its heavy silk knots and devices, the valance and curtains re-backed and
mended by an expert needlewoman, Sheila Breen, a farmer's wife on the estate' (Lees-Milne, 1992).
That a brown wool textile was chosen to remount the embroideries of the bed in the 19405 mayor may
not be indicative. From a lithograph showing the bed, by Nicholas Condy c. 1840, it is not easy to conclude
a definitive colour for the textile: It could be seen as light brown or possibly green, but that may be due
to 'artistic licence'. In a slightly later painting by William Collingwood Smith, the textile appears as a pale
reddish colour. With no strong evidence to the contrary, keeping the brown wool textile at least preserves
part of the object's history. Its jersey structure is very close-knit, giving a strong and visually acceptable
backing, which sets off the seventeenth-century elements to full effect. There was a more pragmatic reason
to preserve this textile: trials at lifting the embroidered slips proved very damaging to the silk-wrapped wool
yarn gimps outlining the motifs. To lift them would cause loss to the object's seventeenth-century integrity.
One of the most significant features of the bed is the seventeenth-century multicoloured silk fringe,
trimming the upper valances. Constructed of latticework decorated with floss tufts and boucl~ roundels, It
falls to long yarns, hanging against a secondary fringe of similar yarns, giving an overall depth of 285 mm.
In the previous repair, the latticework has been stitched to an extension of the valances' relining often with
Incorrect placing. Extreme loss In the hanging fringes has been augmented with knottlngs of unsympathetic
synthetic threads.
A conservation method for the fringe was evolved in consultation with the Regional Conservator and
Collections Manager. The latticework was removed from Its deteriorating backing and supported by stitching
onto nylon tulle: attachment of the roundels was re-enforced to this. Added unsympathetic threads were
removed. A new deep fringe was coloured using textile paints in sequence to match the original secondary
fringe, which exists only as remains of a heading for much of its length. The new fringe, stitched to hang
behind the originals, greatly improves the appearance (Figure 2A.1). It reduces passage of air through the
very fragile remaining hanging yarns. Moreover, It also fonms a record of original colours.
The lengthy practical treatment of the fringe afforded the textile conservator an opportunity to study
its complex construction and range of colours and to record them in an annotated painted drawing to be
displayed at Cotehele House (Figure 2A.2).
During the early stages of attention to the bed, it became clear that there was a need for structural
work on the bed-stock, particularly to the too-small current tester-frame. This was causing instability to the
woodwork and stress to the textiles. The National Trust fumlture restorers carried out necessary alteration
and consolidation, allowing a valuable two-way collaboration to define the various dimensional adjustments
required to the upper bed-stock and textiles, and to discuss the best means of re-hanging the bed-curtains.
There are five curtains pertaining to King Charles's Room. As found In the mld-1990s, two were hung
on the bed, two at the window and one was in store. They are made from the twentieth-century jersey
fabric, each adorned with two long vertical applied embroideries and narrow fringes contemporary to the
seventeenth-century slips and latticework fringe. A different approach for treatment of the curtains was
discussed with the Collections Manager and Regional Curator at the National Trust, and advice was sought
from textile and fumlture curators at the V&A Museum. With no firm Information about their original
construction or placing of the embroidered motifs, other factors were taken into account. Foremost, priority
needed to be given to providing the seventeenth-century embroidery with sympathetic support and display,
while at the same time, the curtains themselves could be made to better reflect a way of hanging bed-
curtains as observed in contemporary illustrations. Currently the curtains are pushed back so far that the
embroidery is crushed and not visible to full advantage.
Therefore, a plan was agreed to remake the curtains with a new mainly wool fabric. dyed to match
the twentieth-century jersey. By making the curtains to suit the dimensions of the bed and window and
redeploying the decoration, the display of the embroidery will be much improved from both conservation
and presentation point of view.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 65

Figure 2A.l King Charles's bed, Cotehele: the upper outerwlance, detail after conservation.

,., . ~ .. -.
"":\, '..,,,,..
.• ..: <. ..... . ... ~

" ~II"J ..... , - -

, ... ..................
"'.~ ~ ,...... ;- -'\'-'''',
......,....'-..
- .l. "".,.... f-' ......,.~...,r-
,..."~- . \
~ , .,, -
,~ ,,

c.. !"-'><!. , _ .. ................. ..... ,.

...

.,.. ': .... ..........,.. .... . .

t':'"' ......~~ ..... \...·""·.....,
· ... rd"'"l'~·~ -,,~:-· ~ ......"
" ~

I ; ...... - -·, ~ .. ....... '·r . ""''''~·

.............. C-..
.'''...........
·'-...i"""· ..
.... ,.,-...~ ....... ~--
,~ ...... -. ,~>~,..
,;".,.-

>.r."'........".a. .... . ~ ..... ,""' ......

...... 1'·..:_ ..... · , ... ~ ...
-, --1":- ·.J .. fo' ~ ~ U__ ••"'.o.l«-
· · " ... ' .... ·l~ .. .............. · ..
..., • ..,
I..."..:,. .-.,"! fo~ ",' .......... - '.
1·~·"1 ~,....
;,1••• W . ""

Figure 2A.2 King Charles's bed, Cotehele: drawing of the fringe on the upper outer valances.
66 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The long time span for conservation of this bed - due to funding issues, necessary treatment of the bed-
stock and commitment to major projects at other properties - has created advantages that might not have
occurred within the pressure of Institutional exhibition work. TIme affords greater understanding towards
interpretation of the object as well as the opportunity to evolve a methodology. Although most of the
treatment is worked in the textile conservator's studio, finishing and reassembly is necessarily carried out at
the property Itself. Items are re-hung on the bed as conservation work Is completed, providing Interest to the
regular visitors to the house and raising awareness of conservation issues.
The Collections Manager and house team at Cotehele also watch the progress of the project. They have
become committed to the long-term care of this particular object and are more aware of the needs of the
collection as a whole. Subsequently, a survey of all textile objects at Cotehele House was commissioned.
Working with the Collections Manager, the textile conservator was able to Identify the Items that require the
attention of an experienced specialist and those that could be entrusted to the dedicated house team or a
very skilled volunteer needleworker.

The bed belonging to Lord Rochester c. 1675

In 2004, dismantled parts of a bed long associated with John Wilmot. second Earl of Rochester, were
rediscovered in store at Blenheim Palace and moved to private ownership in Cornwall. The bed is known
to originate from High Lodge on the Woodstock Estate - now the grounds of Blenheim - where Charles
II appointed Wilmot as Keeper and Ranger in 1675. The bed is understood to date from that time and is
believed to be the one In which Rochester passed away In 1680.
Items found include parts of the wooden bed-stock as well as many textile hangings. The author was
approached to pack them for transportation and to discuss possible conservation and display proposals with
the bed's new custodian. In conversation, even before viewing, It became clear that the principal textiles
of printed wool-cloth were very rare survivals of their kind. On recovery of these and the other parts there
only could be an obligation - and a desire - for the textile conservator to research and document fully every
aspect of this significant object.
During the processes of initial cleaning, temporary netting and making the items comfortable for
what might transpire to be further long-term storage, all the textiles were examined thoroughly.
The conservator Is often privileged to have the dosest view and longest time to contemplate the
information an object can reveal of its original manufacture. A clear priority here was to reconstruct
the design on the wool textile, which has no known extant contemporary comparison, and to record
any Insight Into the process of printing, about which very little Is known at that date. From the
best-preserved curtain, a Melinex tracing was made, setting out an overview of the pattern.
Tracings were then taken from all the areas where the printing retains clarity: the top of curtains
protected by valances, the inner valances less exposed to light and patches used to repair the head-cloth.
These were then pieced together to produce a complete picture of the design, revealing a block-printed
pattern-repeat of 870mm (34 In.) square (Figure 2A.3).
The tracings of the pattern also highlighted features that would not have been detected easily by visual
inspection alone. Although the design is essentially bilaterally symmetrical, slight variations occur from one
side to the other. More Interestingly, differences are observed from one repeat to the next. showing that
at least two blocks were employed in the printing, probably for more efficient production. Close inspection
of the textiles themselves shows that - although subsequent exposure to light has caused varying degrees
of fading on the reverse side - when newly printed, the design was equally strong on both faces. In fact, It
seems the pattern was once so clear on the reverse that the upper valances and one of the curtains have been
made with the 'wrong' side outmost.
The making-up of all the parts of Rochester's bed, particularly of the textile Items, was also Investigated
fully. Many of the observations could be laid out in the easily seen and compared format of annotated
measured drawings. Other more complex issues were recorded and discussed best in written report.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 67

Figure 2A.S Lord Rocheatcr'. bed: rc:conatruction of the d.eaign on the wool textilea.

Evidena! of extant stitching can suggest original seams or altered edges, while remains of threads and
stitch-holes may tell of previous linings, bindings or tassel trimmings. These details are possibly not absolutely
I!I5I!!ntilll to the proposed practical conservation treatments,. but are all-importllnt to preserving knowledge
llbout the original appearance lind making of lin object, as well as its subsequent history of alterations or
re-use. The information could lliso be pertinent to the object's future interpretlltion lind means of display.
During investigations it becllme clellr that the object purported to be Lord Rochester's death-bed - lind
displayed as such at High Lodge well into the twentieth century - had been put together with the parts of lit
least two seventeenth-century beds. Rllther thlln detrllcting from its integrity, such findings may contribute to
lin object's significance. At lellst, they provide IIdditionlll informlltion from other contemporllry Items. More
especillily in this case, they throw ligtlt on the milking of a 'relk' to celebrate John Wilmot, second Ellri of
Rochester, poet. lind libertine, to which visitors in the nineteenth lind twentieth centuries continued to come
lind pay homage (Gentle, 2009).
The originalllppearllDCe of Rochester's printed wool bed proved difficult to comprehend fully from
the dismllntled, llitered parts found. In their current frllgile stllte and situation, it was not fellsible to try
to reconstruct them. Therefore, it was decided to make II quarter-scllie model, in order to gllin a better
understllnding of the bed's seventeenth century form (figure 2A.4). On the page, measurements taken or
drawings made from indlvldulll Items Clln never provide II tnJe pktLn of the three-dimensionlll relationships
lind proportions tMt II composite object conveyed when It was first IIssembled.
The replica helped to IInswer some questions: for instance, evidence rel.ting to the position of the
hNdboard was found to IN'tch llimost eQCI:1y tMt on llnother contemporary bed-stock studied for this
project. Making of the modellliso raised some pertinent questions: would this bed hllve n.d II canopied
68 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure %A.4 Lord Rocheater'. bed: quarter acale model.

tester; would the canopy have been deeper; if so, would the bed have had a cornice? These issues - which
will need to be addressed when the bed is eventually conserved for display - are more easily looked at in the
three-dimensional format. In the meantime, images of the replica can enable discussion and also illustrate
publications concerning this significant object in a way not otherwise possible.
Research of Lord Rochester's bed received some very welcome funding and support from the Arts and
Humanities Research Council funded Research Centre for Textile Conservation and Textile Studies, Univenity
of Southampton, and the Tom Ingram Memorial Trust. through the Furniture History Society. This made
possible the commissioning of fibre and dye analysis. which added considerably to the information gained
conceming the printed wool textile in particular.
As well as resources for an archive researcher to investigate documents pertaining to the bed's history
during and after Rochester's term at High Lodge, these grants contributed towards expenses to visit the most
informed textile and furniture historians for discussion and to view related objects of the period, in order to
set the research into the widest context possible. However, it must be said that the extremely time-«)nsuming
nature of such a project rarely can be covered fully financially.

Conclusion
Not every object is 50 significant or revealing. Nor is every work situation able to accommodate time for such
investigations - no doubt, too few. The author of this study has chosen to create an individual work ethos
that allows a valuable amount of time for research and documentation of significant objects, complemented
by related practical treatments. Not every conservator will either want, or be able, to work in this way.
But the textile conservator has to be aware (and othen should acknowledge) that they are in a privileged
position, and surely - wherever and however possible - must find ways of recording, and preserving for
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 69

posterity. any significant discoveries made during their close involvement with the objects in their care
(Gentle, 2001).

Acknowledgements

Many thanks are due to Rachel Hunt, House and Collections Manager at Cotehele House, and John Schofield,
custodian of Lord Rochester's bed, for their suPPOrt. discussion and permission to publish these case-studles.
All images are copyright of the author.

References
Gentle, N. (2009). Lord Rochester's bed. furniture History, 45, 35-54.
Gentle, N. (2001). A study of the late seventeenth-century state bed from Melville House. Furniture History, 37,1-16.
Lees-Milne, J. (1992). People and Places. Country House Donors and the National Trust. London: John Murray.

Case study 28

Conservalion and
connoisseurship
Linda Eaton

The word 'connoisseur' is a somewhat old-fashioned one, resonating with overtones of the dilettantish
judgment of other people's taste. Examples provided by the Oxford English Dictionary all date before 1883
with one exception, Its Ironic use In a fictional murder mystery. Also considered by the American-based
Merriam-Webster dictionary to be an obsolete term, a connoisseur is therein defined as an expert 'who
understands the details. technique or principles of an art and is competent to act as a critical judge'. Professor
Kenneth L Ames, author of such provocatively titled publications as Death in the Dining Room and Other
Tales of Victorian Culture, is credited at Winterthur with first using the term as a verb, telling his students
that once they acquired the skills needed for the close and detailed study of an object, usually at that time
a piece of elghteenth-<entury American furniture, they would be able 'to connolsse' anything. Despite the
implication of antiquarianism, the term 'connoisseurship' continues to be used today as the title of a course
that forms part of the Winterthur MA Program in American Material Culture, run in conjunction with the
University of Delaware, where It Is Interpreted by some as a snobbish and by others as a more succinct word
meaning 'material culture' or 'object-based research'.
Object-based research is not a new concept in the study of historic textiles but the nature of the collection
at Winterthur has provided opportunities for both staff and students to use these skills in unexpected ways.
This paper features two connoisseurship projects by students on the Winterthur MA Program in American
Material Culture (WPAMQ, presenting them In the context of the history of the development of Winterthur's
collection. Rarely do students have the opportunity to study actual (as opposed to virtual) objects at the
undergraduate level, so this is often their first taste of real connoisseurship. Students on the Winterthurl
University of Delaware MS Program In Art Conservation (WUDPAQ are welcome to audit this course but,
70 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

to date, they have not chosen to undertake a connoisseurship project. Instead, each WUDPAC student
undertakes a textile documentation project in their first year, where they are required to research the history
of a textile In order to put their treatment proposal Into some form of cultural context. The goal of that
project is to ensure that each student understands that issues of condition reporting and treatment cannot be
considered in isolation of the historical context of the object.

History of Winterthur's collection of textiles

The collection at Winterthur Museum consists of over 22,000 examples of textiles, the majority of which were
collected by the museum's founder, Henry Francis du Pont, In the 19205, 19305 and 19405. Working with a
variety of dealers and auction houses, du Pont initially acquired many important European and American
textiles to use in decorating first his summer home on Long Island and later his massively expanded family
home In Delaware, which opened to the public as Winterthur Museum In 1951. Because his purpose was not
to acquire an academic collection du Pont would usually purchase large quantities of fabrics, and the invoices
would often simply detail the amount of useful yardage instead of the object from which it came, such as an
elghteenth-<entury dress, an ecclesiastical vestment, or an early nineteenth-<entury set of bed hangings. This
practice was in contrast to that of museums like the Metropolitan Museum of Art, the Cooper Union Museum
(now Cooper Hewitt, the Design Museum) and the Philadelphia Museum of Art, which were founded on the
model of the Victoria & Albert Museum in the UK. Because their primary purpose was to exhibit models of
good design as sources of inspiration to contemporary designers as well as the general public, many of the
textiles they acquired in the early twentieth century consisted of smaller fragments of fabric that Illustrated
one design repeat, a type of collecting that was instigated at Winterthur with the employment of museum
professionals in the 19505.
In the early twentieth century, textile dealers, who were often authorities on historic textiles in their
own right, catered to both sides of the trade. Elinor Merrell regularly advertised that her firm, known as
Old Chintzes, stocked 'big quantities for curtains and chair coverings' as well as 'Historical Documents'.
Merrell worked closely with textile scholars and collectors in both Europe and America, often facilitating the
exchange of information and images. For example, correspondence in Winterthur's archives records that she
arranged for du Pont to send images of his extensive collection of commemorative handkerchiefs to Paul
Schwartz, then curator of the Mus~e de l'lmpression sur ~toffes in Mulhouse. Other dealers included Herman
A. Elsberg (1869-1938), also recognized as a textile scholar who catered to the fashionable use of historic
textiles in interiors. Much of his personal collection of archaeological fragments from Egypt and Peru was
donated to the Metropolitan Museum of Art and the Cleveland Museum of Art, among others. JA Uoyd
Hyde used his role as a dealer specializing in lighting fixtures and ceramics as well as textiles to provide cover
for his work for the CIA during the Second World War, and obtained large yardages of silk wall coverings,
curtains and other textile furnishings from castles and manor houses throughout Europe for du Pont and
other wealthy American collectors.
Auction houses were another source of textiles for the discerning collector in the early twentieth century.
Du Pont purchased quilts, checked linens and some printed cottons from smaller auction houses in south
eastern Pennsylvania, but he purchased large yardages of silks and velvets from the American Art Association,
an auction house in New York that handled many of the historic textiles used to furnish New York's Glided
Age mansions as their owners died and their style of interior design fell out of fashion. He also purchased
antique fabrics through department stores such as Wanamaker's, where Nancy McClelland opened the first
antiques department in 1913, and interior design firms such as llffany Studios (Eaton, 2007).
Du Pont considered the interiors he created as his artistic medium, and they were widely admired by
visitors and interior decorators of the time. Nancy McClelland, who served as the President of the American
Institute of Decorators when du Pont was elected to Honorary Membership in 1941, often asked to bring
some of her more important clients to see Winterthur. Winterthur's interiors became even more influential
after the museum opened in 1951, and photographs appeared in many magazines of the time. Du Pont had
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 71

Figure 28.1 Port Royal Parlor, 1935, photographed in black and white by Robert V. Brolt and hand-coloured
in situ by Annette Karge. Over 300 ItereoW:ws, a form of three-dimension photography, were taken at Wmterth.ur
in the 1931J1J.

his interiors photo-documented in a series of hand-coloured stereo-views in the 19305 (Figure 28.1), and
by various formats of both black and white and colour photography in the 194Os, but he would never allow
any of these images to be published, or provide access to press photographers. Widely respected as an
authority on antiques and creator of influential interiors, du Pont was asked by Jackie Kennedy to serve as
the Chair of the Committee involved with the restoration and re-decoration of the White House in the early
1960s (Rice, 1993).3
Du Pont collected textiles in enormous quantities, needing extensive yardage to create curtains, bed
hangings and upholstery for over 170 rooms at Winterthur. The furnishing textiles and rugs in most of these
rooms were changed seasonally to coordinate with the colours of du Pont's beloved garden. Important public
or private rooms like the Chinese Parlor, where guests would gather to play bridge in the evenings, or du
Pont's own bedroom would have as many as four seasonal changes while other rooms might have only two
or three. The interiors at Winterthur were constantly being altered as du Pont re-arranged nis collection or
learned new information about historic interiors as scholarship in tnis field progressed. In tne 1950s du Pont
realized that the historic textiles he considered to be essential to renew, repair and update the period rooms
were becoming more difficult to obtain, and he encouraged the museum to actively collect and preserve
historic furnishing textiles and provided the funds to do so.
Today Wintertnur's textile collection is noused in nine storage areas on two floors of tne museum. Until
these storage areas were re-organized in tne 199Os, rolls of silk damasks and brocades, cotton checks and
other furnisning textiles were stored according to tneir colour in order to facilitate decisions about their use.

J Some of Rice's resHrdI.pPHrs In Abbott. J. A. a Rice. E. M. (1998). DesIgning C.mefot: tM Kennedy ~ House RestonItfotL
New York: VIIn Nostr.nd Reinhold.
72 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The period rooms continued to be refined and re-defined throughout the late twentieth century as
curators attempted to achieve historic accuracy to the late seventeenth, eighteenth and early nineteenth
centuries - the stylistic periods represented by the furniture displayed and the architectural elements
bought from historic buildings to provide their settings. No historic textiles have been cut up for use
in the period rooms at Winterthur since the author was employed as textile conservator in 1991. It was
not until the late 19905 that the significance of Winterthur's Interiors as Icons of Interior design from the
early twentieth century was recognized and valued, and some of the rooms were returned to their earlier
arrangements.
All this serves to explain the eclectic nature of Winterthur's textile collection as well as the difficulty
of documenting its origin with any degree of accuracy. The collection includes important examples of
elghteenth-<:entury printed cottons and woven silks, hlgh-quallty examples of nlneteenth-<:entury revivals
of earlier designs (the fashion for historicism was prevalent particularly in the second half of the century),
as well as examples of early twentieth-century reproductions. It contains fixed upholstery and loose covers
cut from elghteenth-<:entury gowns, or window and bed hangings re-fashloned from elghteenth-<:entury
crewel embroidered bed covers. Nothing can be assumed to be what the catalogue record (if there is one)
might claim. How can one tell? Sometimes it can be the close analysis of the design, but frequently the
accurate dating and Identification relies on the nature of the materials and techniques of manufacture, the
physical nature of the object itself. That is the essence of connoisseurship. Experienced conservators and
museum curators have the benefit of working closely with collections, and build up their knowledge of their
physicality that enables them to evaluate the fibres, spin, weave structures, colours, weight. drape, scale,
etc. through experience. But this is something that is rarely discussed in the academic literature, and rarely
mentioned in undergraduate courses in art history. The identification and detailed description of the physical
nature of a textile is part and parcel of the worlk of a conservator, one that has been very useful to me since
I became the curator of textiles in 1999, and something that I wanted to find a way of passing on to my
students.
My solution is to assign each student on the Winterthur MA Program in American Material Culture a
research project on a textile, usually from Winterthur's collection, for which existing catalogue records and
object flies are non-exlstent or their contents are egregiously In error. These objects have all been carefully
selected so that the central question about them focuses on an issue that is not readily addressed in the
secondary literature on textile history. This forces the student to rely heavily on information gleaned from the
physical nature of the object Itself. These projects result In Improved catalogue data, and the students have
sometimes discovered some fascinating stories.

The big, ugly purple thing

Winterthur'S collection Includes a large and very odd Item of clothing, catalogued as a European cloak dated
between 1750 and 1830 (Figure 2B.2). Christina Keyser, who since her graduation from the WPAMC in 2007
has been working as an assistant curator at George Washington's Mount Vernon, elected to take on this
challenge as her textile connoisseurship project (Keyser, 2006). Keyser fully diagrammed and described the cut
and construction of this object. including the anomalous presence of lacing (bound holes threaded with linen
tape) along one arm. She recognized that the construction was Incompatible with the date assigned to the
object in Winterthur's collection catalogue database.
Archival research uncovered that the 'cloak' had been purchased for Henry Frands du Pont by Otto
Bernet at the auction of the collection of David Belasco, a once famous New Yorlk theater Impresario, at the
American Art Association Anderson Galleries in New Yorlk in 1931. As Keyser noted, 'Belasco was known for
producing realistic and well-researched sets and costumes,' and one critic stated that his 1922 production
of The Merchant of Venice was 'worthwhile, almost as one goes to a museum: The velvet 'cloak' had been
catalogued in that auction as 'Amethyst Velvet Long-Skirted Coat French, XVIII Century. Heavy velvet in
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 73

Figure 0.2 Theatre costume, 1969.941, Winterthur MUM:UID..

good preservation. one sleeve laced.' Although Keyser speculated that du Pont might have purchased this to
wear at a fancy dress party, it is more likely that he wanted it to cut up and use as upholstery fabric. It is well
known that one of du Pont's favourite colour combinations was purple and yellow, a combination which he
used extensively in his garden as well as in a number of rooms including the Port Royal Parlor (known in the
1930s as the Reception Room) and the Mcintire Bedroom (known in the 19305 as the South Room). Du Pont
is known to have purchased items of historic clothing to cut up and use as upholstery fabric, and fragments
of some of them still survive in the collection because they were carefully kept in storage for future repairs.
Interestingly, two surviving eighteenth-century gowns and petticoats in the collection are also lavender or
purple brocaded silk.
Although it was clear that the cut and construction of the 'cloak' was incompatible with the date and
attribution in both the auction catalogue and the museum catalogue records, its style did not clarify just
what the true dating of the coat or cloak might be. Instrumental analysis was not possible due to the short
time period for the project:. but with the assistance of Kathleen Kiefer. conservator, and Kristin de Ghet:aldi, a
student on the WinterthurlUniversity of Delaware MS Program in Art Conservation, a wet chemical test was
undertaken to confinn that the purple colour of the silk velvet consisted of a synthetic dyestuff. placing ih
origin firmly in the late nineteenth or possibly very early twentieth century.

The netted white elephant

Many beds displayed in American historic houses are fitted with netted canopies that have no obvious
prototypes from the eighteenth or early nineteenth centuries, the dates of the bedsteads on which they
hang. Staci Steinberger, a 2009 graduate of WPAMC program currently working at the Los Angeles County
Museum of Art. selected three examples that display different construction techniques from Winterthur's
74 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure D.! The Wmterthur Bedroom, Wmterthur Museum.

collection to research for her textile connoisseurship project (Steinberger, 2008). The canopy on a bed in
the Winterthur Bedroom is a common hand-knotted netting, often described as 'fish net' (Figure 2B.3).
A similar example in the Child's Room has additional decoration applied in a coarse darning stitch. The
canopy in the Sheraton Room is not netting, but is made from an openwork woven checked cotton, with a
supplemental thread in the open areas which provides a decorative twist to the unwoven warps or wefts in
imitation of drawn-work embroidery. Comparing these examples to netted and knotted fringes found on
early nineteenth-century bedcovers in Winterthur's collection, Steinberger recognized that the materials and
techniques of construction of the canopies were inconsistent with the better provenanced examples and set
out to solve the mystery.
Steinberger found that atthough these netted canopies were ubiquitous in colonial revival interiors she
could not track any examples back further than the late nineteenth century. Sources from the late eighteenth
and early nineteenth century occasionally document netting used as bed hangings, sometimes called
'mosquito curtains', but the rare sUlViving examples are made from true gauze (a leno weave structure),
loosely-woven sheer plain-weave linen, or, in the nineteenth century, machine made cotton tulle, sometimes
also called net or netting. Steinberger then searched through women's magazines and books on fancy work
from the late nineteenth century, where she discovered that examples of each technique used to make
Winterthur's three canopies featured prominently.
Steinberger concluded that the fashion for coarsely netted bed canopies dates only from the late
nineteenth century, but was unable to account for the fact that by the 19205 these canopies were assumed
by numerous authors, collectors, dealers and other experts to be much earlier. It is unlikely to be coincidental
that at this time there was a fashion for draping fish-nets in modernist interiors. Netted canopies made in
the early twentieth century were very popular and widely available, and a few makers can be identified.
For example, Wallace Nutting, a colonial revival entrepreneur whose company made reproductions of early
American furniture, commissioned hand-made canopies through Berea College, a centre of the revival of
artisanal craftwork. The real irony of Steinberger's research was the discovery that the netted canopy in
the Winterthur bedroom was painstakingly reproduced by hand in 1968 by Rachel Hawks of Deerfield,
Massachusetts, who clearly had considerable experience making these for collectors and interior designers at
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 75

that time. The original she copied, carefully preserved in Winterthur's textile storage, is discoloured in a very
even and consistent manner highly suggestive of tea dyeing in imitation of the colour of degraded cellulose,
once a common practice. The results of this project will provide Important Information to historic houses
in America as they seek to improve the display and interpretation of beds currently draped with netted
canopies.

Conclusion

Not all projects undertaken by students on the WPAMC program have resulted in 'masterpieces' biting the
dust. Sarah L. Jones studied a rare sweet bag and matching knife sheath and her research strongly supports
the reported provenance that these were owned by a member of the Norris family who frequented the court
of Queen Elizabeth I, and descended within the family until given to relatives who came to Philadelphia in
the eighteenth century (Jones, 2006). Christie Jackson researched a white bedcover dated 1820 with the name
Katurah Reeve prominently embroidered twice, and found that the ship painstakingly stitched in the centre
is an accurate depiction of the Patriot, a ship owned by her family. The story of the foundering of the Patriot
on a voyage from Mobile to New York In 1819 and the rescue of Its crew was repeated In newspapers up
and down the eastern seaboard. The mystery of the repeated name was solved when Jackson's genealogical
research discovered two family members with the same name living in 1820, and close examination of the
technique of embroidery disclosed that It had been worked by two different needlewomen. The ability to
document this example will encourage further research into surviving pictorial quilts and bedcovers with the
hope of recovering their original stories (Jackson, 2007).
These textile connoisseurship projects serve to provide experience for young scholars in object-based
research, to improve the documentation of Winterthur's collection, and to further textile scholarship in
Interesting and sometimes unexpected ways. The word 'connoisseurship' may be considered old-fashioned or
even obsolete, but the practice of this skill is important to both conservators and curators as we work together
to solve the mysteries inherent in many textiles and build on the foundations of textile scholarship for the
future.

Acknowledgements

I am deeply grateful to my own teacher, Karen Finch, OBE, D.Utt., FIIC, who Initiated me Into the practice of
object-based research and prepared me for a career as both conservator and curator, and I am indebted to all
the students, past, present and future, of both the Winterthur MA Program in American Material Culture and
the WinterthurlUniverslty of Delaware MS Program In Art Conservation.

References

Eaton, L (2007). In themselves a textile museum: Decorating with quilts in the early twentieth century. In Quilts in a material
world: Selections from the Winterthur Museum. New York: Abrams In association with the Henry Frands du Pont
Winterthur Museum.
Jackson, C. (2007). Unfurling the Katurah Reeve bedcover. A stet}' of Cane/lew/eking, Maritime Culture, and one family's
legacy. UnpUblished research project. Object File 1966.139, Registrar', OffIce, Winterthur Museum.
Jones, S. L (2006). From the court of Queen Elizabeth to Henry Francis Du Pont's Winterthur: A seventeenth century sweet
bag and knife sheath In the Winterthur collection. Unpublished research project, Object File 1958.102, Registrar's Office,
Winterthur Museum.
Keyser, C. (2006). The ugly purple thIng: Winterthur's purple velvet robe. UnpUblished research project. Object File 1969.941,
Registrar's Office, Winterthur Museum.
Rice, E. M. (1993). Furnishing Camelot: the restoration of the White House Interiors and the role of H.F. du Pont
UnpUblished th .. ~.
Steinberger. S. (2009). The (Netted) white elephant: An exploration of the origins of netted testers. Unpublished research
project, Object file 1955.662, Registrar's Offke, Winterthur Museum.
76 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Case study 2C

Fit for a princess? Material

culture and the conservation of
Grace Kelly's wedding dress
Dinah Eastop, Bernice Morris

This case study sets out to demonstrate how a material culture approach can enhance understanding of
conservation, using Grace Kelly's wedding dress as an example.' The wedding of the American actress Grace Kelly
to Prince Rainier III of Monaco in the Catholic cathedral of Monaco on Thuoo..y 19 April 1956 was one of the
International media events of the 19505 (Figure 2C.1). The brlcle was a famous Hollywood actress who starred In
many popular films, including High Noon (1952), Rear Window (1954), To Catrh a Thief (1955) and High Society
(1956). She was a famous beauty whose influential dress style inspired the 'Grace Kelly Look'. It is hardly surprising
that her engagement and wedding attracted extensive and Iong-Iasting public Interest. The wedding was filmed
by the Metro-Goldwyn-Meyer (MGM) Studios and was watched on television by an estimated 30 million people.
The wedding dress was a gift from MGM, the Hollywood Studios to which Grace Kelly was contracted at
the time of her engagement. The dress was designed by MGM's head costume designer, Helen Rose, who
claimed that a ball gown from High Society provided the starting point for the design. Grace Kelly wanted
the dress to be traditional. with long sleeves and a high neckline. 'Helen Rose's design for the dress and
accessories is perfectly in keeping with the classic simplicity for which Grace Kelly was known, and which
inspired the "Grace Kelly Look"' (PMA press release, Jan. 13,2006).
MGM reported that the making of the dress and accessories Involved 35 craftspeople. According to Rose,
Grace Kelly had greatly endeared herself to the studio's wardrobe department and they all wanted the dress
to be a masterpiece. The team worked for weeks under top-secret conditions before details and sketches of
the dress were released by MGM two days before the cathedral ceremony. WIthin 24 hours fashion firms In
New York were copying the dress. The day after the wedding, photographs of the royal bride made the front
page of newspapers around the world (Haugland, 2006).
In June 1956 her parents presented her wedding attire to the Philadelphia Museum of Art (PMA). The
donation, arranged in advance of the wedding, acknowledged that many had hoped the ceremony would
take place, not in Monaco, but in the Kelly family's 'home town' of Philadelphia. The dress and accessories
were Immediately put on prominent and open display, surrounded by flowers, on a mannequin designed to
look like Grace Kelly. Before installation the mannequin proved to be too big and the dress had to be let out
by 2 inches (Haugland, 2006). The opening event was like a surrogate wedding reception; museum visitors
could perhaps imagine they were guests at the wedding.
After one month the dressed mannequin was moved to the museum's Fashion Wing, where it was displayed
for the next two decades Inside a museum case. The dress was removed from display In the 19705 while the galleries
were renovated; concerns about its condition meant that the dress has never been returned to permanent display.
During the 19BOs and 19905 the dress featured in special exhibitions, both at PMA and in occasional loan
exhibits, but otherwise remained at the PMA In environmentally controlled storage first on Its mannequin,

4 Dinah Eastop was Invited to explain the introduction of material culture theory In textile conservation. The editors encouraged
collaboration with a co-author who had experienced such teaching at the Textile Conservation Centre. Bernice Morris completed
the MA Textile Conservation at the TCC In 2005. She proposed the conservation of Grace Kelly's wedding dress as a case study.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 77

Figure IC.1 Grace Kelly on her wedding day.

and then after 1995 in a custom-built archival cardboard box. Major conselVlllltion was carried out in 1995,
when the bodice received a new tulle lining and was returned to its original dimensions. Several conservation
treatments have been undertaken since, notably for the 2006 anniversary exhibition in Philadelphia, Fit for
a Princess: Gtilce Kelly's Wedding Dress and for an exhibition to mark the 25th anniversary of her death, The
Grace Kelly Years, at the Grimaldi Forum, Monaco in 2007 (Figure 2C.2). The latter treatment is outlined below.

Material culture In textile conservation

A material culture approach examines the inter..ctions of the material and social. Textile conservation
decisions occur in social contexts, and understanding the decisions is facilitated by analysing them within
their social and cultural contexts. While the physical environment and its effects on museum collections are
well understood and extensively published, the effects of the social dynamia of conservation on practice
remain poorly understood. This is despite some notable publications (e.g. Odegaard, 2000; Clavir, 2002).
Material culture studies integrate understanding of the material properties of objects with their social
attributes and symbolic associations (Miller, 1994). A material culture course developed at the Textile
Conservation Centre (Tcq, University of Southampton, UK,. proved effective in integrating understanding of
the social attributes and physical properties of museum collections (Lennard & Brooks, 2008).5

5 The course (unit) nm from 1999 to 2009, with Dinah Eastop 115 the principal contributor, under the title 'Mellning lind Mat-
ter' (1999-2005, convened by Mary Brooks) and later as 'Interpreting and Representing Object5' (2005-2009, convened by
Dinah Eadop). The coursewB5shared by the TCC'I MA Textile Conservation and MA MU5eumsand Galleries programmeli. Key
themll!li were: the lOCiallite of things and the cultural biography of objecb; conceptual boundarill!li of objecbi and IUbjecl:5,
for enmple, in the museum care of human remains; roles attributed to objects in museums and galleries and the effect these
have on preventive and remedial interventions; and. maintaining relationships and processes as well as preserving artefacts.
78 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure ~c..l The wedding dress as diJplayed in Monaco in 2007.

The course encouraged participants to recognize that 'heritage conservation' is one outcome of changes
in physical, social and political environments: changes in the physical state of objects and the uses to which
they are put. It also helped participants to recognize that conservation is part of a large, dynamic 'cultural
heritage' sector (Pye &. Sully, 2007; Jones &. Holden, 2008). The material culture approach advocated here looks
at the process of conservation by examining the interaction of people, objects and language (Eastop, 2006).

Case study
The following account focuses on those parts of Grace Kelly's wedding attire which were affected by the
conservation interventions of 2007.

Object record
The wedding dress. pair of shoes, prayer book. and head piece and veil are preserved at PMA (Ace. No.
1956-51-1, 2, 3 and 4). The focus here is the dress, simply described as a tight-fitting, long-sleeved bodice,
with a high neckline, made of rose-point lace, with a full, rib-weave silk (faille) skirt and lace train. The dress
has four separate parts: bodice, skirt.. cummerbund and train insert. The bodice and skirt are of complex
construction (see diagrams in Haugland, 2006: 72-76). The bodice, made by assembling motifs from an old
piece of rose-point lace and re-embroidering them over silk gauze 50 that no seams were visible, is fitted with
a strapless. boned under-bodice, a boned skirt support and a silk slip.
The 'bell-shape' skirt. cut without folds at the front, is made with heavy pleats at the sides and back. Two
petticoats were attached to the skirt at the waistband: a foundation petticoat of non-woven interfacing with
ruffles of nylon net attached, and a petticoat of silk taffeta which served as a smoothing layer between the
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 79

Figure Ie.! Detail of the centre hack opening and undentructu.re5 of the skirt, after treatment in 2007.

faille skirt and the foundation petticoat (Figure 2C.3). Further shaping was provided by the skirt suPPOrt.
consisting of a 14-inch-long silk taffeta base with nylon net and lace ruffles and metal and synthetic boning.
The two petticoats and the skirt support were designed to ensure that the dress achieved the desired silhouette.

Presenting problem and condition assessment

Even before the dress was displayed in the temporary exhibition arranged at PMA in 2006, its condition was
of serious concern to the PMA conservators. The skirt linings had many splits, losses and abraded areas, and
any handling caused further splits in the taffeta. The smoothing petticoat was in a similar condition. The
non-woven interfacing that lined the foundation petticoat had begun to break down, and had lost much
of its structural integrity. The skirt support attached to the bodice had become limp and misshapen. In this
condition, the petticoats and linings were not providing sufficient support to the skirt to create the original
shape. In addition to these obvious structural issues, the faille of the skirt and the lace of the bodice had
yellowed. These changes in the condition of the dress result from a combination of inherent and external
factors, including its complex construction, the use of old materials for some components and exposure to
light (Haugland, 2006: 66). Also, the dress was designed to be worn for a single event.

Conservation strategy
The appearance of the dress was considered to be of fundamental significance, both by the museum's
curatorial team and by the public. The objective was to re-establish as far as possible the skirt's much admired
'bell-shape' of 1956. Evidence was provided by the dress itself and by its many representations in sketches,
photographs and film. It was clear that short-term measures, such as placing tissue paper and wadding
between the layers of the skirt, would exacerbate condition problems. The public's expectations as well as the
80 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

curatorial desire was that the dress should look as close as possible to its 1956 appearance. Some visitors to
the exhibition in 2006 noted that the wedding dress, which was originally ivory-coloured, appeared yellowed.
The mythic quality of the fairy-tale wedding, the Iconic status of the dress and the longevity of memories and
images of the wedding appeared to have combined to make some visitors believe that the dress would be in
good-as-new condition; they were therefore disappointed by the material changes of half a century.
A group of curators and conservators was given the task of determining the conservation strategy. They
recognized that the dress was never going to look precisely as it did on the wedding day but acknowledged
the intense interest and emotions shown by the public for the dress when assessing its conservation needs. As
Grace Kelly's wedding dress is by far the most well-known object in the PMA's costume and textile collection
of over 30,000 items, it was expected that it would continue to be popular, and 50 conservation interventions
were required to be long-lasting. A 'minimal Intervention' approach was considered Inappropriate In this case
as it was unlikely to be effective. An adhesive overlay treatment that would retain all original material in situ
was initially proposed for the skirt linings and petticoats. However, questions about its long-term strength, and
whether It would add unwelcome bulk to the skirt, meant this option was rejected. A 'replacement option'
was finally selected, involving undoing original seams in the skirt and removing and replacing the skirt linings
and the smoothing petticoat, as well as supporting the foundation petticoat and the bodice's skirt support.

Conservation interventions of 2007

The skirt was thoroughly documented before any elements were removed (PMA report, 2007). The white
cr~peline loose support, part of a conservation intervention of 1995, was removed. Documentation induded
diagrams of the linings' positions at each pleat, and the type of stitching used. Coloured threads were used to
mark important points such as where the linings' seams and edges met the faille.
The skirt linings were removed by snipping and removing the original stitching threads which allowed
them to be eased away. Tracings were taken of the linings, and creases, folds and stitch holes were carefully
noted. These and information learned from making a muslin toile enabled exact replicas of the linings to be
made. Silk taffeta was found that closely matched the colour, sheen and the presumed handle and weight of
the original. The new linings were placed In the same positions as the old linings and stitched Into place with
polyester thread. Hand-stitching was used instead of the original machinlHtitching. Where possible, the new
stitching was worked through the original stitch holes in the faille.
The removal and replacement of the smoothing petticoat was carried out In a similar way. Some stitching
at the waistband needed to be released in order to remove the petticoat and position its replacement. This
was well documented, and all removed material was retained.
The foundation petticoat was degraded and unable to perform Its original function of providing firm
support to the skirt. It was therefore given a full support of thin, polyester, non-woven interfaCing. The inner
seams of the original interfacing provided a strong area onto which the full support could be stitched; all
stitching was carried out using silk thread. The seam allowances of the support were covered In silk ribbon to
protect the delicate silk slip, against which the support brushes when the dress is on display. With the thread
markers, photographs and written documentation as guidelines, the skirt was reassembled.
The skirt support attached to the bodice was itself supported with a new boned under-structure, made with
polyester satin and polyester boning to fit under the skirt support when it was slightly flared out. This under-
structure was then stitched to the underside of the original skirt support at the strong, layered net seams. Slits In
the silk slip were supported with patches of colour-matched silk and laid couching worked in fine silk thread. Loose
areas of lace on the veil were .....stitched. The conservator of the dress (Morris) ended the treatment report of 2007
by stating that she had never carried out such an Interventlve treatment before, nor has she since (FIgure 2C.4).

Condition after the treatment of 2007

The condition of the skirt was stabilized. Vast improvement was made both structurally and aesthetically: the
replacement of the linings and the smoothing petticoat, and the full support of the foundation petticoat,
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 81

Figure 2C.4 Conaervation in progress in 2006-2007: Monia stitching lace on the train icscrt.

enabled the distinctive 'bell-sh.pe' of the skirt to be .chieved. The dress WIIS made slife for the short loan
exhibition in Monaco (Figure 2C.2). Further tr.vel and exhibition will have to be carefully considered .IS the
lace bodice remains inherently weak.
The dress is currently stored in the PMA's new comp.cting storage f.cility. The components of the dress
.Ire laid on a I.rge tray to limit creasing. Although admittance is limited, the tr.y can be pulled out to give a
good overall view of the front of the dress with no h.ndling required. Haugl.nd's 2006 book was written in
part to provide details of the history .nd the construction of the dreH, which reduces the need for h.ndling.
The original linings and smoothing petticoat h.ve been preserved and are stored ne.rby for e.sy access; they
will be given. full support of silk crfpeline secured with a solvent re-.ctivated adhesive.
Material culture and the dress
This discussion attempts to tease out the interactions between the material and the social. Textile
conservation is seen as a process happening over time rather than as isolated events happening at fixed
times. The approach encourages questions about the process, e.g. why has this particular object been selected
for conservation, and why at this particular time? Why are these particular people involved? What are the
cultural values and beliefs motivating which participants? Why have certain decisions and interventions been
considered and not others? Some of these questions are considered below.
Wh ... ,

Philadelphians are proud of Grace Kelly. A Hollywood star and daughter of a self-made Philadelphia
millionaire, she made arrangements to donate the dress to the PMA well before the wedding and the
donation was made shortly after it (Haugland, 2006). By donating the dress to the distinguished art museum,
the garment,. albeit an exquisite wedding dress, was turned into a work of art. Viewed as a meronym of the
wearer, the gift of the wedding dress also enabled part of Grace Kelly to remain in her home town.

Why?
The dress was conserved because of its great significance for the history of dress and fashion and because
it is one of the most popular and beloved objects in the PMA collection (PMA press release, Jan. 13, 2006).
It is important as an icon linking the American dream of hard work with the social success of marriage,
82 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

both romantic and dynastic. The symbolic progress of the dress connects the body of a popular daughter of
Philadelphia to the fantasy of Hollywood fashion and film and the realities of a European royal family (Harris,
1991 11957]). The title of the book accompanying the 2006 exhibition names this transformation: Grace Kelly.
Icon of Style to Royal Bride (Haugland, 2006). Thus, the dress was conserved for its artistic qualities as well as
its importance for social history.

When?

The wedding occurred at the height of the Cold War, April 1956. In July the Soviet Union suppressed the
Hungarian uprising. The intemational distribution of the wedding, via MGM's media network. TV and
photojournalism and of representations based on the wedding dress can be seen as successful promotions of
the American dream. This was continued with each replay of the celluloid wedding, when the transformation
from Hollywood star to European princess was renewed. Grace Kelly continued to be in the public eye
and much admired during her 25 years as Princess Grace of Monaco. In 1982 she died in a car crash in the
mountains of Monaco at the age of 52. Her early and tragic death reinforced the mythic power of the
fairy-tale. Public interest in Princess Grace and her family continues.
The exhibition in 2006 marked the fiftieth anniversary of the wedding. Despite the weak condition of the
dress, public demand for an anniversary exhibition in Philadelphia overcame initial reluctance to exhibit it
and the conservators found a way to make it safe and pleasing for this temporary display. The loan exhibition
to Monaco In 2007, to mark the twenty-fifth anniversary of Grace Kelly's death, led to the conservation
intervention described above.

How?

The museum professionals appointed to select a conservation intervention had to consider the relative
Importance of recapturing or reinstating the original 'look' of the dress versus preserving all Its original
materials in situ. Presenting the dress as close as possible to its 'as new' effect, the 'fairy-tale' come true, was
more important than preserving the materials per se. Material changes were considered acceptable parts of
the conservation strategy If they allowed the original appearance of the dress to be recaptured or reinstated
which explains the replacements. What mattered about the linings and the petticoats was their ability to
provide the skirt with the desired shape and smooth surface. If the ageing of the materials used for these
understructures meant they no longer retained their original properties, the significance of their materials was
less important than their original effect: what they did was considered more important than what they are.
This led to replacement as an appropriate conservation intervention. It is now unusual for textile conservators
to remove components and substitute them with non-orlglnal material. Such substlMlon Is common practice In
other conservation disciplines where functionality is paramount, e.g. in working clocks and vehicles.
The intervention of 2007 needed justification because the professional ideology of conservation has moved
from an Interventlve to a more preventive approach. A material culture view of conservation allows a usually
uncontested professional ideology to be questioned and allows for different ideologies to be acknowledged
and taken into account. In this intervention, conservation principles were applied to meet the material and
social conditions prevailing in 2007 and those predicted to apply in the foreseeable future. Articulating these
principles demonstrates how professional principles are socially determined (Eastop, 2009).
A material culture approach also gives space for analysing the language of conservation. Such analysis
remains rare, despite a pioneering study by Drysdale (1999), possibly because language is taken for granted
and so its importance goes unrecognized. In the above account the term 'preserving' has been used to
denote the retention of original materials, while the terms 'recapturing' and 'reinstating' are used to refer
to the interventions made so that the dress can be displayed looking as close as possible to its appearance
in 1956. 'Preserving' is used to stress the retention of materials while 're-capturing' or 'reinstating' stress the
capture or retum of something that had been lost. In this case, the smooth 'bell-shape' of the skirt. The term
'restoring' has been deliberately avoided because it now sometimes has negative connotations.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 83

Brief consideration of the language of conservation not only draws attention to changes in ideology,
but also highlights that it is hard to convey material properties in words. The materiality of the dress
and Its conservation, though readily experienced In practice, Is presented and therefore understood In
terms of text or images. The object record and the treatment report are attempts to convey the physical
properties of the dress and the materials added during conservation, and the physical processes of
conservation.
A material culture approach allows for recognition of the multiple and competing viewpoints of
the people involved (e.g. Eastop, 2000). Increased awareness can foster greater discussion of options
amongst a wider group of 'stake-holders' and consideration of a wider range of options. In the case
of the conservation of Grace Kelly's wedding dress, a material culture approach helps to identify the
social and environmental forces Involved. The Interventions of 2007 enabled the dress to meet the
role attributed to it: to preserve, present and represent an icon of continuing regional, national and
international appeal.

Conclusion

Conservation has tended to focus on technical questions related to material properties and environmental
conditions, sometimes influenced by issues related to aesthetics and functionality. There is less focus on the
social environment, which Is a fundamental but seldom recognized feature of conservation practice. When
the social is considered, it is often viewed as secondary to the science of physical change. For the social to
be taken as relevant as the technical, both the changing physical and social environments must be taken
Into account. Methods are needed which explore the Interactions over time of the physical and the social.
A material culture approach, which analyses the process of conservation by examining the interaction of
people, objects and language, provides a means of recognizing and exploring the interactivity between the
material and the social.

Acknowledgements

We thank the Philadelphia Museum of Art for permission to publish, and Kristina Haugland and Sara Reiter,
both of the PMA, for their critique of an earlier draft. We also acknowledge the help provided by Dllys Blum
and Monica Brown at the PMA, and David Goldberg.

References
Clavlr, M. (2002). Preserving what Is va/u~: Mweums conservation and first nations. Vanceuver: University of British
Columbia Press.
Drysdale, L. (1999). The language on conservation: applying altkailinguistk analysis to three conservation papers. In
J. Bridgland, (Ed.) Pn!prints.ICOM-CC Lyon (pp. 161-165). London: James and James.
Eastop, D. (2009). The cultural dynamics of conservation principles In reported practice. In A. Richmond & A. Bracker, (Eds.)
Conservation: Prlndples, dilemmas and uncomfortable truths (pp. 150-162). Oxford: Elsevier.
Eastop, D. (2006). Conservation as material culture. In C. Tilley, W. Keane, S. Kuechler, M. Rowlands & P. Spyer, (Eds.)
Handbook of Material Culture (pp. 516-533). Oxford: Sage.
Eastop, D. (2000). Textiles as multiple and competing histories. In M. M. Brooks, (Ed.) Textiles revealed. Object lessons in
historic textile & costume research (pp. 17-28). London: Archetype.
Harrl', T. (1991 11957]). The building of popular Images. Grace Kelly and Marilyn Monroe. In C. Glendlll (Ed.), Stardom:
Industry of desire (pp. 41-44). London: Routledge.
Haugland, H. K. (2006). Grace Kelly. Icon of style to royal bride. New Haven: Philadelphia Museum of Art In association with
Yale University Press.
Jones, S., a Holden, J. (2008).1fi a material world. Caring for the public realm. Demos. http://www.demos.co.uklpubllcatlonsl
materialworld
84 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Lennard, F., & Brooks, M. M. (2008). Looking forward, looking back: Revisiting the development of Interlinked conservation
and curatorial Masters programmes - a further perspective, New Delhi. In J. Bridgland, (Ed.) Preprints, ICOM-CC New
Deihl, (pp. 109-115). Allied, New Deihl.
Miller, D. (1994). Artefact> and the meaning of things. In T. Ingold, (Ed.) Companion encyclopaedia of anthropology
(pp. 396-419). London: Routledge.
Odegaard, N. (2000). Collections conservation. Some current Issues and trends. Cultural Resource Management (National
Park Service, U.S.A.) 5, 311-41.
PMA report (2007). Examination and Treatment Report 1956-51-1. Unpublished report. Philadelphia Museum of Art.
Pye, E., & Sully. D. (2007). Evolving challenges. developing skills. The Conservator, 30,19-38.

Case study 20

Ethnographic garments:
Evolution of exhibition display
in response to curatorial
interpretation
Christine Giuntini

Introduction

In 1983, The Department of the Arts of Africa, Oceania, and the Americas' (AAOA) at the Metropolitan
Museum of Art (MMA) was the first of the 17 curatorial departments to initiate regular temporary exhibitions
within its own gallery space. These installations focused on a single culture, theme or collection from those
parts of the globe covered by the department's curators. This active exhibition schedule has provided
countless opportunities, over the past three decades, to design and create exhibition mounts for diverse kinds
of ethnographic7 flat textiles and three-dimensional costumes. In addition to installing exhibitions at the
Metropolitan Museum, there were also opportunities to collaborate with conservator and curator colleagues
at other fine arts museums, thus expanding the range of challenging ethnographic works needing mounts for
display andlor storage. The following five case studies of ethnographic garment Installations were all projects
for which the author had the good fortune to be the principle conservator. They illustrate a gradual shift in
installation philosophy from displaying ethnographic ganments in a timeless, flat and abstract manner, towards
a more contextuallzed approach that presents ethnographic ensembles as lively three-dImensional objects.

6 Known as the Department of Primitive Art until March 1991.

7 Discussions of the appropriateness of applying the word ethnographic to characterize the material culture of the peoples
of Africa, Oceania and the Americas culture are ongoing. Since consensus on a new term has not yet been reached, ethno-
graphiC, In spite of Its shortcomings, will be used In this case study.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 85

Background

The 1980s witnessed a refocusing of priorities in the field of art installation. Conservators began to pay
more attention to the composition and quality of materials used for storage, exhibition and mounting,
as well as to the effect of the museum environment and display methods on the object. Concurrent with
these developments and with particular respect to the display of ethnographic art, curators continued
to evaluate and refine aesthetic and historic information conveyed to museum visitors through display
techniques and label information. While a discussion of cultural meanings embedded within the exhibition
and interpretation of non-western objects is not the topic of this case study, it should be noted that certain
display methods, such as using 'fashion' mannequins as supports for non-western garments, were considered
and quickly eschewed by the museum community out of respect for the complex issues of ethnicity and race."
The evolution of curatorial interpretation of artifacts from non-western peoples has been instrumental in
bringing about Innovation In the use of mounting materials and methods of display.

Instaliation methodology - early 1980s

The Michael C. Rockefeller Wing at the MMA opened to the public in February 1982. The open spaces, high
ceilings and unembellished neutral setting of the galleries were clearly Influenced by modernist aesthetics.
Displayed in a thoughtful and abstract manner, these collections became objects lifted out of time, to be
admired individually for their formal and aesthetic characteristics rather than for their cultural meaning and
slgnlflcance.-
Included in the RocIcefelier Wing installation of about 2,000 objects were a number of textiles and
composite fibre objects, which included a group of Kuba prestige panels. a Cameroon masquerade costume;
Pre-columbian garments, feathered textiles and composite fibre, feather and metal objects; and Native
American weavings. The treatment and preparation of these artifacts for the new installation, carried out
over the preceding several years, was the responsibility of the author and other conservators In the MMA
Textile Conservation Department. Exhibition methodologies for textiles and costumes were developed
according to the preservation protocols of the Conservator-in-Charge. 10 They stood in contrast to the display
methods of the previous decades at the Museum of Primitive Art, where textiles and costumes (Including
archaeological fabrics) were often displayed without vitrines, hung from wires, draped over forms or used as
backdrops for other objects.
In the Rockefeller wing, the textiles and fibre artifacts were exhibited In closed cases or wall-mounted
vitrines. Every support was designed to minimize direct handling during the installation. Among the
techniques employed were Velcro. hanging systems which allowed the flat textiles to be raised to the
wall upon sealed wood slats, poly(methyl methacrylate) tubes supporting the shoulder-line of square-cut
garments, and stitch mounting of archaeological fragments. These installation protocols clearly reflected the
flat and formal display philosophy, thus ensuring that these objects would be viewed as two-dimensional
fields of colour and pattern.

81 For example, Masterworks from the Museum of the American Indian, an exhibition held at the Metropolitan Museum of
Art Oct. 18, 1973-Dec. 31,1973 exhibited a selection of Plains dresses on metal stands without arms or legs but with high-
fashion mannequin torsos and monochromatic western-featured heads.
9 Julie Jones, Curator-in-Charge, AAOA. personal communication, Dec. 12,2008. See also: Vogel (1982), Goldberger (1982),
Errington (1998).
10 In large part.. Nobuko Kajitani, Conservator-in-charge (1966-2003) developed these protocols. In the MMA Textile Conserva-

tion Department. the primary purpose of a condition examination was to develop a long-range preservation plan for the
artifact. One of her publications (Kajltanl, 19n) is among the earliest In the conservation literature to Identify treatment as
but one component of an all-encompassing museum preservation philosophy. This approach has become the foundation of
best practices, finding a wide following among conservators and other preservation professionals.
86 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 2».1 The Leopard Society masquerade enaemble as mounted for the 1981 inaugural installation of the
Michael C. Rockefeller Wing, The Metropolitan Museum of Art. Cameroon, Africa; Mambila, Mbem or Kaka
group, 20m century, raffia palm fibre, dye. H.175.3cm x W.162.6cm Fletcher Fund (1972.4.66).

Installation of an African masquerade costume as a flat textile - 19111

A Mambilla Leopard Society masquerade ensemble (MMA1972.4.66) from Cameroon posed particular
challenges (Figure 20.1) to this display philosophy. Collected in the field by Paul Gebauer in 1936, this object
showed little sign of wear, had probably never been exhibited, and remained in good condition. Created
entirely from substantial 2-ply plant fibre cordage using interlooping (single elemenQ and interlacing (two
elements) structures, the resulting garment is lightweight and open.
When used in a performance, the open structure would shroud the individual identity of the performer,
while the unmistakable shape of a human body would remain visible with the lower legs and feet exposed.
These details would certainly affect the display method, especially when references to the human body
were at odds with the prevailing installation aesthetic. Unfortunately, there are no records of the discussions
concerning the installation options for this costume. What is certain is that this garment would be displayed
as a flat textile, legs straight and arms outstretched. In spite of its resemblance to an oversize gingerbread
man, this presentation did focus the eye on the bold hand-painted imagery. In the cool and abstract
installation, the problem of displaying a sheer fibre garment without resorting to the fashion mannequins
then available for museum display was avoided. A shaped lightweight support. faced with archival board and
polyester felt, and covered with display fabric. was created and the garment was stitched with a carefully
planned pattern to suggest some volume while supporting the minimal weight of the object. The sturdy
backing, constructed with hanging cleats. also eliminated handling the costume during the installation.
Nevertheless, the display method was not particularly satisfying, perhaps because the flat and splayed
orientation converted a flexible three-dimensional object meant to be full of movement and life into
something completely static. This mounting and display solution was never repeated for any other garment
or costume in the MOA collection.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? rf1

Figure ID.2 Installation view oCa group of Native North American weavings mounted on shaped supports and
tailored garments mounted on modified 'dasI!Iic' dreumaker fOnDI in Color and Shapt in AIMrican Indian Arl at
The Metropolitan Museum of Art, 1983. Curated by JulieJones.

Installation of Native American garments - '913

In 1983, an exhibition of Native Americlln material, Color lind Shape in American Indilln Art (March 25,
1983 - July 3, 1983) provided II new opportunity to display flat lind tailored gllrments. For this exhibition,
the curlltor wllnted the garments presented in II manner that suggested the wily they would have been seen
when worn, without obscuring their lIesthetic qualities (Figure 20.2). The exhibition material included Navajo
wearing blankets; these were usually displayed flat agllinst a willi like the colour-field paintings tiley often
resembled. In response to this request for a more lively display, shaped lightweight woodlmetal supports
were constructed, sealed and covered with archival bllrrier bOllrd, polyester plldding lind displllY fabric. For
the flat weavings a Velao" fastening system was lidded to the bllck of the sloped sides lind the centre top
to hold the garment securely in place. This mounting technique successfully presented the strong grllphic
imagery of the weaving, while lllso suggesting its use liS a shoulder cloth.
Mounting the tailored garments and II Navajo woman's garment was more chllilenging as the Textile
Conservlltion Department rarely worked on seamed and shaped clothing, the Vllst majority of which were kept
lind prepared for display by tile Costume Institute lit tile Metropolitan Museum. For this instalilltion, severlll
obsolete dl1!S5mllker fonns, mounted to stationary steel poles with squllre bases, were modified for display in
Textile ConseMrtion. For most. the neck and bust WIIS removed from the torso so the form could be wstomized for
each garment. The neck-less form would prove to be a standard feature of all subsequent mounts desaibed here.
Following costume dressing protocols of tile time, ellch tolliO was covered with polyester blltting to create
the proper shllpe. To hold these materials in place, nylon pllntyhose or tights. the legs cut IIWay, was pulled
over the neck lind shoulders of the form. These forms were also fitted with removable arms created from the
cut-off legs, filled with polyester batting and pinned to the shoulder. Archival board 'llprons', tied around the
torso, were used to support the lower portions of the garments. so they would not appear limp. The lid-hoc
nature of these modificlltions demanded a display of the backs of the garments. Supported on their metal
bases, the fonns conveyed a human shllpe without a visible mount.

Installation of an African prestige garment - 1987

Subsequent AAOA exhibition of ethnographic garments continued this generalized three-dimensional
approach to display and these artifacts were occasionally contextualized by the addition of personal
88 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure !D.! Inatallation view of Cameroon Gr.usficl.dJ prestige gown mOWltcd on a polyethylene and archival
tube fonn, in the African Galleries, The Metropolitan Museum of Art, c. 1987. Curated by Kate Ezra. Cameroon
Grass:fi.elda, 19th-2()th century, cotton, wool. H.219.1cm. Purchase, Dr and Mrs Sidney Clyman Gift and Rogers
Fund, 1987 (1987.16~). Abo pictured, prestige cap, Cameroon Gruafields, cotton, wool. H.21.6cm. The Bryce
Holcombe Collection of African Decorative Art, Beguea:t of Bryce Hokombe, 1984. (1986.478.60).

accessories, such as caps or prestige regalia, displayed alongside. In 1987, when the opportunity arose to
install a voluminous man's prestige garment from cameroon (MMA1987.163), it was exhibited in the round
on a freestanding torso form and could be viewed from any side (Figure 20.3).
The torso support was a more robust and archival version of a dressmaker's form, upon which it was clearly
based. Carved from low density closed-cell polyethylene foam (EthafoamTl')ll and covered with polyester felt
padding and cotton surgical stockinette, several variations of this type of support have been independently
created throughout the 1980s and 1990s by many conservation labs (Niinimaa, 1987). Because the sleeves of
this type of West African garments are voluminous and heavy, and the curator wished to display the sleeves
held some distance away from the body of the garment, a soft arm filling could not be used. Instead, the
AAOA torso form was fitted with two long archival tubes, inserted into cavities at the shoulders and held
in place by friction. The tube 'arms' had the added advantage that they could be cut and pieced to create
different profiles.
The torso was supported on a custom-made steel armature that dropped into a steel polelbase plate; the
steel plate added weight and kept the centre of gravity low. An archival board 'apron', secured to the form,
kept tne lower portion of the robe from collapsing around tne base pole. References to the body were botn
generalized and exaggerated so that the voluminous garment, amply filled by the form, demanded attention
from the viewer as would have befitted the nigh ranking official to whom tnis robe once belonged. Both tne
distinctive snape of tnis type of west African robe and tne intricate, yet graphically strong embroidery could
be appreciated equally. Working witn these mounting materials, whicn were easily assembled and snaped,

11 Ethafoam.... is oil proprietary formulation of Dow Chemical. For ease of carving this tough material, 2.2 or 4 pound densities
are often chosen.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 89

Figure m.4 Installation view curated by D.Y: Begay (Nav.go) for the inaugural exhibit AU Roads An Good,
including 0880~.OOO, a Nav,yo Chid's manket c. 1840. and 144864.000, a northeast Salish goat wool and dog
hair blanket c. 1870. National MUlIe1lIll of the American Indian, Smithsonian Institution.

gave rise to possibilities for the installation of other, less easily resolved issues of displaying non-westem
ensembles encountered during contract work for other art museums.

Installation methodology - mid 19905

One of the two inaugural exhibitions for the opening of the National Museum of the American Indian's (NMAI)
George Gustav Heye Center in New York City was the occasion of exhibiting two shoulder blankets as the
three-dimensional garments they once were. All Roads Are Good (August 1, 1994 - August 1, 2000) presented
a wide-ranging selection of artifacts chosen from the museum's holdings by 23 Native Americans. One of the
guest curators dU)5e two weavings, Salish and Navajo, to be exhibited in her section of the exhibition. tt was
imperative that these be shown in a manner that suggested how they would be worn. (Figure 20.4) For both, a
two-part steel armature, the upper portion fitted with carved Ethafoam", covered with poly-fett padding and
cotton single-interlock stockinette12, was used to create two different types of torso forms.

Supports for Nati.,. American Shoulder Blankets -1!I!U

The Salish blanket was displayed from the back. Once a basic armless form was carved and covered, the Salish
blanket was draped around the shoulders. Cotton twill tapes were stitched to each side of the weaving and
tied together, in order to hold it securely. An apron of two-ply rag-board was tied to the torso, supporting
the heavy cloth in a smooth and even position over the lower portion of the steel mount. The stiff quality
of the tightly woven textile made it easy to create dramatic folds that called attention to the bold pattern.
However, the Navajo blanket was to be seen from the front. Unlike the mounts for ethnographic textiles
previously described, a rather large portion of this torso form would be visible to the viewer. AJ envisaged
by the curator, this form was to suggest a figure 'hugging' weaving close to the body, which meant creating
folded arms that could be enveloped by the textile. This proved challenging and several attempts at carving
and shaping 'folded arms' were needed before an acceptable mount was achieved. The exposed chest area
was filled with a neutral coloured woven cotton. To dress the form, approximately one-third of the weaving

12 Testfabrlcs. http://www.testfabrlcs.comJ
90 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure !D.S Installation view of the Likishi Dance Coatume: leggings, rattles, shirt with attached head cover
and Pwo Mask at the Brooklyn Museum, c. 1995. Curated by Bill Siegmann. Zambia, Africa; Loyale or Cho1we,
late nineteenth or early twentieth century, fibre, wood, seedpow. H. 16'7.'7cm, as assembled (lH;.S48-.553).
Loincloth is a modern recomtruction.

was folded over to make a deep 'collar' around the shoulders. A Velcro. strip was stitched to the inside of
the blanket. Its mate was stitched to the back and shoulders of the torso form. preventing the weaving from
sagging over time. Several cotton twill tapes were strategically stitched to the inside and outside of the
weaving so that the sides could be overlapped and firmly tied, invisibly, together.

Support for an openwork masquerade ensemble - 1995

A Likishi (Luvale or Chowke) masquerade ensemble with Pwo mask, the embodiment of ideal female beauty,
owned by the Brooklyn Museum of Art (BMA36.548-553), needed to be prepared for exhibition during 1994
(Figure 2D.5). It was quite similar in some of its structural details to the Leopard Society costume described
above. Made from tightly twisted 2-ply plant fibre cordage and constructed using looping techniques,
it, coincidently, was also collected in 1936. On display for many years, it was removed to storage in the
1970s. The yarns of the Likishi ensemble were dry and somewhat degraded. Yet the highly twisted cordage
remained flexible and strong enough to support its own weight.
This close-fitting openwork garment was created in three parts: two leggings, each with attached foot
coverings; and a complex upper-body garment with attached carved wooden breasts and facemask. In
addition, the mask featured an elaborate and heavy fibre and resin coiffure. All these elements were tightly
integrated into the shirt-like form. A 10incloth13 bridged the gap between the leggings and the upper-body

13 A claM! Rudy of field photogf'llph5 given by the collector reveilled that II aitical Pllrt of the C05I:ume was miKing. The loindoth,
dellrlyvi5ible in the photogrllphy lind which IIppeaB to be a factory woven lind printed trllde doth, Will probably not collect-
ed with the reI1: of the en5emble. After dilCUllion with the Brooklyn MU5eum curator, it WIK recreated from cotton fabric.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 91

garment; thus the entire body was clothed. Rattle attachments were tied to the legs. Uke the Leopard Society
garment, the close fitting yet open structure of the fabric shrouded individual identity while revealing the
human form. The costume parts would need an Intemal form that could support these disparate elements
and display the entire ensemble to best advantage.
A field photo, given to the museum's archive by the collector, documented the costume being 'danced' 60
years earlier. The curator wished to exhibit this rare example of a complete masquerade ensemble with a pose
that echoed the dancer in the photograph. An active posture would be more likely to engage the viewer to
examine this complex ensemble more closely. Even with careful planning. creating this type of mount meant
that there would have to be several 'stagings' or fittings of the costume as the individual supports were built.
At the beginning of this project, the curator and conservator had many discussions about the inevitable stress
and loss of fibres due to handling during the fitting process. Also discussed were options for supporting the
various attachments so that their weight was transferred from the garment to the mount. The talents of a
skilled metal mount-maker were indispensable for this complex project and the resulting mount was a close
collaboration between the conservator and the mount-rnaker.
Built from the feet up, the metal armature was designed so that each of the individually dressed
sections - legslfeet, armsihands, head and torso - fitted together with a brass rod and sleeve system.
These pieces were held In position with set-screws, which had to be thoughtfully positioned so that
they would not be blocked by the garment or by other pieces of the mount. The deck of the exhibition
case was fitted with a metal sleeve to accept a rod from one of the legs. Luckily, the soles of the foot
coverings were worn away; It would be easy to secure the mount In this area. A second rod, to stabilize
the heavy upper body garment and mask, was added from the back of the armature to the wall of the
case.
The supports for each of the individual parts of the body costume were fabricated from Ethafoam'·,
padded with polyester felt and fitted around the metal armature. In order to reduce friction on the dry
fibres. the forms were covered with a slippery rayon fabric. The individual supports were dressed. then
assembled Into a sturdy and animated whole. Since the heavy coiffure and wood mask could not be
detached from the upper-body garment, they needed a mount that was first fitted into the head cavity and
then locked into the torso armature. The open structure allowed easy access to the set-screws so that the
individual parts could be assembled into the whole. This open structure also allowed the heavy attachments,
i.e. breasts and rattles, to be held by brass pins embedded in the support, thus relieving stress on the fibres.
The mount was created so It can be removed from display and stored In two sections without removing the
garments, thus minimizing handling.

Conclusion

The display of non-westem garments as abstract two-dImensional forms was strongly embedded In art
museum exhibition methodologies by the 19705. During the 19805 and 19905, as different information was
conveyed to museum audiences. display protocols also changed. Today, curators and conservators feel free
to choose among various formats. Display methodology of ethnographic garments should be based upon
a consideration of the condition of the object, the exhibition design, length of exhibition and museum
environment. although budgetary and staffing concerns often limit choices. In retrospect. the evolution of
the now ubiquitous style of generalized and minimal three-dImensional mounts for ethnographic garments
appears obvious. Like the two-dimensional and abstract display method, it avoids having to deal with the
slippery concepts of ethnicity or race, but with the added feature of suggesting how such garments would
have been worn.
Most of the mounting techniques described here are considered standard protocols today, and were,
In part, Informed by the prevailing methodologies of the era. None of the mounts described here are sui
generis. Although original in certain facets of design and construction at the time, subsequent discussions
with colleagues have revealed that similar problems find similar solutions. In addition, the further working
92 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

and refinement of a mounting methodology can make it blossom into a distinctive style that stimulates the
imagination of a wide audience.

Acknowledgements

Conversations with many colleagues have helped to shape solutions to a variety of installation issues. Chief
among mentors and colleagues are Nobuko Kajltanl, Ken Moser, Ellen Pearlstein, Chris Pauloclk and Marian
Kaminitz, The skill and insights of several mount-makers must be acknowledged, especially Sandy Walcott
and Nicolas Economos. Finally, the unfailing support of the curators responsible for these objects has allowed
these treatments to proceed, especially Julie Jones, Kate Ezra, D.Y. Begay and William Selgmann. Ellen
Howe and Elena Phipps have made helpful suggestions to previous drafts. This essay is, in large measure,
a 'remembered' history. Although care was taken to maintain accuracy, errors may be discovered. I am
responsible for these.

References
Errington. S. (1998). The death of authentic primitive art and other tales of progress. Berkeley: University of California Press.
Goldberger, P. (Feb. 31982). Architecture: primitives In space. The New York T1mes. (1 & C4
Kajltanl. N. (19n). Care of fabrics In the museum. In J,e. Williams (Ed.), Preservation of Paper and Text/les of Historic and
Artistic Value. Advances in Chemistry Series, no. 164 (pp. 161-180). American Chemical Society.
Nllnlmaa, G. S. (19S7). Mounting systems for ethnographic textiles and objects. lAIC, 26(2), 7!H14.
Vogel, S. (1982). Bringing African art to the Metropolitan Museum. African Arts, 15(2), 38-45.

Case study 2E

Institutional developments and

their effect on conservation
policies: the Cambusnethan
Bog Burial Coat
Helen M, Hughes,
Textile Conservator, Glasgow Museums, Culture & Sport Glasgow

The role of a textile conservator in a large institution such as Glasgow Museums is not always
straightforward and can change over time. Changes in the internal structure of the institution, changes in its
focus and changes In conservation policy all have an effect on the role of a textile conservator.

Glasgow Museums

A common perception of museums Is that they are unchanging or slow to change. For local authority museums,
the reality can be quite different, with changes of council and local government having a direct effect on their
running. Over the last 20 years, Glasgow's city museums have undergone a considerable number of changes.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 93

In 1990, the museums were organized in curatorial departments with conservators split amongst the
departments and buildings. In 1993 the museums were restructured and a conservation department created, with
a reduction In conservation posts, partkularly In the fields of transport and technology. In 1997 local government
in Scotland changed from a two-tier to a single-tier structure. Glasgow City Council, which took over the running
of the city from Glasgow District Council and Strathclyde Region, started with a deficit and had to impose budget
cutbacks on departments. This resulted In a restructuring that reduced conservation and curatorial posts and the
museums combined with libraries and sports to form one large department, Culture and Leisure Services (CLS).
In 2003. after a Best Value Review (a formal review of how a seNice is run, how effective and efficient it
is and how it can be improved), the museums were again restructured, with an increase in the numbers of
conservators and curators. In 2007 CLS became Culture and Sport Glasgow, a charitable company owned by
Glasgow City Council, with part of Its remit to care for the City's museums and their collections. Glasgow
Museums is made up of 12 buildings, housing over a million objects, with collections ranging from fine art
to social history, transport, archaeology, costume and natural history. The range of collections and buildings
means that caring for them Is Inherently complex, and a dynamic balance between the centralized and
the devolved needs of the organization is required. The museums are also very important to the people of
Glasgow, highly visited, often in the news, and great interest is taken in how the collections are cared for.
The author began worle In 1990 In the Decorative Arts Department, worlelng on the costume collection
based in camphill House; the collection and associated staff were moved to the Burrell Collection in 1992. The
author was based there with the two Burrell Collection textile conservators, but she reported to a different
department. In 1993 she became a textile conservator In the newly created Conservation Section. The number
of textile posts was reduced to two with an increased remit to cover all textiles in Glasgow Museums. At that
point the conservation section was charged with making the collections safely accessible. In the 1997 restructure
the number of conservators in the department was reduced to five, only one of them devoted to textiles. and the
curators of Scottish History and Costume and Textiles left. The public concern for the City's museums made the
job losses very controversial. WIth fewer conservators, the emphasis of the conservation section was then on
preventive conservation, caring for collections rather than for individual objects. In 2003 the section greatly
increased in size, and new curatorial posts were created for the departments of Scottish History and Costume
and Textiles. The focus of all sections was now on visitors and their experiences with the objects and collections.

Case study: the Cambusnethan Bog Burial Coat

The author has been involved with the Cambusnethan Bog Burial Coat on several occasions since 1991.
Although she has not carried out conservation treatment on It herself, she has been Involved In supervising
treatment, providing access to the coat, providing information about it, and discussing ideas for its Mure
role. This case study demonstrates how Institutional policies Impact upon conservation Interventions, and
raises other concerns such as the treatment of human remains in museums.
In March 1932, Gerard Rolink, a peat digger in Greenhead Moss near Old cambusnethan Church, found the
body of a man. The body was In a shallow grave underneath pieces of birch wood. After the discovery was
reported to police, the body and some of the clothing were taken to the local police station. A few weeks
later the site was examined and the rest of the remains were taken to the police station. At that time it was
assumed that the man had died a violent death and that from his clothing he had been a Covenanter. The
National Covenant was signed in 1638 following Charles I's attempt to introduce an Anglican prayer book;
over the next 40, often very brutal, years the Covenanters fought for a Presbyterian Church in Scotland. There
Is stili a very strong emotional resonance In Scotland for anything to do with the Covenanters.
Before the body and clothing came to Glasgow Museums, an account of the finding of the body and the
analysis of the clothing and body was written by amateur archaeologist and collector, Ludovic Maclellan
Mann, and published In Volume IX, Part I, of the Transactions of the Glasgow HIstorical SocIety In 1937. He
also included reports by Professor John Graham on the body, Robert G. Eskdale on the cloths and dyes and
William Martin on the shoes. The descriptions and analyses are well observed, but presupposed that the man
94 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

was a Covenanter, and the clothing was drawn as a man's seventeenth-century costume. At a later date,
Helen Bennett. then in charge of costume and textiles at the National Museum of Antiquities in Edinburgh,
dated the clothing as being from 1790-1810 proving that the man could not have been a Covenanter. This
later date has since been supported by other costume historians.
In 1991 the author first became involved with the coat when it was requested for display in a new Scottish
Gallery in Kelvingrove Art Gallery and Museum, Glasgow's most visited museum. At that time the coat and
body were the responsibility of the History Department. The Scottish Gallery project was part of a move
towards cross-disciplinary displays and presaged the 1993 restructure, but while the displays were cross-
disciplinary, the staff structure meant that it was not possible for the textile conservator to treat the coat as
she was in the Decorative Arts department. Instead it was arranged for her to supervise the work of Liddell, a
conservation technician from the History Department.
The coat and the rest of the remains were brought to the textile conservation studio in Camphill House.
While the remains are referred to as a 'bog body', all that has survived of the body are some of the bones
and part of the skull with hair still attached to it. As the treatment went on, the knowledge of the presence
of human remains in the workroom had .m increasing emotional impact. The clothing that came to Camphill
House included the coat which had been reconstructed, i.e. the separate pieces had been sewn back together;
the breeches. which were also partially reconstructed; the socks, parts of the shoes. buttons and several pieces
of woollen fabric. There was no record available to indicate when the reconstruction of the coat had been
carried out or who had done it. When it was examined, the stitching threads proved to be mercerized cotton;
the old stitch holes had been matched up and reused. It seems that only proteinacious material has survived;
the original threads were possibly of linen or cotton. The reconstructed shape is distorted so that the coat
does not sit squarely on a mannequin. This distortion is consistent with the parts of the coat being put
together, rather than taking patterns from them to make up a toile and using that to adjust their positions.
The coat is exciting, as it is not the kind of garment that typically survives from the eighteenth century
(Figures 2E.1 and 2E.2). Normally it is the expensive silk garments of the nobility that survive rather than

Figure !E.l Side view of the Cambusnethan Bog Burial Coat (A 1955.96. [1]).
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 95

Figure 2&2 Back of the Cambusnethan Bog Burial. Coat (A1955.96.[1]).

more everyday wear. This slender, full-skirted coat is made of a robust, green, twill weave wool. The skirting
is pleated at the back and the coat fastens at the front with buttons. It has a turned over collar but no lapels.
There are nine buttonholes on the proper left front edge and matching indications of buttons on the right.
The main part of the coat is lined with a twill weave, blue wool and the sleeves with a plain weave, brown
wool. The coat has several patches of twill and plain weave, blue wool fabrics; these patches had been put on
before burial and are contemporary with the coat. It has a heavy oily feel but the cause is not known.
As part of the 1991 treatment, Liddell wrote as full a description of the coat and treatment as possible, but
photographs could not be taken because of the staff structure at that time. The brief for the treatment was
to prepare the coat for display. As there was limited time the previous reconstruction was left intact. Where
stitching had failed this was redone, and dyed nylon net was used to cover and support weak areas. The
reduction of the creases was the most problematic part of the treatment; this was attempted by creating a
tent, inside which the coat could be humidified. There were two major concerns with the crease reduction.
Firstly, it was not known what had caused the creases or what their relevance was; nor secondly, what, if any,
health risks there were in humidifying the coat. In the event the humidification had little, if any, effect on the
creases, and no mould developed. The final aspect of the treatment was to create a mannequin for the coat.
The mannequin was made of chicken wire on a wooden frame, padded with polyester wadding and covered
in a cotton display fabric. Once the coat was mounted on the mannequin it could be seen that the previous
reconstruction was not entirely correct and the mannequin had to be made to account for the distortions in
the shape of the coat. The coat's slender shape appeared odd to a 19905 audience, so the mannequin was not
made slim enough for the coat to fasten, but for it to be left open at the front.
In the period 1997-2003 curatorial responsibility for the C8mbusnethan coat passed to the Archaeology
curator, Dr Colleen Batey. At that time interest was in much earlier, prehistoric and Viking eras, and the
cambusnethan bog body and clothing were seen as an anomaly in the archaeology collection. This combined
with the lack of a costume and textile curator meant that the author was involved in viewing sessions for the
coat. This included removing it from display for David Wilcox. a costume historian, who was conducting his
96 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

own research into eighteenth-century men's clothing. Wilcox took a pattern of the coat and breeches. One
result of this was to show how the sleeves had been wrongly positioned, explaining the distortion in the
shape. Copies of the patterns were put Into the conservation flies.

Repatriation request

In the 1990s a request was made by the Wlshaw Community Council for part of the remains to be burled
in a cairn being built to commemorate the seventeenth-century Covenanting tradition. Objects in Scottish
museums can be repatriated; Glasgow Museums has done this in the past and has an established procedure
for dealing with each claim on a case by case basis. Requests are considered by Glasgow City Council
and judged against five criteria: the status of those making the request (i.e. their right to represent the
community from which the person originally came); the continuity between the community from which
the person came, and the current community on whose behalf the request Is being made; the cultural and
religious importance of the person's remains to the community; how the remains have been acquired by the
museum; and their subsequent and future use if the remains are returned.
The request was turned down on the grounds of the revised dating of the costume. A further request
for all the remains to be returned in order to be given a Christian burial was also turned down. One of the
factors in the decision was that. although the man was almost certainly a Christian. it is not known of what
denomination and what would be an appropriate way for him to be treated.
For any repatriation case information is required; conseNation and curatorial records need to be brought
together along with other Information held by the museum or outside bodies. It Is also a time when gaps
in documentation may be filled. While it had not been possible to photograph the coat during Uddell's
treatment, at the time of the repatriation request it was now possible for the coat, the rest of the clothing
and the remains to be photographed.
Since 2003, when Kelvingrove was closed for redevelopment, the coat has been in store with other
eighteenth-century coats, and the rest of the remains and clothing were taken to the newly built Glasgow
Museums Resource Centre. At an early stage a group from all the areas Involved In the care of human
remains, including the author, met and discussed the issues involved. The Cambusnethan body and clothing
were not untypical, in that there is interest and emotional concern from a variety of groups whenever the
care of human remains is involved.

Discussion

The author's role as a textile conservator In the care and Interpretation of the cambusnethan coat has not
been straightforward. She has been involved as much with people as with the coat. This has been a product
of both the different staff stnuctures in Glasgow Museums, and the changes in attitude within society.
The Scottish Gallery display promoted the advantages of cross-dlsclpllnary work, opening up collections to
different interpretations and allowing connections to be made by visitors. The difficulty for a conservator
was that the treatment brief for the proposed initial display of the coat was not clearly defined. There was
no Information on why the coat was being displayed, whether as an elghteenth-century coat, as a unique
garment or as a plain coat in comparison to the two tartan coats that were displayed with it, or as a 'social
history' garment. By contrast, for the 2006 redisplay of Kelvingrove, the knowledge of why particular textiles
were being used helped In the development of their treatment proposals.
The 1993 staff restructure meant that the collections became the responsibility of the whole Museum
Service. With the creation of the conservation section it became possible. as a conservator. to be much more
proactive and work with curators, project leaders, designers and the public in establishing a treatment brief.
This meant that the author needed to be able to communicate what was possible and also to listen to the
needs and desires of other people Involved. After the 1997 restructure a preventive approach was taken to
conservation in Glasgow Museums; this meant concentrating on the physical care of collections.
 TREATMENT OPTIONS - WHAT ARE WE CONSERVING? 97

With the refurbishment of Kelvingrove there was a change in the philosophy of Glasgow Museums, and
a visitor-centred approach taken to displays. This has had an impact on how objects are treated; how the
treatment affects objects' Interpretation Is now becoming an Important part of the brief. Conservation Itself
has also changed as preventive conservation has become embedded in Glasgow Museums as a way of caring
for collections, alongside a growing appreciation that treatments cannot just care for the stability of an
object. but also have to aid access and interpretation.
The author would now argue strongly for future treatments of the Cambusnethan coat and the other
Cambusnethan clothing to have a much longer time scale, for the coat not to be treated in isolation, and for
the original restoration to be revisited and the positioning of the sleeves to be changed so that the nature of
the coat can be seen more clearly. With the relatively recent creation of a research department, an electronic
collections management system, advances in digital imagery and the development of the Collections
Navigator (making Glasgow Museums' collections accessible online), it will be increasingly possible to involve
people more in the care, treatment, research and understanding of the remains of the man who was found in
the Greenhead Moss in 1932.

Acknowledgements

Jane Rowlands. Head of Conservation, Culture and Sport Glasgow. Museums; Martin Bellamy, Major Projects
and Research Manager, Culture and Sport Glasgow, Museums; Susan Pacitti, Managing Editor, Culture and
Sport Glasgow, Museums.
This page intentionally left blank
 Engaging communities
Frances Lennard, Patricia Ewer

Chapter 2 discussed how textile conservators consider the role of objects, as well as their physical stabil-
ity and aesthetic appearance, when making decisions about treatments. It has also become increasingly
common to think about the cultural significance of objects in our care and to take account of the views
of different stakeholders in developing treatments. The value of textiles to different groups of people has
an influence on decision making. A wedding dress or baby's gown may have sentimental associations to
an individual; a ceremonial textile has a particular meaning for a religious or cultural group; a modern
artwork is an expression of an artist's philosophy.
The professional ethical codes, discussed in Chapter 2, also address this aspect of conservation, as
Heald's case study explains. By the 1990s the codes of both the United Kingdom Institute for Conservation
(UKIC) and the American Institute for Conservation (AlC) contained new emphasis on the conservator's
responsibilities to the 'owners and custodians' of cultural property and 'to the people or person who
created it'. The Australian Institute for the Conservation of Cultural Material (AlCCM) 1986 Code ofEthics
for Conservation Practice took this further, citing the conservator's responsibility to 'maintain a balance
between the cultural needs of society and the preservation of cultural material' (Caple, 2000).
Communication and collaboration are key aspects of establishing significance. One of the goals of the
North American Textile Conservation Conference (NATCC), set up in 1994, was to bring together peoples
from Canada to South America to discuss textile conservation issues. The 2005 meeting in Mexico was a
particularly good example of collaboration (Cortes & Thomassen-Krauss, 2005; France et al., 2005).

Native communities
Clavir, working as an ethnographic conservator in Canada, was involved in requests from First Nations rep-
resentatives who wanted to use museum objects on ceremonial occasions; they saw the objects as belonging
to their communities and felt that they played an important role in maintaining a living culture. She was
concerned that this caused a conflict of interest with her professional ethical codes which stressed the preo-
ervation of objects. Her thesis, investigating the widening of conservation to allow the consideration of both
the physical and the cultural properties of objects, has been published in the book fuserving lWIat is Valued,
Museums, Conservation, andFirst Nations (2002). She wanted to encourage conservators to question their ac-
tions, to consider 'what you do, why you are doing it and who you are doing it for' (2002: 249).
The consultation of native communities by conservators is now a well-established process in the USA
and Canada, in museums such as the National Museum of the American Indian (NMAI) in Washington
DC (Figure 3.1 ). Work with the communities and shared decision making are common. Conservators
Johnson et al. explained that 'NMAI very specifically identifies its primary constituency, the Native peoples
of the Western Hemisphere, as its major stakeholders.' The conservators' goal for the future of NMAI

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

99
100 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 5.1 Dressing a Native American mannequin.

is a 'balanced partnership in the overall care and treattnent of the collections' (2005: 204, 21~). Heald
explains how this approach works in practice in her case study. Conservators at NMAI are also involved
in the preservation of the intangible heritage, such as the preservation of skills, working with individuals
from native communities who are skilled practitioners in making and repairing artefacts.
At major museums in New Zealand, such as Te Papa Tongarewa. the National Museum of New Zealand
in Wellington, the situation is different. Most objects belong to the Maori community so that conservators
take on an important role in providing information and advice, to help the custodians make informed
decisions about treattnents. There is also a larger proportion of Maori conservators and other museum
staff than in North America, allowing them to influence museum practice from within. Clavir considered
this a succeas:ful model: 'Maori conservators have shown that preserving both the physical and conceptual
integrity of objects involved no inherent conttadiction' (2002: 244).
In all circumstances, communication is vital Whiting, a Maori buildings conservator, wrote that Maori
'conservators are now being asked by their people to help define the peculiar mix of cultural preservation
and conservation philosophy to produce policy and charters that will help guide conservation within tribal
and national contexts. The conservation of Maori cultural material has therefore found a degree of accep-
tance and relevance that will continue as long as Maori have a role in the development. decision making,
and implementation processes' (C1avir et al., 1995: 29). Heikell, a Maori paper conservator, described how
'By providing a conservation education programme, I then give Maori communities an overview ofwhat
conservation is, and why we conserve things. When it comes time to make decisions, Maori people have all
the options before them, and are able to make informed decisions. If after all the information has been
given people choose not to have their works conserved then you should step back and let the "owners"
decide the future of their works. Always ask the question: why do you want something conserved? For if the
people it relates to no longer feel it is necessary, then why do you?' (Clavir et al., 1995: 28).

European collections
Conservators working in museums with ethnographic collections in Europe, often a legacy of the
colonial era, are now likely to consider the views of the source communities of objects they care for.
 ENGAGING COMMUNITIES 101

Green (2006) argued that ethnographic conservators need to have some understanding of anthropology
to help them make decisions about treatments, while the UK Museum Ethnographers Group has guide-
lines for museum staff intended 'to create an awareness of areas of concern particular to ethnographic
material' (www.museumethnographersgroup.org.uk). Coote, the Head of Collections at the Pitt Rivers
museum in Oxford, UK, described working in consultation with source communities as an ideal to
which everyone must aspire. He commented: 'We must always work on the assumption that people from
that community will turn up and have a look ... Building relationships with source communities enables
greater understanding of collections and makes museum work more dynamic' (Heal, 2008: 25). Ruppel
(2002) explicitly considered the views of different stakeholders in making the decision to inflate an
Arctic sealskin float.
Museums have also had to consider repatriation issues. In 1998 Glasgow Museums agreed to return
the Ghost Dance shirt to the Lakota people, the Wounded Koee Survivors' Association. 'The decision to
repatriate the item was made by the city council after a unique public consultation concluded with a sell-
out public meeting' (Museums journal, Dec. 1998: 5). A mummy from the Michael C. Carlos Museum at
Emory University in the USA was returned to Egypt following analysis (Rose, 2003).

Working with non-western communities

Native communities often co-exist alongside museums where there is conservation expertise, lead-
ing to the sort of collaboration discussed above. However in many areas of the world, particularly
in Asia and Africa, there is little formal conservation training. Takami's case study shows how the
need for training is recognized in many countries and is currently often met by bringing in conser-
vation expertise from the Western world. It is important to understand the different cultural and
physical needs of different areas of the world, as Brennan's case study in Chapter 7 explains. Western
approaches may not be appropriate while western preventive conservation regimes are often com-
pletely unrealistic in different climates (Ballard, 1993). An important factor is the need to make the
work self-sustaining in the long term by involving local communities so that skills may be passed on
to others. Deisser argued that preventive conservation in East Africa 'must develop in partnership
with local communities, beyond the boundaries of the museum, to sustain a "living" cultural heritage'
(Deisser & Eastop, 2008).
The International Centre for the Study of the Preservation and Restoration of Cultural Property
(ICCROM) runs programmes in developing countries to help museum staff gain an understanding of
conservation concepts and to build self-help communities; for example, CollAsia 2010 is a seven-year
programme aiming to improve conservation conditions of heritage collections in 11 Southeast Asian
countries. The aims of the AFRICA 2009 programme demonstrate ICCROM's philosophy: 'It is rooted in
the notion that the problems facing conservation in Africa must be addressed not only through technical
solutions, but also through better taking into account the relationship between the inunovable cultural
heritage and its social, environmental and econontic aspects.' (www.iccrom.org).
The Getty Conservation Institute (Gel) is also committed to the promotion of conservation practice on
an international scale. Its focus is scientific research, education and field projects, and the dissemination
of the knowledge gained in these areas. Its primary aim is to assist in the advancement of conservation
practice worldwide in the form of such model field projects as the Iraq Cultural Heritage Conservation
Initiative, the focus being the protection, conservation and management of archaeological and archi-
tectural sites and with ICCROM the Architectural Records, Inventories, and Information Systems for
Conservation (ARlS09) project. As well as scientific analysis and treatment, these projects include a large
educational component (www.getty.edu/conservation/).
102 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 3.2 Conserving aJewish Torah cover.

Religious textiles
Textile conservators are often called upon to treat sacred or religious textiles - some belong to museums
but many are still in use (Figure 3.2). The approach to the conservation of such textiles has been inves-
tigated. For her MA dissertation, Morris examined the treatment of Jewish ritual textiles such as Torah
mantles and Ark curtairus to determine whether they warranted special considerations for their handling,
storage and display 'to acknowledge the o~ects' holy qualities and to respect the desires of the Jewish
community'. She concluded that there were four areas which conservators should corusid.er: 'the use of
animal products, the combination of wool and linen, work on the Sabbath and festivals, and issues of
correct disposal' (Morris & Brooks, 2007: 244, 245).
Shaft.el (1991) emphasized the importance of respecting both the iconography and the social and
religious significance of Tibetan thangkas, used as an aid to meditation in Buddhist temples.

Public engagement
Native communities are not the only stakeholders whose views need to be considered when treating objects.
In the USA. particularly, donors of o~ects can expect to have some input into decisions made by museums
about their use and treatment Many US museums cater to specific constituencies, such as the South Carolina
Confederate Relic Room and Military Museum, the Museum. of Chinese in America, the Swedish Institute
and the VersteIheim Norwegian-American Museum. These collections usuaIIy grew out of direct community
involvement. but as they expand and need to attract Iarger audiences it is likely that they hire or consult
with more professional staff. Panko explained how an exhibition of Maya textiles in a museum in British
Columbia, Canada, 'can be seen as a model for the active participation and empowerment of the commu-
nity members in relation to their cultural traditions' (2005: 217). On the other hand, Orlofsky and 1h1pin
mentioned that 'Changing attitudes toward cultural significance also limit the treatment options for historic
document textiles and cultural icons, such as a Nazi banner or a Ku Klux Klan robe and hood' (1993).
The case study by Rendell et a1. explains the involvement of a local community in the north-east of
England in a project to conserve and display a trade union banner. The prqject demonstrated the real
 ENGAGING COMMUNITIES 103

sense of commitment shown to the continued life of the banners which are powerful symbols of the
community and of the coal mining tradition in the area. In some cases, such as the treatment of works
of art, it is commonplace to consider the artist's intent (French, 2004). Copyright law also applies to
artworks and could potentially impact on conservation treatments (Lennard, 2005). French's case study
in Chapter 7 demonstrates how modern textile art is cared for at the Whitworth Art Gallery and how the
artists' views on its display and conservation are taken into account.
Even if there is no legal right of involvement, the benefits of engaging local communities have been
demonstrated. Rowe described how 'when fundamental curatorial duties ... became the responsibility of
an interdisciplinary staff team in conjunction with the community, exciting outcomes occurred. ~
So Proudly We Hailed: Conserving Historic Flags was an exhibit with valuable lessons on how museums can
generate broad-based support for conservation' (Rowe, 2003). The direct involvement of the public
can bring very concrete benefits. Angeles Falcon and Pozzi Escot (2007) described the 'Adopt a Textile'
programme designed to promote the conservation of textiles from the Huaca Malena archaeological site
in Peru. Individuals, children, families, companies and institutions all contributed money to finance the
cataloguing and conservation of individual textiles which enabled the programme to conserve over 100
textiles by 2007.
A report by the independent UK think tank, Demos, It's a Material World. Caring for the Public Realm,
advocated that conservators should involve the public more widely in making conservation decisions
(Jones & Holden, 2008). One of the report's recommendations was the setting up of conservation juries
so that 'the public are given the full benefit of access to conservators' expertise and conservators can
access public opinion in relation to the values brought into the process'. The National Trust set out to
engage sections of the community in the conservation of the newly acquired house, Tyotesfield, 'The
National Trust is determined to involve the public, as well as experts, in the excitement of discovery and
in the challenges of conservation ... for Tyotesfield can not only entertain and inspire, it can offer life-
enhancing opportunities to learn without forgetting the National Trust's core purpose of preservation'
(Greenacre, 2005: 42).
Demos' report also advocated making more use of volunteers in order to involve more people directly
in conservation and to extend the amount of work that conservators can carry out (Jones & Holden, 2008:
100). There is a tension between such social inclusion and the preservation of conservators' professional sta-
tus but there is a backlog of collections care work in museums and other institutions; volunteers represent a
large potential workforce. Rather than undennining conservators' skills, in fact it makes their position even
more significant; experienced conservators have the knowledge and judgement to manage this process.
Gates and Szuhay's case study in Chapter 1 illustrates the evolution of the valuable contribution made by
volunteers to the work of a conservation department. Hadsel and Pagan described how they worked with
volunteers to treat theatre curtains in a successful example of community involvement (2005).
Helping the general public understand the risks to their own valued possessions and how to care for
them, is another way of engaging the wider community in conservation (e.g. Ogden, 2004).

Informing the public about conservation

There have been moves towards opening up conservation, traditionally a backroom occupation, to
the general public (Figure 3.3). There have been a number of museum exhibitions specifically about
conservation and new developments have been designed with the aim of making conservation accessible.
The Conservation Centre in Liverpool was set up in 1996 with the express aim of involving the local
community, with tours of the conservation studios on a regular basis and live links to watch conservators at
work. New developments at the People's Museum in Manchester included glass walls in the conservation
104 TEXTILE CONSERVATION : ADVANCES IN PRACTICE

Figure 3.3 Tc:xtUe Conaerw.tion Centre: student at an open day at kw Econotnic Botany Collection with objectlJ
from the colkction cONCrved by T<X::: ImdentlJ.

studio to allow the visiting public a view of the work going on inside. The coruervation of the Star
Spangled Banner hu been carried out in front of the public at the Smithsonian National Museum
of American Milltory, acknowledging the interesbl of the US citizens who are the major nakeholders
(Thom:usen-Kr.a.uM,2001 ) .
At Historic Royal Palaces (HRP) in the UK. the body charged with the care of five royal palaces in
London, each confervator has a three-partjob, carrying out interventive or preventive confervation treat-
ments, training and ' explaining' t.heirwon. to the public; the latter takes up \1) 15% of their time. Making
both preventive and remedial work more visible helps visitors to understand that their entry tickets pay
for essential COweI'Voltion won. to preserve the historic palaces and their contents, as well as making their
visit more interesting. The 'Ask. the Conservator' initiative at HRP covt.-red a v.ui.ety of different interac-
tions with visiton, including a conservation cart with handling items designed to engage visitors with pre-
ventive conservation; a programme called 'Managing Insects' used to attract families and school groups
to visit the palaces and examples ofinterventive treatments carried out in front oftbe public, illustrated
inJordan's case 8tudy (Frame, 2008).
The National Trust alAo actively seela! opportunities to carry out conservation work in front of the
public. The Ttust has held 'Putting the House to Bed' days for many years, giving visitors a glimpse of
the cleaning and protection regimes used to care for objects while the houses are closed in the winter
montlu. Special-interest tours have been held at Hardwick Howe to explain how conservation is car-
ried out within the house; they have proved so popular that they have had to be extended'! Events
in mwcutWI and historic houses, from dinner! to wedding receptions. have become commonplace
as a meam of bringing in additional income. Hampton Court Palace hasta concerts and theatrical
performance. in the .tate apartments. These involve conservators in assessing the risks to collections-
objects may have to be moved or otherwise protected - but such events are very popular and bring in
new audie nces.
t Pc:~mal communication, Nigel Wright to Frances Lennard, Apri1 21, 2009.
 ENGAGING COMMUNITIES 105

Figure 5.4 Art teacherJoe McGee workingwith students from Saratoga Centrnl CatholicJunior-Senior High School
at the New York State Military Museum. The museum's Liberty and Union project sought to raise awareness among lo-
cal students oflocal history and its preservation. Students visited the New York State conservation lab to learn about
textile conservation, and the group worked with museum curator Christopher Morton to curate an exhibition featur-
ing a conserved Civil War regimental colour, including a replica flag created as part of the project.

Informing and engaging the public has a secondary benefit for conservation. Hthe general public does
not understand and value the work of conservators, it will be harder for conservation to survive as a pro-
fession. Students on conservation programmes sometimes offer advisory clinics on the care and conserva-
tion of objects for members of the public, an excellent example of practice in both training conservators
and in public engagement (Hess Norris, 2008: 40). It has been recommended that conservators should
go out into schools, to engage and infonn students (Figure 3.4). H the next generation has a better un-
dentanding of the concept of conservation, this will bring tangible benefits for the spread of informed
participation in conservation, as well as new recruits for conservation training. A textile conservator in-
volved in talking to schoolchildren reported their fascination with being able to handle real objects.2

Conclusion
It is important that conservators are involved with the communities which are responsible for the objects
they treat, to ensure that conservation actions are relevant and appropriate. Good conservation arises
out of a dialogue with clients and stakeholders, whether these are museum staff, local communities or
other cultures. This reinforces the message of Chapter 2; conservators need to consider what it is they are
trying to preserve. Compromises are sometimes necessary. As Clavir explains, 'A more substantive defini-
tion of coWlervation states that ib goal ill to preserve the meaning of the works as well as their physical
substance' (2002: 56).
2 Personal communication, Sarah Howard to Frances Lennard, March 6, 2009.
106 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

It could also be argued that a thriving conservation sector depends on public engagement. While fund-
ingcuts during the recession fell upon curators and conservators alike, The UK Institute of Conservation's
Icon News (22: 9) reported in 2009 that 'the multi-disciplinary Conservation Division [of the National
Trust for Scotland] is targeted disproportionately with a greater percentage of cuts, when measured
across the Trust's various functions.' The visiting public finds conservation fascinating, but if members
of the wider community do not know about our work they will not be advocates for conservation. Public
engagement must be a part of our role.

Acknowledgements
Figure 3.1, conservation by Beth McLaughlin; Figure 3.2, conservation by Patricia Ewer.

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Shaftel, A (1991). Conservation treatment of Tibetan thangkas. fAlC, 30, !l-11.
Thomassen-Krauss, S. (2001). The cost of conservation: Preserving a national treasure - The Star Spangled Banner
project. Pasrprints, AlC TSG, 1999, 9, 19-24.
108 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Case study 3A

Partnership in the preservation

of tangible and intangible
cultural heritage at the National
Museum of the American Indian
Susan Heald

Introduction

The National Museum of the American Indian (NMAI) works in partnership with Native American communities in
the preservation of intangible and tangible cultural heritage. Alternative concepts of preservation have emerged
over the past three decades, fuelled by International recognition of Intangible cultural heritage, US legislation,
and increased acceptance by the conservation profession. Changing attitudes and legislation have made it possible
for a museum with NMAl's mission of partnership to come into existence. The codified recognition of intangible
cultural heritage, and of a community's right to participate In the preservation of their cultural property, by
international organizations such as the United Nations Educational Scientific and Cultural Organization (UNESCO)
and the International Council of Museums (lCOM), further support and strengthen NMAI's mission.

Recognizing intangible cultural heritage and updating ethical codes for the museum profession

Intangible cultural heritage can Include language, traditional craftsmanship, music and dance, rituals and
knowledge of the natural world and the universe. These are considered living bodies of knowledge generally
transmitted orally; the minds of the group or community are the repositories for intangible heritage.
Increasing globalization, among other things, endangers the continuation of Intangible heritage In many
areas. A 2003 UNESCO-adopted convention recognizes the importance of these ancient and living traditions
around the globe and seeks ways to preserve this intangible cultural heritage (UNESCO, 2003).
Following the adoption of the 2003 UNESCO Convention, ICOM's membership accepted a revised Code of
Ethics that includes guidelines for the care of human remains, and sacred and sensitive materials, which had
not been addressed In the 1986 version. The 2004 Code emphasizes the consideration of the cultural protocol
of the communities from which the objects originated. This is seen in the sections for 'acquiring collections'
(2.5), 'collections care' (3.7) and 'display and exhibition' (4.3 and 4.4). In each of these sections the code
emphasizes that the museum professional must take both professional standards and the community interests
into account when making decisions (lCOM, 2004).
For a conseNator working in the United States, two of the thirteen points in the American Institute for
Conservation (AIQ Code of Ethics (AIC, 1996) address 'respect' for communities of origin and use of their
cultural property:
II. All actions of the conseNation professional must be governed by an informed respect for the cultural
property, its unique character and significance, and the people or pef50n who created It.
III. While recognizing the right of society to make appropriate and respectful use of cultural property, the
conseNation professional shall seNe as an advocate for the preseNation of cultural property.
These revised codes of ethics direct conservators to consider the perspectives and protocols of each
community when deciding how to store, treat and exhibit objects. Understanding the cultural context
 ENGAGING COMMUNITIES 109

enriches the understanding of the object. Recognizing the link between physical object and living community
promotes the preservation of the tangible object as well as the preservation of the intangible cultural
heritage within the community.

US legislation: Native American religious rights and repatriation

While the codified efforts of UNESCO and ICOM are relatively recent. the Inclusion of Native Americans in
the preservation of their intangible cultural heritage and cultural property in the USA dates to several earlier
pieces of legislation: The American Indian Religious Freedom Act (AIRFA) of 1978, the National Museum of the
American Indian Act (1989) and the Native American Graves Protection and Repatriation Act (NAGRA) of 1990.
A1RFA was enacted to restore to Native Americans the freedom to practice their traditional religions. Much
Native American cultural material needed to practise traditional religions had ended up in museum collections,
and there was an increasing demand for repatriation of these materials. Eleven years following AIRFA, the US
Congress passed the NMAI Act creating the National Museum of the American Indian as the sixteenth museum
of the Smithsonian Institution. The NMAI Act required the Smithsonian Institution to create and implement an
instltution-wide policy to inventory, identify and repatriate Native American human remains and certain cultural
items. The following year NAGPRA was enacted to provide a process for the return of Native American human
remains, funerary objects, sacred objects or objects of cultural patrimony to lineal descendants, and culturally
affiliated Indian tribes and Native Hawaiian organizations. The NAGPRA legislation required all institutions
receiving federal funding and federal agencies to provide lists of their holdings to appropriate Native American
groups. This requirement in many cases initiated the dialogue between Native American communities and
museums, which was sometimes contentious, sometimes cordial. The important fact is that the legislation
brought recognition to the Native American situation and started to foster more collaborative efforts.

Differing concepts of preservation

In the time period between AIRFA and the institution of NAGPRA, there was a growing consideration among
conservators for the importance of cultural context. the preservation of intangible attributes in culturally
sensitive materials, and the potential for involving Native Americans In the preservation of their objects
within a museum context. This was especially true of conservators working in the American Southwest
and North Pacific Coastal regions which include sovereign tribal lanels. In 1986 the Canadian Conservation
Institute (CCI) hosted a symposium which addressed the need for an international conference devoted
specifically to the conservation of 'ethnographic' material (Barclay, 1988). While most presentations were
devoted to the conservation of specific materials such as feathers, skin and bark, four presentations addressed
'conservation in cultural context' and considered several Native American communities' perspectives on
preservation. Only one of the presenters in this session was Native American. This was perhaps the first
international symposium that brought the differences between Western European-based preservation
and Native American concepts of preservation to a wider audience. Canadian conservator Miriam Clavir, a
presenter at the symposium, was inspired to study these conceptual differences and ethical complications
after worlcing with Native communities in the Pacific Northwest. Clavir's (1996) JAIC article summarized many
of the ethical issues conservators faced when attempting to balance standard conservation ideology with
traditional care requests from Native American communities. Her research on 'preserving physical integrity
with conceptual integrity' ultimately resulted in the book, Preserving What Is Valued (2002).
Twenty-one years later, CCI held another international symposium that brought together museum
professionals and Aboriginal representatives (many of whom were also museum professionals) to discuss the
preservation of Aboriginal cultural heritage, both tangible and intangible. This symposium was planned in
conjunction with a committee of First Nations, Inuit and Metis representatives from across Canada. Half of
the presenters were Aboriginal, and Aboriginal attendees made up 38% of the symposium as a whole (CCI,
2008). The programme included two pages dedicated to informing symposium attendees how to observe and
participate in Native American traditional ceremonies that were a part of the symposium programming. This
110 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

symposium was an example of a true collaborative effort. and highlighted how much the conservation field
has evolved in considering - and including - the Aboriginal perspective.

NMAI's commitment to preserve Intangible and tangible cultural heritage

While many museums consult to varying degrees with Native communities regarding the use of Native American
materials in their collections. NMAI has collaboration and partnership at the heart of its mission statement:
The National Museum of the American Indian is committed to advancing knowledge and understanding
of the Native cultures of the Western Hemisphere, past. present and future, through partnership with
Native people and others. The museum works to support the continuance of culture, traditional values and
transitions in contemporary Native life (NMAI, 2006).
The NMAI is a relatively new museum, chartered by the US Congress in 1989 and reborn from George
Gustav Heye's Museum of the American Indian in New York City (Figure 3A.1 ). NMAI has over 800,000 items
in its collection and is the only national museum dedicated to the Native peoples of North, South and Central
America. The collection is viewed by staff and Native American constituents as a living collection linked to
existing, thriving cultures. By supporting the 'continuance of culture, and traditional values, and transitions in
contemporary Native life: the museum strives to preserve intangible cultural heritage precisely as defined by
the 2003 UNESCO convention.
NMAI updated its collection polky in 2008; a key tenet states that the museum acts as steward, not owner,
of the collection (NMAI, 2008). In addition to addressing standard museum protocols common to most
museums, NMAI's collections policy addresses care and preservation of both the tangible and the intangible
components of the collection, and emphasizes that preservation should be undertaken in consultation
and collaboration with representatives of Native communities. The policy also recognizes that changing
circumstances or priorities within a particular community (change in tribal leadership, for example) may
result in changes in how the museum should care for certain material in the collection. The museum has
chartered a Cultural Protocol Committee that is tasked with creating policies for the use of culturally sensitive
material and with resolving any conflicts concerning the care of such materials. Culturally sensitive materials

Figure 3A.l The National Museum of the American Indian on the National Mall, Washington DC, view from
the east.
 ENGAGING COMMUNITIES 111

are defined as religious or ceremonial items, gender specific items, funerary or associated burial items and
photo-documentation of ceremonies or sensitive objects that have been identified by official representatives
of specific Native American communities (NMAI, 2007).

Conservation and collaborations with Native American communities

The way NMAI conservators consult with Native communities has developed since the current conservation
unit was established in 1991. The permanent staff members were trained in the 1980s and early 19905 and
were influenced by ethnographic conservator Carolyn Rose. One of the first conservators to suggest that
'ethnographic' material be treated differently from fine art. Rose championed the concepts of minimal
intervention, preservation of evidence of use and wear, thorough documentation of physical attributes,
and background research on the cultural context of the item (Rose, 1988). These were the same ethical
standards on which NMAI conservators based their methodology, often consulting Native staff members for
additional input. In the mid-l990s. NMAI conservators began collaborating more actively with community
representatives on conservation treatments for specific objects. Following the 1999 move of staff and
collections from the museum's original storage facility in New York City to the new Cultural Resources Center
near Washington DC, the consultations shifted from being object-specific to exhibition-specific. and are now
considered standard practice. In some cases, the consultations have led to a collaborative treatment with
community members on a particular object. Whether a collaborative treatment for a specific object, or an
exhibit-driven consultation for a group of objects, documentation is considered an essential component of
the process, so that the information is recorded and can be subsequently used in a variety of ways.

Object-specific collaborations

The author had the privilege of working on two collaborative conseNation projects in 1996: the conseNation
of a Tuscarora textile with bead loss for exhibition, and the preparation of Siletz regalia to be danced in an
annual ceremony. In both cases collection items were couriered from the museum back to their communities
of origin by the conservator. As details of these collaborations have been previously published (Heald, 1997;
Kaminitz et aI., 2005), only summaries and comparisons will be provided here.
The Tuscarora collaboration was proposed by Tuscarora guest curator Rick Hill, when the textile was at
risk of being deselected from the exhibition due to lack of time and funds to conserve the textile in the
conservation lab. The museum staff supported Hill's proposal, provided a conservator courier the piece
and supeNise the work on site. Five expert Tuscarora beadworkers were selected by their tribal leaders
to work on the week-long project. A secure work space was provided by an art gallery that bordered the
Tuscarora reseNation in upstate New York. The original treatment plan to stabilize the extant beadwork was
challenged by the beadworkers who felt that losses in the beadwork would not represent their community,
known for its distinctive style of beadwork. The resolution, which required flexibility and compromise on
the part of the conservator, ultimately resulted in restoration with extensive documentation. An additional
component of the collaboration was the interest and involvement of the local community; stitching work was
video-taped and featured at the local school's Tuscarora culture night, local papers featured the story and
people were invited to obseNe the ongoing work on the final day.
The Siletz collaboration involved dance regalia items loaned to the Confederated Tribes of Siletz Indians
in Oregon for the dedication of their new dance house - the first built since 1870. The dedication was a
particularly important step for the Siletz community in reclaiming cultural identity. This loan marked the first
time the museum allowed objects to leave the collection for ceremonial use, provided a conseNator courier
the pieces, assist in their stabilization and attend the ceremony. Siletz cultural representative Robert Kentta
and NMAI conseNators selected regalia items from the collection that were structurally strong enough to
withstand dancing. In collaboration with Kentta and the tribe's ceremonial dance maker, some regalia was
prepared in advance at the conseNation lab. Other components were prepared on site by the dance maker
with full conservation documentation. The dance maker dressed experienced dancers with the more fragile
regalia, while less experienced dancers were dressed with new regalia.
112 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

It is not often that NMAI conservators have the opportunity to work with in a community; the current
practice is for community members to work with conservators at NMAI's facilities. When working within the
community the roles are reversed, the conservator Is the guest and should follow the cultural protocol while
upholding the responsibilities expected of a museum representative. For the author the experiences were
career altering; the cultural items were truly in context within the community. and the value of intangible
cultural heritage was Impossible to Ignore. The following thoughts are excerpted from the author's work
journal after the Siletz ceremonies:
We are definitely doing the right thing by loaning for ceremonial use. It meant so much to them to dance
the old regalia, especially meaningful for the dedication of the new Dance House. The younger people like ...
Robert ... are spearheading the renewal of the traditional ways - the dance, the language, trying to get the
kids Interested, give them pride In their heritage ... So much has been lost In the past two generations ... I'm
learning that if you are going to take collection items back to their communities - you have to be flexible, be
sensitive, be careful not to offend. Usten carefully to the people and to the objects, and be guided by them.
It's all about respect and trust, and relinquishing control to a certain point. This will make a successful and
respectful visit and everyone will feel good about it in the end.'

Exhibit-specific conservation consultations

NMAI developed the Inaugural exhibitions for Its museum (opened 2004) on the National Mallin Washington In
partnership with representatives from 24 Native communities. The museum worked directly with representatives
in all stages of exhibition development, from curatorial concept and exhibit design to conservation methodology.
The fundamental aspects of planning and Implementing this first group of conservation consultations, published
by Johnson et al. (2005), have remained the same for subsequent exhibitions.
Exhibit-specific conservation consultations focus on materials selected by a community for exhibition. and
are planned In conjunction with NMAI's curators who choose the appropriate community consultant(s). The
number of museum staff and interns within the consultation group is kept as small as possible to provide
a more intimate setting that allows the community consultants to feel more comfortable when requesting
preservation and conservation treatment protocols. The consultations generally follow a flexible course,
depending on the personality of each consultant and their comfort level with the consultation. Consultations
always Include refreshments and Introductions at the beginning, a time and private space for prayer or
ceremony before work with the collection commences and a potluck feast with small gifts to honour the
consultants at the end of the consultation (Figure 3A.2).
As the group discusses the exhibition themes and each object or group of objects, conservators listen for
information that will help guide handling, treatment and display of the objects. Conservators try to avoid
asking leading questions or 'yes/no' questions to gather information regarding object sensitivity, gender-
related handling restrictions, level of surface cleaning or stabilization desired and correct orientation for
display. Sometimes consultants cannot answer certain questions; this might be because a consultant does not
possess the authority to provide the information, or because it would not be culturally appropriate to give
the Information to NMAI staff and Intems. If the topic arises, conservators sometimes demonstrate cleaning
and stabilization methods that are commonly used in the conservation labs, and sometimes consultants may
demonstrate traditional cleaning and stabilization methods that they commonly use (Figure 3A.3).
Conservators make every effort to follow the guidance given by the consultants when preparing the
selected objects for exhibition. Sometimes consultants indicate that handling certain items is gender specific.
If a group of Items Is requested to be only handled by males and the conservation unit Is all female at the
time, a male staff member from another department or male conservator from a neighbouring museum will
be brought in to assist. Some consultants ask that the objects covered with 'museum dirt' not be cleaned at
all, others have requested that only museum dirt be removed, and some have requested that the objects look

" Personal notes from work journal for loan of ceremonial regalia to the Confederated Tribes of Siletz Indians.
 ENGAGING COMMUNITIES 113

Figure!A.t Machi Gerado Queupucura and Machi Yolanda Curinao (Mapuche) perform a ceremony at the
Cultural Re5ource5 Center during a community COIlIultation for inaugural exhibition, Our Uniwrus, March 2000.

Figure SA! NMAI Curator Emil Her Many Hones (Oglala Lakota), Mellon Fellow Anna Hodaon, Textile Con-
aervator Suaan Heald and consultant artiat/dreloUIlakcr Jamie Okuma (Luiseiio/Shoehone-Bannod) Wacuu-
ing dresaea in NMAI's coll.ection during Curatorial/Conservation consultation for ldentitJ b:J.D.sip e.xhibition,
December 2005.

as clean and complete as possible for exhibition. Some consultants prefer natural materials be used instead of
synthetic materials (such as cotton or sinew thread over polyester or nylon thread); others have said they tnJst
the conselVators to use accepted conselVation materials and methods in preparing the items for exhibition.
Several consultants have asked that an object be changed or modified in way that might be considered
unethical in standard conselVation practice. These requests are never dismissed, but are seriously considered
in discussion with NMAI curators. In some cases attemative strategies proposed by conselVators and curators
were deemed acceptable by consultants. In two instances, traditional artists from communities were invited
to perform alterations on ceremonial regalia that had been deemed culturally unacceptable for display
in their current condition. In both cases, the community selected an expert in regalia fabrication, who
114 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

performed the necessary alterations at the Cultural Resources Center, assisted by conservation staff, fellows
and interns who thoroughly documented the entire process (Chang and Heald, 2005; Cull et al., 2008;
Johnson, 2007; Kamlnltz et aI., 2008).

Documenting conservation consultations and collaborative treatments

With the consultants' permission, each conservation consultation is recorded in several formats - written notes,
audio recordings. photodocumentation and, if appropriate, video recordings. Following the consultation.
participating conservator. compile a consultation report using the written notes and images to summarize the
overall preservation preferences for the whole group of objects, as well as notes pertaining to specific objects.
The consultation reports provide a historical record for the museum, and may be used in a variety of ways by
NMAI staff outside the conservation unit. such as text for label copy, or object orientation for mount making and
case layout. These notes are vital to ensure that conservators follow the consultants' wishes in preparing their
materials for exhibition, as the treating conservators are often not the ones who participated in the consultation.
Information from the consultation is incorporated into standard condition and treatment documentation.
This includes the treatment proposal, a rationale for treatment and a consultation section that provides a
brief synopsis of the consultation and specific information on a particular object. For collaborative treatment.
more complex documentation is included in the treatment report to explain the context of treatment and the
rationale for making treatment decisions. Standardized summaries from a consultation can be applied to all
objects in that cultural section of the exhibition. The museum's collection database allows for components of the
consultations to be uploaded so that handling restrictions and cultural sensitivity information may be linked to
specific objects with the request date and name of the requesting cultural representative.

Conclusion

These consultations and collaborative efforts, though an enormous amount of work in an exhibition-driven
environment, are highly valuable experiences for conservation staff, fellows and interns. The consultations
and collaborations enrich the professional experience and have had a profound effect on the way
conservator. at NMAI think about and perform their work. The ongoing challenge is to creatively develop
consultation and collaboration opportunities, using fewer resources when necessary, while still fulfilling the
museum's mission to work in partner5hip with Native peoples.

Acknowledgements

Many thanks to our Native consultants and collaborator.; to NMAI conservation colleagues Jessie Johnson,
Emily Kaplan, Kelly McHugh, and especially Marian Kaminitz. for establishing and maintaining a collaborative
and cooperative environment within the conservation unit that extends to NMAI staff, conservation fellows
and interns, consultants and collaborators. We are especially grateful to the Andrew W. Mellon Foundation
for supporting NMAI Conservation's consultations and collaborations with Native communities and for
supporting our conservation training program for fellows and interns.

References
American Indian Religious Freedom Act. (1978). Public Law 95--341, 42 U.S.C. www.nps.govhlistoryllocal-lawIFHPL_
IndlanRelFreAct.pdf Accessed Jan. 12, 2009.
American Institute for Conservation. (1996). Ale Code of Ethics and Guidelines for Practice. http://aic.stanford.edulaboutl
coredocslcoe/lndex.html Accessed Jan. 12, 2009.
Consultation In cultural context. (1988). In R. Barclay, M. Gilberg. J. C. McCauley, & T. Stone (Eds.), Symposium 86: The Care
and Preservation of Ethnological Materials, Preprints. Ottawa: ca.
Foreword (2008). In C. Dlgnard. K. Helwig. J. Mason. K. Nanowin, & T. Stone (Ecfs.), Preserving Aboriginal Heritage: Technical
and Traditional Approaches. Proceedings, Symposium. Ottawa 2007 (pp. 7-9). Ottawa: CCI.
Clavi" M. (1996). Reflections on changes in museums and the conservation of collections from Indigenous peoples. JAIC, 35, 99-107.
Clavir, M. (2002). Preserving IAlhat is Valued: Museu~ Conservation and First Nations. Vancouver: University of British Columbia Press.
 ENGAGING COMMUNITIES 115

Chang, L, & Heald, S. (2005). Documenting and Implementing conservation requests from Native communities. Postprlnts,
Ale 73'G, 2005, Minneapolis MN, 15. 9-17.
Cull. D., Kunest5ls, J., a Kaplan, E. (forthcoming). Towards 'Creative Collaboration': Building on consultation-led
conservation. Postprlnts. AlC TSG. 200B. Denver CO. 15. http~/amerlcanlndlan .• l.edu/coilectlonslflies/CuIL.AIC_Poster.pdf.
Heald, S. (1997). Compensation/restoration of a Tuscarora beaded cloth with Tuscarora beadworkers. Postprlnts, Ale TSG,
1997. San Diego CA. 7. 35-38.
ICOM. ICOM Code of ethics for Museums. http://icom.museumiethics.htmIAccessed Jan. 12, 2009.
Johnson, J., Heald, S., McHugh, K., Brown, L, a Kamlnttz. M. (2005). Practkal aspects of consultation with communities.
JAlC, 44(3), 203-215.
Johnson, J. S. (2007). Collaborative touch: Working with a community artist to restore a Kwakwaka'wakw mask. In E. Pye
(Ed.), The power of touch (pp. 215-222). Walawt Creek CA: Lett Coast Press.
Kaminitz, M., Kentta, R.o & Bridges, D. (2005). First person voice: Native communities and conservation consultations at the
National Museum of the American Indian. In I. Verger (Ed.), Preprlnts, ICOM-CC. 2005, The Hague (pp. 96-102). London:
James&. JameslEarthscan.
Kaminltz, M. et al. (2008). Renewal of a Kwakwaka'wakw Hamsaml mask: community direction and collaboration for the
treatment of cultural heritage at the National Museum of the American Indian. In Preserving Aboriginal Heritage:
Technical and Traditional Approaches. Preprints Symposium 2007, ca, Ottawa (no editor, pp. 75-85). Ottawa: CCI.
National Museum of the American Indian Act. (1989). Public Law 101-185. http~/amerlcanlndlan .• l.edu/5Ubpage.cfm7.ubpag
e-collaboration6.second.repatriation Accessed Jan. 12,2009.
National Museum of the American Indian. (2007). Collections Management Policy Appendix 10 Sensitive collections policy.
National Museum of the American Indian. (2008). Collections Management Policy.
National Museum of the American Indian. (2006). Mission statement. www.nmal.sl.edulsubpage.cfm1subpage=press&:5econd
=mlsslon Accessed Jan. 12,2009.
Native American Graves Protection and Repatriation Act. (1990). Public Law No: 101--601. www.nps.govlhlstory/nagpralFAQ/
INDEX.HTMtwhaU._NAGPRAAccessed Jan. 12, 2009.
Rose, C. (1988). Ethical and practical considerations in conserving ethnographk museum objects. In T. Morita Ii C. Pea""" (Eds.), The
Museum Conservallon of Ethnographic Objects (pp. 5-43). Senri Ethnological SerIes 23. Osaka: National Museum of EtivloIogy.
United Nations Educational Scientific and Cultural Organization. (2003). Convention for the Safeguarding of Intangible
Cultural Heritage. www.unesco.orgiculturellchlindex.php1pg=OOOO2AccessedJan. 12, 2009.

Case study 38

Developing a short-term
intensive training course
-
In textile conservation for
non-conservation museum
professionals in Jordan
Mika Takami

Introduction

Thl. case study discusses some of the l55ues encountered during the planning and teaching of an Intensive
three-week training course in textile conservation held in Amman, Jordan in March 2007. The course was
initiated under the auspices of the governments of the Hashemite Kingdom of Jordan and Japan, as part of
116 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

a three-year, inter-governmental technical cooperation project for Tourism Development through Museum
Activities (TDMAP) 2004-2007. The project partners were the Japan International Cooperation Agency (J1CA)
and the Project Management Unit (PMU) of the Jordanian Ministry of Tourism and Antiquities.
JICA made initial contact with the author in December 2006, allowing three months to propose the course
outline and objectives, establish the contents and prepare the course materials. This presented challenges;
not only the limited preparation time but also the difficulties In devising the course content from England
without knowledge of the local education needs, resources or support available in both administration and
conservation.
The course length was set for three weeks, with six participants from mainly curatorial backgrounds.
English was chosen as the main working language. There were no further project details available; the
rest was left entirely to be devised by the tutor. Through e-mail correspondence with the Japanese TDMAP
project coordinator in Jordan, who was the sole point of contact for this course, it proved crucial to ask the
right questions and obtain the essential information as soon as possible in order to speed up the preparation
process and formulate an appropriate and viable course programme for both tutor and participants.
Advice was sought from tutors from the international training courses of ICCROM CollAsia 2010 via
personal communications (lCCROM, 2009a; 2009b).- The author's experience of attending previous ICCROM
International training courses also proved extremely useful.

Planning and preparation

JICA's aim for the course was to develop the knowledge and skills in textile conservation of the local museum
professionals. Some suggestions were made by JICA for course objectives ranging from understanding textiles
as materials, establishing forms and methods of object examination and condition assessment, to developing
knowledge of preventive conservation for safe storage and display environments and exercising safe object
handling, as well as basic remedial stitching repairs and spot cleaning (JICA. 2oo7).s
In order to plan the course outline and activities, it was necessary first to confirm the course length, class
size and number of other tutors Involved. The time period of three weeks with six participants defined by
JICA seemed to be reasonable and manageable. Teaching alone for three weeks continuously would be very
intensive and would not be stimulating for the participants, but there were no other guest lecturers or local
experts on related subjects who could be Invited to talk or could be available to complement the programme
during the course. As a compromise, practical sessions and study visits were built into the schedule, to be
mixed with lectures as frequently as possible.
The key In planning the course content was finding out the role of the participants and their precise
educational needs. This information was crucial to determine the focus of the course as well as the style and
methodology of the presentation, together with which activities to include. However, it proved to be difficult
to obtain the detail of the participants from Jordan and to Identify their expectations for the course. The
participants had been chosen before the course tutor was appointed and the selection process was somewhat
ambiguous. Later it became apparent that the care and conservation of textiles was a new and unfamiliar
subject for the organizers in Jordan and that, without the detailed course content, the participants did not
know exactly what to expect. The information forwarded by JICA was very basic. The six participants were
all women In their 30s-50s; specifically four curators from the museums specializing In archaeology, ceramics

4 Personal communications with Dinah Eastop, Senior Lecturer and Associate Director of the AHRC Research Centre for Tex-
tile Conservation and Textile Studies, Textile Conservation Centre, University of Southampton, UK (December 2006 to April
200n; personal communications with Foekje Boersma, Project SpecIalist, The Getty Conservation Institute (December 2006
to May 2007).
s Personal communications with Tsuneyuk.1 Morita, Professor Emeritus of the National Museum of Ethnology, Osak.a, Japan
and JICA project coordinator for Tourism Development through Museum Activities in Jordan 2004-2007 (December 2006).
 ENGAGING COMMUNITIES 117

or history, and two local private textile collectors. None had any conservation background or knowledge of
textile materials.
Under such circumstances the obvious approach for a three-week course might have been to limit the
content to preventive conservation concepts and measures. However, as the level of interest and expectation
of the participants remained unknown, it was considered vital to first stimulate their interest in textiles and
help them realize and appreciate their rich, valuable but fast disappearing textile heritage, before promoting
a broad view of the care of textile collections and addressing conservation concerns. Therefore, an innovative
approach was adopted to use much of the first week to experience traditional textile craft skills such as
yarn and felt making and natural dyeing using locally sourced wool fleece and dyestuffs. Not knowing the
exact learning needs of the participants made this exercise a calculated risk. The results of this approach are
discussed below.
The other significant issue for the planning stage was to find out exactly what type of textiles
had to be dealt with during the course and whether there were any specific textile collections to be
considered. Using existing textile collections in museums in Jordan as a resource would have allowed
specific problems which the participants were likely to encounter to be addressed, and thus tailor the
course more closely to the needs of the participants. It took some time to discover that neither the then
forthcoming new National Museum nor the other three museums had significant textile collections, and
the course was organized with the goal of expanding the National Museum's collections in the future.
Thus. caring for textiles was an unfamiliar subject for the Jordanian ministerial staff as well as museum
professionals. It was also later clarified that the textiles described generically in the JICA's project
proposal were in fact costumes from the nineteenth and twentieth centuries and did not include
archaeological or large-scale textiles such as rugs and carpets. This specific category of textiles was in
fact one of the participant's private collections (housed in a private home) chosen as a resource and
case study.
Based on this limited information, the course activities were formulated and divided into three units. Unit
One focused on an overview of textile technology and documentation, combined with study visits to local
textile collections and textile art studios. In Unit Two deterioration processes and preventive conseNation
were introduced and the partldpants practised environmental monitoring and pest management. Unit Three
concentrated on practical workshops for safe handling and making storage supports. As many practical
sessions were incorporated as possible for both the textile craft and preventive conservation SKills with some
group assignments.
In general, practical sessions can be extremely valuable and group assignments are a good way to stimulate
discussion and interaction and also to cultivate group learning. However, these sessions can also be time-
consuming, making the course content time-intensive and demanding. The schedule for the practical sessions
was therefore only broadly designed in order to allow some flexibility to stimulate the group and enhance
their leaming ability.
In establishing the detailed course schedule, it was important to become familiar with local working
patterns and to adjust the daily schedule accordingly. In Jordan, Sundays to Thursdays are weekdays and
Fridays and Saturdays are weekends. The normal office working hours are eight to three, with no lunch
break. By following the traditional working regime, the students were better able to absorb the information
given. Discovering the local climate patterns and common pest problems, as well as any other environmental
risks, was also an essential part of the preparation. This allowed locally applicable preventive conservation
principles and measures to be discussed with the group.'
In addition to the course objectives, content and schedule, course handouts were prepared before the
start of the course. These had to be sent to Jordan as far in advance as possible to allow for printing

6 Personal communications wtth David Pinnlger, Independent consuttant entomologist (February 2(07); personal corrvnunlcations
with Robert Child. Head of Conservation, National Museum Wales. UK (February 2007).
118 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

and binding. The list of materials (in generic terms rather than trade names and with possible locally
available alternatives) and equipment required for the course activities also had to be sent as soon as
possible, to allow adequate time for the staff to source them locally. A list of relevant conservation
literature was requested by JICA before the course, to allow it to be purchased and made available
during the course.

Selection of participants
The participants were selected by the JICA project coordinator who received either verbal or written requests
for attendance forwarded by the PMU from the Jordanian museum staff. Their background, current job role,
institutional position and potential Mure role were carefully assessed. Their interest in learning manual skills
was also included as a part of these criteria, as the course content would involve hands-on practical work.
It was also the coordinator'S decision to limit the class size to six participants, in order to minimize the gap
among them in interest and commitment to the course, as well as to allow the class to be small enough to be
as Interactive and focused as possible.
For the local museum staff this course was one of a series of in-house training courses provided by JICA
and readily available to them at no cost, apart from taking time off from their normal work. By only having a
single assessor and no complex application process or fees Involved, there was a risk of selecting people who
might not be ideally suited to the combined theoretical and practical nature of the course. It was therefore
extremely fortunate that the coordinator's selection turned out to be successful. This perhaps owes much
to the fact that he had a clear vision of the content of the course and personal knowledge and experience
working with the local staff, during the three years since the start of the TDMAP project. This enabled him to
navigate any potential administrative conflicts which might have challenged the size of the class or nature of
the course.
All six participants knew each other well before the course. The four local museum curators, three of
whom were from the new National Museum. were of similar age and had a similar curatorial background
and work experience. There was not a huge gap in their levels In hierarchy. The other two were local private
textile collectors. one of whom, senior to the other participants, was a well-known, respected figure in
art and cultural society In Jordan and was a trustee for the new National Museum. She provided a great
influence and strong drive to the class with her keen interest in textiles and concerns over the future of the
collections.

Managing the course content in situ

As a course planner it would have helped to have more specific information on each candidate's abilities and
previous experience In order to plan the pace of the course to enable them all to maximize their learning
potential. Planning course activities almost blind caused concerns about whether their expectations would be
met. It was discovered on the first day that the participants did not have many expectations or more precisely
did not have much Information about what to expect, as the course outline and activities had not been
provided to them before the start of the course. It was a relief and delight to see their surprised, excited faces
when they saw the objectives, course modules and schedule of activities. The index of course contents and
the bulk of a complete set of handouts stimulated their expectations and Increased their anticipation level
from the beginning.
During Unit One, the author's approach to include practical sessions of textile craft skills. such as yam and
felt-maklng, weaving and dyeing proved to be a huge success In both stimulating their Interest In textiles
and cultivating a group learning ethos (Figure 3B.l ). These sessions helped participants to appreciate not
only the materials. techniques and craftsmanship involved in their textile heritage but also the responsibility
that they could take as stakeholders in their heritage for protecting and preserving their traditional textile
 ENGAGING COMMUNITIES 119

Figure 5D.l Felt-making session using the locally sourced wool fleece.

culture which is fast diminishing. This realization gave them the motivation for attending this course and for
understanding the questions they wanted answered.
From the first week. as the group grew more motivated and focused, it was necessary to dynamically adapt
the course schedule and content according to their growing interests; for example, they requested more time
for dyeing using local dyestuffs they had seen in a market. One curator participant was keen to bring in and
share with the class film footage of a Bedouin woman spinning wool, whom she interviewed in the desert.
The private collector in the group shared interesting stories attached to some items she had collected. As the
group became more interested in examining and documenting a wide range of textiles. the course venue was
changed, at their request.. from a seminar room to the textile store of the Museum of Popular Tradition at the
Roman Theatre (which was not a part of the TDMAP project but which houses some textile collections) or the
home of one of the private collectors in order to have access to a wider variety of textiles. More study visits
were also added to the modules.
It was fortunate that the course was not strictly administered by the two governmental organizations.
and the high degree of autonomy given to the author allowed these changes to be made relatively easily.
The class size was small enough to quickly reach a consensus in their preference and adopt the changes.
The detailed course schedule did not restrict the flexibility of the course; instead it helped to rearrange the
sessions. allowing the class to stay focused on its objectives.
Their stimulated interest ensured that the focus was maintained during the more challenging topics such
as the chemistry of textiles. agents of decay and deterioration mechanisms in Unit Two. To help increase
their understanding of these scientific topics, many practical sessions were arranged between the lectures
to link the theoretical information directly with real local problems. It was initially planned to use the new
National Museum as a reference site, however the museum gallery and store were not accessible due to
construction work. As the other three national museums of the TDMAP project were too remote to travel to
for a short session, the Museum of Popular Tradition and the collector's home were used for this training to
practice environmental monitoring including light, dust, temperature and relative humidity (RH) and pests
monitoring.
120 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

I1gure 5]1.2 Measuring the light level in a show case in the museum galleries.

Focusing on local reality made it easy to engage the participants with the topics. The practical sessions
revealed that one of the biggest issues in the existing galleries was the light level. Some textile items were
displayed at 1000 lux. which shocked the participants after the lecture on light (Figure 38.2). Blue wool
standards placed for three weeks in various spots yielded clear visible evidence of the effects of light on fibres
and dyes. The dust level was another major issue. Dry sandy air always blows through the city of Amman from
the desert.. so clothes and shoes are dusty with sand after walking on a street for a while. Coane particulates.
such as sand and grit,. were found to deposit more on object surfaces than fibre. skin particles. pollen or other
types of debris.
The temperature and RH did not show extreme conditions in the non air-conditioned textile store;
however. the air was dry with an average temperature of 22·C and RH of 35%. Pest monitoring. carried out
for three weeks. detected no signs of insect activities in the stores of either the museum or private home. The
participant.. the owner of the collection. had seen some moths in her store. but no damage by insects were
found in any of the woollen objects selected for close examination. Three weeks was too short to draw any
significant conclusions from the monitoring exercise results. However it stimulated participants' interest in
finding out about their local problems and what solutions were applicable to their specific conditions. The
participants were eager to discuss their views and ideas on preventive conservation matten and find solutions
among themselves. and. therefore. more time for group discussion was arranged.
The practical workshops for handling and making storage supports in Unit Three were placed to give a
change in the course format and create a relaxed atmosphere in the class. which was well received after two
exhausting weeks (Figure 3B.3). There were some difficulties in acquiring conservation-grade materials for
these practical sessions. The best solution was to explain to the participants about appropriate materials and
 ENGAGING COMMUNITIES 121

Figure 38.3 Making a padded hanger using a paper pattern. cotton cambric and polyester wadding.

ask them what locally available materials could be substituted. Unexpectedly, a plain weave undyed fabric
made of 100% cotton proved the most difficult material to obtain in a local fabric shop. Almost all cotton
fabrics were cotton and synthetic blend fabrics. The participants later suggested an Arabic word for cotton
cambric and a shop in central Amman where it could be found, and the problem was immediately solved. The
outcomes of these workshops were fruitful and satisfactory for both tutor and participants. The participants
were pleased with the immediate improvements made by the proper storage supports. They themselves
made plans to gather regularly after the course, in order to develop discussions for further improvements
which they could introduce, and to make more supports together. They were also keen to develop their own
network and disseminate the knowledge and skills acquired from the course to ather local museums outside
the TDMAP project.
One practical issue which remained as a slight obstacle was the language. English was the main working
language for the course, but for all in the group English was a second language. In a group discussion
the participants often started talking in Arabic. which the tutor could only join in to a small extent. It was
necessary to draw their attention back to English from time to time. As a result a strategy was used to
deliberately include the two languages, English and Arabic,. by giving the group a task of translating English
material and conservation tenns to Arabic with the tutor writing them down on the board.
Managing the course content effectively according to the particip<1mts' rapidly growing needs was crucial
throughout the three weeks in order to make the training course beneficial to them. The success of the
course was indicated in feedback fonns completed at the end. The clearer indication of success, however,
was given earlier: despite the unexpected heavy snowfall in March in Jordan, which caused major transport
disruption in the city, all participants made extraordinary efforts not to miss the day's activities. The open
lecture which introduced the care and conservation practices at Historic Royal Palaces in the UK. given at the
end of this course in Amman, and repeated at the Dead Sea Museum, attracted a wider audience including
conservation students of the University of Jordan and Yannouk University and staff from other Jordanian
museums.

Administrative issues

Prior to the start of the course, there was much administrative preparation to be done in the two days after
arrival in the country. Being part of the inter-government project, it was nat clear which governmental
122 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

office, Japan or Jordan, was responsible for which part of preparation and providing the overall assistance
for the course. It was also confusing that business was dealt with in a different manner in the two offices.
The tutor often printed out the handouts for the day using a shared colour printer just before the lecture
started. The seminar room was prepared and cleared before and after each session by the tutor whilst
continuing to source materials and tools for the practical sessions in town every day after work. As the
building closed at 3.30pm soon after the lecture finished, there was little time to manage administrative
matters.
The number of practical sessions programmed in the course content required a large amount of
preparation. Initially no assistant dedicated to the workshops was available. The lack of time was
overwhelming and running the course for a full day whilst at the same time preparing materials for the
hands-on sessions was tiring. During the second week. upon urgent request, the Ministry provided a technical
assistant to help with preparing materials; this included scouring and ironing a large amount of cotton to
make dust covers and cutting polyester wadding for making padded hangers.
One of the basics that was overlooked at the planning stage was the lack of a room for the course
participants to reflect on their activities and take a break. Tea was brought into the seminar room by the
ministerial staff, and rather than being an opportunity for a break, the class discussion continued and this
made the day even more Intense.

Conclusion

The JICA training courses successfully Inspired and transformed the non-conservatlon participants to be
advocates for textile conservation. The practical sessions stimulated their interest and motivation for the
course and facilitated the interaction between the participants and group discussion. Planning the course
content from abroad has many challenges and risks. It Is Important for a course planner to remain flexible In
both approach and programme and be prepared to motivate the course participants by adapting the content
if necessary to suit the participants' needs. The course should also aim at providing information and gateways
to seek their local resources and own solutions. Importance cannot be emphasized too highly In making
the course applicable to the local educational need and problems; it is the only way to make the outcome
sustainable.

Acknowledgements

The author would like to thank JICA and the Ministry of Tourism and Antiquities in Jordan for permission to
publish. Special thanks go to Professor Tsuneyukl Morita for his support throughout this project, and to Dinah
Eastop and Foekje Boersma for their invaluable advice. She is also grateful to Patricia Ewer for her support
and encouragement. The author also wishes to acknowledge the generous support provided by the Historic
Royal Palaces and the help and suggestions by colleagues In Conservation and Collection Care, notably Kate
Frame and Maria Jordan.

References

ICCROM & SEAMEO-SPAFA. (2009a). The completed activities: the International Course on the Conservation of Textiles
in Southeast Asian Collections, held in Leiden, Netherlands, 24 August-7 September 2005, published in http://www.
collasla2010.orglcompleteactlcompJeldenOS.htm.
ICCROM & SEAMEO-SPAFA. (2009b). The completed activities: the International Course on the Conservation and Exhibition
of Southeast Asian Collections, held In Bangkok, Thailand, 10-28 January 2005, published In http://www.collasla2D1D.orgi
completeactlcomp_bangkok.05.htm.
Japan International Cooperation Agency. (200n. Attachment Contents of work. attached to the project proposal HRlJD 092,.
12112. JICA (The original document Is In Japanese).
 ENGAGING COMMUNITIES 123

Case study 3C

The Esh Winning Miners'

banner project - conservation
involvement in a community
initiative
Caroline Rendell, Norman Emery, Chris Scott, Jim Devenport

The Durham coalfield

The current trend for the creation of memorials and heritage trails and the replication of miners' union
lodge banners is a discernible phenomenon within the communities of the former colliery villages of County
Durham In the North East of England. Supporting these activities Is an equally dlscemlble trend In the
publication of memoirs and other histories relating to coal extraction and coal communities. These villages,
created as a side effect of the process of deep coal extraction, still possess a strong collective identification
and a fierce pride In their communities, their own particular village and Its colliery. The union lodge banners
of these villages are a major focus of the current interest and activity relating to mining heritage in County
Durham. This case study, of the conservation of the Esh Winning Lodge Banner, examines the contribution
that conservators can make by supporting and becoming involved in community initiatives. The four
contributors represent the community, the museum and the conservators: Norman Emery, Chairman of
the Esh Winning Colliery Banner Group; Chris Scott, Keeper of History, Beamish Museum; Jim Devenport,
Paintings Conservator; Caroline Rendell, Textile Conservator.
At its zenith the Durham coalfield had 180 working coal mining pits. The Durham Miners' Association
was formed In 1869, after the breaking of earlier unions In the 18305 and 18405 by owners whose weapons
included oppressive laws enforced by the police and the army, blackleg or strike-breaking labour and the
threat of eviction. The Association's membership grew from 5000 in the 18705 to 141,000 by 1914 with union
lodges at every colliery. Lodge delegates met to discuss the concems of their Industry and the struggle of
working people for social justice, in the 'Miners' Parliament' at Redhill, in Durham City.
Each pit had a Miners' Lodge banner, a symbol of the unity of miners working at that pit, but also of their
loyalty to their county union and later, their national union. County Durham became the biggest purchaser of
banners in the British coalfields.
As the pit was, in many cases, the prindpal employer in a village, the conditions of labour in the pit
affected the whole community and the banner became a wider symbol of community as a whole.
The greatest manifestation of community spirit, and trade union and political solidarity, was the Miners'
Gala, the Big Meeting, first held In Durham In 1871 and stili continuing (Figure 3C.1 ). New banners were often
purchased, ready to be unveiled the night before the Big Meeting, and then proudly paraded through the
streets of Durham, preceded by the colliery band. Lodges either prepared their own designs, or chose from
pattem books, many purchasing their banners from the leading London firm of George Tutlll and Company.
The banners themselves reflect the mining community heritage through the imagery they portray. The
vast majority of the figures present on lodge banners are men, from well-known Labour leaders like Keir
Hardie and Harold Wilson, to local Labour councillors and, finally, much generalized and ubiquitous working
124 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure .!Ie.1 Banners being paraded at the Durham Gala, 2007.

men, portrayed as heroic representations of the body of working minel1i. Women are shown teaching
children or as the mourning widow, to personify Knowledge is Power or as the heroine heralding the
Emancipation of Labour. Families are seen welcoming the rising sun with the words 'the Sunshine of Liberty'.
However Edith Cavell, portrayed on the Bowburn Banner, is probably the only identifiable female historic
figure (Gorman, 1973).
One lodge that purchased a series of banners was Esh Winning. This colliery worked from the 1860s until
1968. It acquired a banner in 1894 which portrayed the working-class leaders, William Crawford, Alexander
MacDonald and Ernest Jones on one side, and the Good Samaritan image, 'Bear ye one another's burden',
on the other. The lodge's second banner carried a painting of a Great War soldier, thought to be a local
man, Ernest Hull, a sapper in the 177th Tunneling Company, Royal Engineers, who died in 1917 and is buried
at Vlamertinghe cemetery at Ypres in Belgium. The reverse side of the banner showed the local aged
miners' homes; the homes movement was described by one coal owner as 'the most philanthropic work
done by any body of workmen anywhere in the world'. Following the formation of the National Union of
Mineworkers in 1945, the lodge acquired a third banner showing the Durham area union headquarters
at Redhill on one side, and an old image of a miner shaking hands with a coal-owner on the other. When
the pit closed in 1968 this banner was laid up and later transferred to Beamish North of England Open-Air
Museum.

Union lodge banners

Each banner was a masterpiece of painted artwork. Most are three metres by three metres in size and are
constructed from a single layer of silk fabric.. painted on both sides with a central painted panel embellished
with silvered scrolling and lettering indicating the village or colliery to which the banner belongs. Each
banner hangs from a turned wooden pole.
These highly decorative objects were paraded annually at the Durham Gala and also brought out for other
events during the year (Figure 3C.2). The skills of unfurling the banners, parading them and controlling them
 ENGAGING COMMUNITIES 125

Ytgare SC.! Nr:wbannen being paraded at the Wmgate Disaster Memorial parade, 2006.

In the wind were passed down from one generation to the next. But as each Gala passes the banners have
been deteriorating. First aid, such as the applic.tion of adhesive tapes, has alw.ys been practiced to enable
the banner to be carried for yet another year. Various restoration .ttempts and amatelW replllirs h.ve also
been carried out over the yean. However, there has been • growing aw.reness within the communities that
banners have • finite life and there is • real risk of destroying the older banners.nd those which are In •
poor condition through continued use.
BaMen bear the scars of being paraded, displayed and stored. The Tutill banners are extremelywlnerabie
to splitting at the InterfOlCe between the painted and the unpainted silk. with aacking and tearing often
found In these areas. Tutill's manufacturing techniques used a patented natural rubber pre-treatment layer
for the painted portions (Rogerson & Lennard, 200S). Whilst this layer was intended to mak.e the painted
areas more pliant and flexible, the rubber layer has deteriorated, losing Its flexibility. The jacquard silk
UII!!d for the earlier banners and the latter tabby woven silk. banner fabria all suffer from a synergy of
deterioration factors: light damage, staining from rain, dirt from tany deposits, generallOiling. Insect and
pest attack, mould growth, mechanical damage and damage caused by Inappropriate storage. The condition
of the painted areas can also be poor, white blooming marring the SUrfOlCe, flaking and paint lcues together
with the abrasion of surfaces are common occurrences.
The banners remain an Important lega<.}' of the Industry and are still very emotive objects within the county
of Durham. All banners are the property of the Durham Miners Association, formerly the National Union of
Mlneworic:ers, Durham Area. They are found in .. number of locations; some are held by village communities,
whilst othen remain at Redhill, the headquarters of the Durham Miners' Association, or at Beamish, the North
of England Open-Air MU5I!!um. Beamish holds 52 union and society banners in its guardianship of which the
majority.Ire Miners' Lodge Banners; most were made by Tutill and Co (Figure 3C.3). Recently the banners
haw been systematically photographed .nd their storage Improved by rolling them onto large diameter
rollers Incorporating MoistopT1lll, acid free tissue and TyvekTlll. The rollers are Incorporated Into a vertical
roller storage system in the regional resource base. It is possible to view the banners by prior appointment,
although It has been found that the availability of good quality Images satisfies the vast majority of
126 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

, - Directions Of TUTILL'S '

for I h$ P",!.c nl
Proper Keeping Pure English Silk
.. d
Preservation Banners.
GEORGE TUTILL'S Artistic Banner Manufactory,
S3 . CITY ROAD. LONDON . E.C.
RoII '~ bonn«"p ,.,dully 'od .... _hI 1 • w. no. tightly •• nd pl""o it in.be <=0 .. hieh ,""auld be "ood upn~h' up"" one ond.
0 " n o ..., ..,un t m ull t h e """,er tHo I. rt 111nll' d o wn. ar be kep' ill. h..,ed Guln""",. Ito, in. ccoJ d ,y pi"" • .
,h.
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t.bould,' h"n,·., .,11',,0 '" '''01'''''''"8. i,.,.,. easilf "" ,,,,",""«1 loy ru..mri"~ "I'h A Ih'l~ .... m "'1et •• mI ",;"~.""" h.r.dl<t" ohl.f.
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'i I",,,"", I. , oololy ~" ... " •• mI ~.h .. m"" .h. "'ti,,&' he ,i<tI "p,,," ,Iwo "".,,,,, ,,';11 ""on,i ..11" .h. ""'''1 of ",. wi<>d.
O E ' / R O E TUTILL' S ""n"," Of • • he 'If"",,'>' ,hal ><0 ... ~, bu. ~, ,;i' <~I. i. 0..: .... ' 1 to.vo;..! d.m..,. i ...",m , ..... ,bef_
~
,-

Figure 5C.5 Label from the original atorage box of a George Tutill banner.

enquiries. The comprehensive digital database also aids retrieval of information about the banners. By
having in place such measures the rolling and unrolling of banners is kept to a minimum, aiding preventive
conservation standards.

Community action

The first Miners' Lodge community to retire, conserve and frame its original banner was Trimdon Grange; a
new banner was also commissioned to be paraded in iu place. Since then other lodges within the Durham
Coalfield have followed the success of this project and have had their original banners conserved and framed,
and replicas or new banners made for parading. Recently Beamish Museum has worked with a group from
Esh Winning, one of the most depressed former pit villages in County Durham, just a few miles to the west of
Durham City.
In 2005 Robert Heslop, who had worked at the pit, brought together a group of people in Esh Winning
who were interested in seeing the return of the 1945 banner on long-term loan from Beamish, and the
production of a replica banner. The Esh Winning Colliery Banner Group approached the Museum in 2006 with
the express desire of repatriating their banner back to Esh Winning, to be displayed in the community from
which it originated. The group was passionate about the project and believed the original banner, held in the
museum's collection, to be a catalyst for improving Esh Winning's community focus and spirit. Throughout
the project they expressed their belief that the banner was the heart of their community and a physical
representation of the pride in Esh Winning as a place. From these statements it seems that the industrial
pride and shared experience of the past has been mapped onto these objects as a way of attempting to
reawaken that pride which they believe to have disappeared.
Discussions were held with textile conservator, Caroline Rendell, and paintings conservator, Jim Devenport,
about the conservation of the old banner, with Chippenham Design of Norfolk about the production
of a new banner, and with Julie Hawthorn, Heritage lottery advisor, on fund-raising. A public meeting
demonstrated that the community of Esh Winning wholeheartedly backed the scheme and a formal
committee was elected. Contact was made with local schools to involve the village children in their mining
heritage and the local clergy prepared for a dedication service. Finding a suitable location for the display of
the old banner was a vital part of the loan agreement with Beamish. The village club building was vetted and
the curator and the two conservators agreed a suitable location within the building.
The group held regular meetings to maintain the momentum, visiting Beamish to examine the old banner,
and getting the agreement and support of the museum for the long-term loan of the banner, getting
 ENGAGING COMMUNITIES 127

estimates for conservation work and finding suitable locations for the old and new banners. An application
was made to the Heritage Lottery Fund, and local fund-raising began. This process received the invaluable
support of the Bearpark and Esh Colliery Band which held a series of sold-out concerts with the proceeds
going to the banner fund. Funding also came from local businesses, the local County Councillor's initiative
fund, the Parish Council and through events such as raffles. fairs, bingo and a jazz concert.
On 8 February 2006 the Heritage Lottery Fund formally announced that a grant had been awarded for
the project. The Esh Winning Banner Group was able to immediately commission the making of the new
replica banner. On the evening of 7 July 2006 the replica banner was formally unveiled and blessed by the
local clergy. The next day it was paraded at the Miners' Gala in Durham, and carried in to Durham Cathedral,
where it was dedicated by the Bishop of Durham.

Conservation of the 1945 banner

The textile conservator has advised individual banner groups, including Esh Winning, on the options for
the conservation treatment of their banners. During initial discussions it has been essential that there is
agreement amongst all of the stakeholders that once the banner Is conserved It will be retired from use,
framed and hung in an appropriate location such as a school, village club or hall. community centre or
church.
This initial meeting is vital as it provides a forum for asking questions, raising concerns and reaching
agreement on the course of the banner project. This is best undertaken at the studio where the banner can
be unrolled and everyone can look at options for treatment. Explaining and emphasizing the benefits of
professional rather than amateur repairs is a starting point. Managing expectations is crucial, for example,
by explaining that the original colour of the silk cannot be restored but that surface cleaning treatments will
Improve the overall appearance of the banner. The paintings conservator focuses on the levels of cleaning
and retouching, whilst for a textile conservator the discussion will focus upon the removal of old repairs or
the methodology of sandwiching weakened border silk in dyed conservation net. The Esh Winning banner
was viewed at Beamish Museum, where these discussions took place. A written estimate for conservation
treatment and the costs of the textile and painted elements was submitted as part of the Heritage Lottery
Grant application by the Esh Winning Colliery Banner Group.
The Tutlll banners are double sided and have different Images painted on each side. The choice of the side
to be displayed lies with the banner group; they may be influenced by the significance of the image to that
lodge. for example. the image may depict a local mining disaster. In other cases the image on one side and
the message it conveys may be more appropriate for the final display location. As the Esh Winning Banner is
from the Tutill workshops such a choice had to be made. The side of the banner bearing the words 'All men
are brethren' and 'Let us work together' was chosen as the side best suited to being displayed In the village
club.
The conservation is often a collaborative process between the textile and paintings conservators. The
treatment of the painted areas Is often the flrst process to be completed, the textile conservation following
on. However there are occasions where the treatment cycle is reversed or integrated. each conservator being
reliant on the work of the other to enable them to complete their part of the conservation treatment. In this
case the textile conservator also supplied the specification for the frame, working with the carpenter during
the design process and being on site for the final installation of the banner.

Conservation treatment

Paint
Unlike easel paintings banners are seldom vamished and cleaning is usually confined to surface cleaning.
Dirt seems to become ingrained into the surface probably because the banners are used and exposed to
128 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

atmospheric pollutants relatively soon after having been painted. Surface cleaning therefore does not always
result in the banne", looking much brighter though a lot of dirt comes off on the swabs.
Many banne", have been blanched, a consequence of volatile components In the 011 medium becoming
trapped on the surface due to the banne", being rolled up for extended periods (Singer, Devenport &
Wise, 1995).
The silk support often splits, particularly along the line where the painted and unpainted areas
meet. There is often paint 1055 along the line of the split. Severe tears and splits in easel paintings
would usually be treated by lining; this is not usually possible with banners as often both sides need
to be viewed. This is often resolved by patching the splits using a thin fairly transparent fabric such as
polyester Stabiltex and BEVA film (ethylene vinyl acetate adhesive) applied to the reverse side of the
banner. Because the banner Is not stretched like an easel painting, filling Is not usually possible as there
is too much movement along the line of the tears; retouching has to be carried out directly onto the silk
surface which is often frayed. Paint losses on banners are not often retouched in the same way as easel
paintings, although retouching may be used to reduce the visual Impact of the damaged and lost areas
(Pollack, 2003).
The areas of flaking paint on both sides of the banner were consolidated with a small sable brush using
a mixture of 1:2 BEVA 371 In white spirit. Once the adhesive was dry the treated areas were Ironed with a
heated spatula at 70·C and cold set by applying a cold iron to the same area using silicone coated paper as
a release sheet. Surplus BEVA was removed with xylene. The cockling was treated locally with damp blotting
paper and a warm Iron and was then weighted to reduce the distortions.
Old adhesive staining was removed with xylene and cotton wool swabs. Surface dirt was removed from all
of the painted areas on the front and reverse using cotton wool swabs and a chelating agent, tri-ammonium
citrate, in de-ionized water. The surface was then rinsed with water and dried with a cotton wool swab.
The blanching was removed mechanically, most successfully with a Ma", StaedleterTM plastic eraser. Further
cleaning to remove a greasy dirt layer was undertaken with xylene.
The scrolls and mantling on the banner were cleaned with a 5% solution of tri-ammonium citrate in
deionized water, rinsed with water and dried with a cotton wool swab. After cleaning, the painted area was
brush varnished with a seml-shlny coat of Ketone 'N'TM resin dissolved In Stoddard's solvent which enhanced
the surface appearance of the central vignette.

Textile
The textiles were surface cleaned using a low suction vacuum cleaner set at 20 milliba",. Dust samples were
checked throughout the process to establish the amount of soiling being removed in any given area and to
monitor any loss of fibre. A vulcanized rubber sponge was used to remove patches of heavy surface soiling
on both faces of the silk cloth. A light application of a micro fibre cloth completed the surface cleaning
treatment.
Fine-gauge nylon net and Habutai silk fabrics were dyed to the correct tone for the mauve damask and for
the blue silk of the border, which was particularly unstable. Patches of the prepared support materials were
Inserted under the areas of splits or tea", In the banner silk and secured using laid and couched stitching
with monofilament silk or ultra fine polyester threads as appropriate to the area being treated. For example,
along the top edge a polyester thread was chosen to supply additional strength to the support stitching. In
the areas of cracking at the junction of the painted and unpainted textile, the splits were stabilized with
Stabiltex™ (polyester crepeline fabric) and BEVA film was heat sealed with a warm spatula and cold set by
ironing with a cold iron on the designated reverse side of the banner.
As the blue hanging tabs were missing, 13 new ones were prepared and re-stltched to the top blue cotton
tape. The wooden pole was inserted from which the banner would hang. To prepare the banner for display,
cotton fabric was washed and seamed to the correct size. Using stainless steel staples the cotton was attached
to the prepared back stretcher. The banner was then hung from Its pole from brackets on the covered back
 ENGAGING COMMUNITIES 129

Figure SC.4 Unveiling the new (left) and the conaerved bannen (right), with the Esh WInning Colliery Banner
Group.

frame. To ensure that the banner would stay aligned in the frame, cotton tape tabs were attached to the
corners of the central field and to the backboard, and tied together.
The banner was installed at New Houses Working Mens' Club in Esh Winning,. under the textile
conservator's direction. It was unveiled on 1 April 2008 by Albert Newgent, Chairman of Durham County
Council and a former pitman (Figure 3(,4).

Conclusion

Although every banner group is different, they have a common aim which is the desire to be independent
of larger heritage bodies. Groups want to achieve their projects themselves with a minimum of outside
influence. This seems to be a function of the community's desire to recreate a local identity. often inward
looking and focused on local aims. creating local cohesion based on local people. Faced with this attitude. it
seems necessary for heritage professionals to take a mainly responsive role in facilitating these projects. There
is no need to outreach to these groups, or inspire them to achieve more. The inspiration and goals are there
and the enthusiasm is unquestionable. The role of the heritage professional seems much better served by
advising when asked. maintaining a link to these groups without appearing to judge or to patronize.
However the museum also has a duty of care to its objects. maintaining contact with those who will
eventually be responsible for the loan of a unique cultural object of high value. educating them in the care
and maintenance of that object without lecturing them. preserving a working relationship between curators
and conservators. advising case manufacturers paid by a local group. but working to a specification produced
by the museum. and vetting possible locations for display without appearing over-critical or precious.
Without this careful balance it would be easy for the museum to be viewed as obstructive or capricious by
people who are so passionate and focused in achieving their goal.
The real conservation of. and access to. these unique objects can only be achieved by the involvement of
professionals in these community projects. Curators and conservators must build personal relationships with
these groups to help them achieve their aims. whilst making sure the objects' conservation needs are met
through negotiation and involvement of the group.
130 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

References
Gorman, J. (1973). Banner Bright (2"" ed. 1986). Buckhurn Hili, Essex: Scorpion.
Pollack. N. (2003). MovIng pictures: Adapting painting conservation techniques to the treatment of painted textiles. In J. Vuori
(Ed.), Tales in the textile. The conservation of flags and other symbolic textiles. Preprina. NATCC. Albany NY (pp. 127-134).
Albany: NATCC.
Rogerson, C, & Lennard. F. (2005). Billowing silk. and bendable binders: Is flexibility the k.ey to understanding banner
behaviour? In R. Janaway. a P. Wyeth (Eds.), ScIentific analysis of ancient & historic textiles. Informing preservation,
display and interpretation. Postprints, AHRB RCTCTS, Second Annual Conference, 2004 (pp. 12-18). London: Archetype.
Singer, B., Devenport.. J., 8. Wise, D. (1995). Examination of a blooming problem In a collection of unvarnished all paintings.
The Conservator. 19. 3-9.

Case study 3D

Negotiation and flexibility:

new challenges influencing the
management of large. complex
textile conservation projects:
working in the public view
Maria Jordan

Introduction

Conservation is no longer conducted solely behind dosed doors. Explaining why and how conservation
is carried out is now very much part of the remit of several heritage organizations in the UK, such as the
National Trust and the British Library. At Historic Royal Palaces (HRP) this development began In 2004 when
'explaining' conservation work. became part of the conservator's job description. HRP wanted conservation to
be an integral part of the visitor experience (Frame, 2008) and sought to achieve this by training conservators
to explain their work to the public. The first test was a BBC television series, Tales from the Palaces, where
conservators were filmed explaining their daily work, what they were doing and why. No textile treatment
conservation project was used In the final edit but media training and the filming had helped to develop the
language and messages needed to convey the work being undertaken. Tales from the Palaces proved that
conservation in practice in a historic setting was of interest to the public and initiated a pilot for a face-to-
face programme 'ASK the Conservators'. With approximately 2.9 million visitors to HRP sites per year
(2.97 million in 2007-08), the conservation message could reach a substantial section of the public, educating
and engaging the visitor in the need for, the responsibility of and the skills required in conservation, and also
adding to the visitor experience.
Initially the idea of making conservation visible to the visitor was a challenge not only for HRP conservators
but also for colleagues from other departments. Although working on objects under the public gaze was
 ENGAGING COMMUNITIES 131

Figure m.l The White 1bwer, the 1bwer of London, during conacrwt:i.on work.

daunting, conservator! .. Iso realized that to do so effectively required close departmental negotiation in
order to instill confidence that such an untested programme would be suitable for visitor!. Once proved
possible by the Conservation and Collection Care section, other sections took up the baton culminating in
the impressive scaffolding banners covering the White Tower at the Tower of London which declared 'Giving
the White Tower the Care it Deserves' (Figure 3D.1). It is now part of conservation at HRP for contractors
to be willing and able to explain their work not only to staff, Trustees and specialists but also, in a planned
schedule, to the public.
To achieve this,. conservation project leader! have had to develop a much broader set: of skills including
negotiating, planning for on-site work and managing an explaining programme. The steps to develop an
on-site textile conservation treatment will be set out in the following pages. The case study will explain how
the project was chosen, the approach to carrying out such a treatment and how it was integrated into the
operations of the palaces to achieve an enhanced visitor experience.

Choosing a project
At HRP, the textile conservation projects carried out in front of the public have been genuine projects,
not staged to fulfil a need to present conservation to the public. It has been the nature of the object, its
condition or in scale (always large) that has dictated the choice of project; some objects needed a large space
in which to work, or were left in situ to minimize the risks inherent in moving objects. In terms of explaining
the work, the emphasis for the conservator was to explain the treatment and its rationale in a way that was
non-technical and understandable to a generalist audience. However it soon became apparent that this
might be more appealing to visitors if it were interpreted in a wider context.
With advice from the interpretation and education teams, conservators began to understand how these
projects could link with parts of the UK education system's National Curriculum, especially science or
design and technology. These colleagues were also able to show conservators how to use a wide range of
'explaining' options including talks, display boards and interactive samples or film as well as suggesting the
type of language to use.
132 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

As the Idea of working on a treatment project In front of the public for an extended period was new
to everyone at HRP, conservators needed to convince colleagues that it would not disrupt the daily visitor
experience. Suspicions are often aroused when new ways of working are suggested and negotiating with
other departments to have on-slte presence was therefore crucial In getting the Initiative agreed. This
required conservators to be flexible about the timing and location of the project, as it had to fit within the
busy on-site schedule of activities including exhibitions and maintenance work.. and events, such as dinners
and receptions, filming and concerts, often booked months in advance. Undoubtedly, the longer the lead
time given and the more information offered, the easier the negotiations.
Ultimately the project's structure was the amalgamation of advice and discussions from curators, front
of house staff, education, interpretation, marketing, retail and functions and events staff. This can best be
illustrated with a case study which also highlights the considerations necessary for carrying out hands-on
conservation work outside the studio, In public areas.

Case study: conservation of five eighteenth-century mattresses

In the autumn of 2006 planning started on the conservation treatment of the mattresses of Queen Anne's
State Bed dating from 1715. In HRP's care are 23 original mattresses belonging to the collection of royal state
beds housed at Hampton Court Palace and Kensington Palace, rare survivors of these magnificent beds. The
quality of workmanship and opulence of a state bed was not limited to the rich textile hangings and the bed
stock but extended to the mattresses. Many are covered with silk satin and quilted or tufted to ensure the
even distribution of the soft wool stuffing.
The mattresses were in store and needed to be assessed in detail by the curator and conservators in order
to devise the most suitable treatment for the type of display envisaged for an exhibition. The curator'S idea
was to display Queen Anne's State bed from the 'Inside out' or In some unconventional way so that the
scale of the object could be appreciated along with the parts of the bed not usually on display, such as the
mattresses. The mattresses would therefore be a display in their own right. stacked one on top of the other.
showing their opulence. size and composition.
The conservation aim was to make all five mattresses safe for open display and stable enough to be placed
one on top of the other, as originally assembled. This project also had financial and time constraints; It had to
be completed in three months.

Initial assessment

It was extremely difficult to assess the condition of the mattresses in the store due to their sheer size but it
was clear that each presented different problems requiring different solutions. The only space large enough
to accommodate all the mattresses and allow a comprehensive assessment was one of the rooms in the State
Apartments at Hampton Court Palace. It was important to view them relative to each other; for example, the top
mattress would be the most visible and should therefore capture the lUXUry and comfort of Its original form.
Once in the State Apartments, curators and conservators were able to make an assessment of all the
mattresses, establish whether the idea of them as a 'stand alone' display would worlc and evaluate the level
of Interest In this type of display. To avoid the potential risks of repeatedly moving these fragile objects, It
was decided to carry out some of the conservation in the State Apartments. This was a perfect opportunity to
explain to the public the work being undertaken.
Two rooms In the Queen's State Apartments were Identified as being suitable for the work to be carried
out, namely the Public Dining Room and the Drawing Room. These rooms are popular with visitors but
quieter than other areas in the Palace and therefore the use of these rooms would not disturb the visitor
route or visitor flow. However. both rooms are used to hold functions and events outside normal visiting
hours. Therefore, negotiations were needed not only with the front of house staff but also with the events
team to book these rooms for a three week uninterrupted period.
 ENGAGING COMMUNITIES 133

/"///////// - 1-_- .

M~nress 3
- Won: table -

Work table
,-
Man""" S
I«OW I4-f-t---}-
,
I !

Figure 50.2 The Queen'l Drawing Room, Hampton Court Palace, showing the room layout during the COIllCT-
wtion of mattrcaaea from Queen Anne's State Bed. A grid was used to create a scale drawing of the room.

The project was put forward at a weekly operations meeting. Both teams came back with dates and
preferences for the room to be used so that visitors and potential corporate guests would not be disadvantaged.
The Queen's Drawing Room was chosen. Using a scale drawing (Figure 3D.2), the room space was planned to
accommodate the objects, the work tables and lighting for the conservation work to be carried out and space
for visitors to explore the interpretation of the mattresses,. their history and significance. Happily the room's
decorative scheme was particularly appropriate to this project as it had been commissioned by Queen Anne's
consort, Prince George of Denmark. Once the dates had been agreed and the set-up planned. contact was made
with all other parties affected by this change. namely the warding staff. the interpretation and education teams.

Devising the interpretation for the project

Mattresses are generally neither bellutiful nor engaging lind yet: everyone. lit lellst in the western world,
uses II mattress dllily. This was the starting point for discussions and they centred on which type of audience
should be targeted and the sort of stories mllttresses could be linked with. Themes of the significance and
workings of the royal bedchamber, the daily life of servants and fairy tales were explored. On top of these
stories would lie the history of the care lind survival of the mattresses.
134 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

TJgUre 3D.3 Display ca.se containing a dried pea on a red \'civet cushion (from the tale of 1k Prinms and the
Pea), with a view of the discreet Penpex barriers and conservators working in the background.

Children from local primary schools were used to test the level of interest amongst a young audience.7
Using the fairy tale of the Princess and the Pea, a question was posed, 'Fact or fiction: could the fairy tale be
based in fact?' Samples of wool with the type of sheep fleece used in the mattreHes, an explanation of their
construction and miniature replica mattresses were also available for visitors to handle. In addition, there was
a leaflet outlining the conservation work and the fairy tale 'fact or fiction' theme.
To inject an element of fun, a dried pea was placed on a red velvet cushion in a glass display case
(Figure 30.3). The story of the Princess and the Pea was described on the case adjacent to a story about
King William III and his love and hate of peas. This approach presented an opportunity to involve the retail
team. They were happy to support the project by stocking fairy tale books' in the palace shops for the
period of the project together with a box-set of Conservation cards that had been produced by HRP
conservators in support of the 'ASK the Conservator' programme (Figure 30.4).
The curator wished to trial the use of costumed guide interpreters in this project.. thereby appealing to
an older visitor than the target audience of primary school children. However the costume guides were
already committed to interpreting other areas of the palace and initially appeared unable to help. Through
negotiation, the guides were able to highlight this 'ASK the Conservator' event on their tours and bring
their visitor groups to the Queen's Drawing Room. Meanwhile, the education team saw the potential for
primary schools and wrote to pre-booked school groups promoting the event. Posters in the ticket office and
information centre also advertised the project. giving the times of daily conservation talks.

Planning the on-site conservation treatment

Devising and preparing the treatment space was p.ramount in order to ensure the work was carried out
safely and successfully. Chairs, t.bles, tok lights .nd equipment were .11 moved to the State Ap.rtments
and one metre high barriers, wooden frames with Perspex screwed on top, were pl.ced approximately 1.5 m

7 Key Shge 1: 5-7 ye.lrs, lind Key SUge 2: 7-11 years, of the British eduClltion system .
• In pllrtitullr the Prinuss and the Pta,. retold Ind iIIustrllted by lIuren o,ild, who hid Illowed HRP to use the iIIusl:r1tion on
the cover IS I poster in the displllY.
 ENGAGING COMMUNITIES 135

Figure 3D.4 The conservation cart with handling materiab, leaflets for visitors and a copy of Tiu Princtss and tAl
Pea storybook available in the palace shops.

in front of the work tables. This distance allowed visitors to see the conservators working but they were
sufficiently far away that they would not be .. ble to touch the objects. AI conservators would not be working
at weekends when visitors would be present a safety margin was particularly important.
The three weeks in the state apartments represented almost one third of the treatment hours allocated
for the project. Therefore this time needed to be planned effectively to complete the work on time; all
equipment and materials had to be made av.. ilable and stored on site. Regular breaks were planned for
conservators in order not to waste time going back and forward to the studio. In devising the conservation
sequence the following considerations were taken into account: the fragility of the object. the level of
interventive conservation needed and the length of time estimated to treat each mattress.

Condition of mattresses
The mattresses were in a fragile condition. AI they were large (approximately 2.3 m by 2.0m), flexible and
heavy. handling them had been the cause of the majority of damage. occurring along the edges. There had
also been insect damage and one hole looked substantial enough to have been caused by a rodent. In the
19805 calico carrying bags with integral pole sleeves had been made for the mattresses to protect these
vulnerable areas from further damage (Doyal & Davies. 1990). These bags had proved to be very successful in
limiting ph~ical. pest. dust and light damage. Within the bags. the splitting side seams and abraded corners
had been protectively wrapped in 50ft silk net.

Treating the objects on site

Creating a clean. safe and comfortable work station is essential to carry out any conservation treatment and
this was just as important when working on site. Tables, chairs and task lights were set out to accommodate
one mattress at a time and equipment, such as low powered vacuum cleaners and tools. were arranged
where the public could view them and the conservators could access them easily.
136 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

All the mattresses would have stitched treatments, some needed patched supports, most would require
re-tufting and one mattress would require extensive conservation. It was decided to conserve the three more
stable mattresses In the State Apartments and leave the more complex treatments for the workroom. This
had two advantages: first, these three mattresses would be finished and could be returned directly to the
store on completion. Secondly, it would be easier for the conservators to give talks to the public and respond
to questions when undertaking less complex treatments.
The top mattress was tackled first. This involved a minimum intervention treatment, wrapping silk satin
around the edges of the mattress to protect the split seams and prevent the loss of filling. As the mattress
was quilted there were many stitch holes that could be used to secure the satin by working a double stitch
at these points only and tying them off. However it was important not to lose the construction detail of the
mattress, namely the whip stitching of the seams and the cut-away corners' with their end tufts, especially as
this was the top mattress which would be the focus of visitor attention. Therefore the satin was pleated and
whip stitched to emulate the original seam before being applied to the mattress. The cut-away corners were
protected by the satin, ensuring the tufts were visible.
Once this mattress was conserved, photographs of its condition prior to conservation were printed and
laminated, and placed next to the mattress as part of the evolving visitor interpretation. The mattress was on
display in its conserved state until the end of the project. This was therefore a 'live' project. changing over
the three week period, showing conservation in action in a very real sense.
The conservation of the second and third mattresses focused on applying a patched support and re-
tufting. The patched support treatment was more difficult for the visitor to see as it was very small scale and
questions were asked more frequently. Samples of the materials and equipment being used were particularly
popular. as well as the desire to understand the rationale for the work being done.
The conservators had to be flexible in how they worked, being prepared to answer questions and finding
ways of explaining their work not only in an accessible way but also succinctly. By giving scheduled talks,
advertised in Hampton Court Palace's dally programme of events and on the website, they hoped to complete
the treatment on time and also fulfil their explaining role. The conservators could work for at least an hour
before the Palace opened and were completely engaged in their work before visitors would start coming into
the Queen's Drawing Room (Figure 30.5). Visitors therefore watched and read the information materials,
rather than asking questions. However, when conservators took breaks, it was noticed that if only one
conservator was working, they were more likely to be questioned. At the twice daily 'ASK the Conservator'
talks, small groups would congregate to hear about the work being carried out. Less planned were the
school groups. Over the three week period, 37 school groups came to see the project (Figure 30.6) and as the
interpretation had been focused on primary school children, conservators stopped work to answer questions
and give impromptu talks. To our delight, the conservation treatment was delivered to plan.

Conclusion

To achieve conservation 'in action' in public spaces and enhance the visitor experience, negotiation and
flexibility are essential to satisfy the different needs of each department. Understanding who will be affected
and explaining the reason and the benefits of a project is central to making conservation projects a success.
Whilst it is clear that understanding and seeing conservation in action is engaging and thought provoking
in itself, it is unlikely to be the motivation for a visit. However it adds to the quality of the visit. Meeting
conservators and being able to engage with them gives a new dimension to how the visitors see their
heritage and its care. The visitor leaves understanding more.
But it can be time consuming for the conservator and it requires practice and training to engage effectively
with the public. As a profession, do we think this is the correct role for the conservator? And if so, what
proportion of our time should be spent on it? In engaging with the public we do not want to appear too dry
and academic. nor do we want to dumb down our professionalism. It is a difficult balance to strike.

9 The comers are cut away to accommodate the four posts supporting the tester of this state bed.
 ENGAGING COMMUNITIES 137

Figure 3D.5 Conservators working on Queen Anne's State Bed mattresses in the Queen's Drawing Room,
Hampton Court Palace.

Figure m.6 Two boys examining wool samples in the Queen's Drawing Room, Hampton Court Palace.

And what of working in front of the visitor: does it compromise the object? Does it compromise our
standing? From my experience, the answer is a resounding 'No' on all counts. Provided the object treatment
is not too complex. working in front of the visitor for a limited period can be rewarding for both parties.
Far from compromising our standing. the public engagement in our work gives value to our contribution,
thereby enhancing our profeHion.
Undertaking conservation work in front of the public is often a necessity but actively arranging treatments
with the specific aim of engaging with the public has been a new step. For Historic Royal Palaces and for our
profeHion, this bold step has been a success. Conservator public engagement is now one of HRP's policies.
Conservators have developed new skills and have learnt to communicate through many different types of
media to convey the conservation meHage to a wider audience. This can only be to our advantage.
138 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Acknowledgements

I would like to acknowledge the support and encouragement I have had from Historic Royal Palaces staff,
in particular Kate Frame, Head of Conservation and Collections Care. I would also like to acknowledge the
contributions to this project of my colleagues Kate Orfeur, Helen Slade, Mlka Takaml, Patricia Ewer, Alex
Drago, Sebastian Edwards and Polly Schomberg.

References
Doyal, S., & Davies, V. (1990). Upholstered mattress construction and conservation. In A. French (Ed.), Conservation of
furnishing textiles (pp. 58-68). Edinburgh: SSCR.
Frame, K. (2008). Communicating conservation at the Historic Royal Palaces. In J. Brldgland (Ed.), Preprlnu, ICOM-CC
N_ Deihl (pp. 1147-1153). New Deihl: Allied.
 Part two
Technical advances
This page intentionally left blank
 Remedial conservation
Frances Lennard, Patricia Ewer

Many remedial 1 textile conservation treatments have remained unchanged since the 19808; for exam-
ple, Landi's The Textile Conservator's Manual (1985) and the American Institute of Conservation Textile
Group's The Directory of Hand Stitches used in Textile Conservation (Grimm, 1993), are still useful sources of
reference for commonly used stitches. However there is now a greater understanding of the effects of
treatments on textiles (Timar-Balmy, 1999), and there have been many technical developments in the
past 30 years which have given textile conservators a larger repertoire of treatments.
The textile conservator engages with a huge range of materials and techniques on a daily basis. Textiles
come in an enormous variety of forms: they can be woven, knotted or felted; they can be flat or three-
dimensional; flexible or stretched; dyed, printed, painted or embroidered; old or new. They come in conjunc-
tion with a wide range of other materials: metal threads, plastic buttons, feathers, leather, paper, to mention
a few. Tltis demands a range of knowledge and understanding on the part of textile conservators, made even
more challenging by the growth of collections containing modem materials. Textiles are also easily damaged;
treatments are often restricted by technicallintitations such as the risks of dye bleeding or shrinkage during
cleaning. This diversity makes the textile conservator's job particularly challenging but also rewarding.
Textile conservators have much to gain from working closely with other conservators. A number of in-
terdisciplinary conferences have reflected and promoted the sharing of ideas, such as Paper & Textiles: the
Common Ground (Butterfield & Eaton, 1991 ) and Lining and Backing (UKIC, 1995). Textile conservators
have worked closely with paintings conservators, for example, resulting in specific treatments which have
been informed by both approaches (Pollack, 2003; Cruickshank et aI., 2007). Conservators are inventive,
often making use of techniques and materials from other conservation disciplines and from beyond con-
servation (Hackett & Szuhay, 2003).

Documentation
Documentation is the first step in any conservation treatment. It imposes a structure on the process of
exantination and recording, which aids observation and gives a better understanding of an object and its
condition. The basic aims of recording the materials and construction of an object, its condition before
and after treatment and the details of the treatment carried out are interpreted in different ways according
to institutional norms. As discussed in Chapter 2, it is also now recognized as important to record the treat-
ment rationale. Images and diagrams should be included; a drawing or annotated image is often quicker
and more effective than lengthy passages of text, as McLean and Schmalz's case study recommends.

1 ICOM-CC adopted the terms: 'preventive conservation', 'remedial conservation', and 'restoration' which together
constitute 'conservation of the tangible cultural heritage', at the XVth Triennial Conference in 2008.

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

141
142 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

There is little written on this su~ect in comparison with other areas of textile conservation but this be-
lies ib importance, particularly for the future care of o~ecb. Stone discussed how in a survey of treatmenb
carried out by the Canadian Conservation Institute (CCI) W-20 years previously, documentation reports
were found to be useful on the whole, but he made a series of recommendations for improvements: 'fewer
words, more diagrams and more detail photographs', better referencing of photographs to the o~ect, as
it was sometimes impossible to find the location of previous treatments, and the use of a colour reference
system if the o~ect was likely to fade (1996: 648). He also advocated that references to brand name prod-
ucts should include a brief description of their chemical composition where possible: 'Eighty years from
now a conservator may be puzzling over a treatment report and wondering what Rhoplex AC 33 was.'
The introduction of computer technology since the 1980s has of course transformed the possibilities
of documentation, allowing the use of spreadsheets, annotated digital images and other potentially time-
saving and infonnation-enhancing tools. Digital imaging means that images can be easily incorporated
into reports, but it is so easy to manipulate a digital image that conservators must take care to avoid por-
traying an 'improved' version of the oqject, before or after treatmenL Digital imaging has a very useful
role to play, both as a tool dwing conservation treatments, allowing a comparison of different coloured
mounting fabrics, for example, as well as to act as a surrogate object, enhancing the preventive conserva-
tion of the original. An enhanced digital image can also visually 'restore' an o~ect to its earlier state and
can be used to improve its interpretation (Rogerson, 2002; and see Figures 2.3 and 2.4 in Chapter 2).

Cleaning and humidification

While surface cleaning continues to be an extremely common treatment, the place of wet cleaning has
changed It used to be commonplace, even routine, to wet clean textiles to remove soiling, relax creasing
and bring the pH of a textile closer to neutral. In 1987 Yates reported on a survey of textile conservators
which showed that 74% preferred to wash painted flags and barmeD ifpossible. However today fewer textiles
are wet cleaned; we now make a positive decision to wet clean, having weighed up the tec1mica1 possibilities
(Windsor, 1996) and the possibility of removing evidence of previous use (Eastop & Brooks, 1996) (Figure 4.1).

F1gure "'1 Wet cleaning a painted silk banner; the silk fabric ill being aligned after cleaning.
 REMEDIAL CONSERVATION 143

The withdrawal of Synperonic N, a non-ionic surfactant which had long been favoured in the UK,
led to a healthy re-evaluation of alternatives (Fields et al., 2004). A surfactant is now more likely to be
selected for its suitability for the fibre type and the type of soiling. Mixtures of surfactants do not ap-
pear to be frequently used despite publications promoting their benefits (Lewis & Eastop, 2001 ). The
techniques of wet cleaning have also diversified; the active properties of surfactant foam are sometimes
now utilized as an alternative to the mechanical action used in traditional wet cleaning, while vacuum
suction tables are more widely used to clean fragile textiles safely and to prevent dye bleeding. Specially
designed equipment is now almost invariably used to wet clean tapestries and some other large textiles.
The case study by Orlofsky et al. explains the factors influencing the cleaning of a sampler on a vacuum
suction table.
At the same time a greater understanding of the underlying chemistry and greater research into clean-
ing treatments has led to a wider range of possibilities being implemented (Vuori et al., 2000). Dust, Sweat
and Tears, &eentAdvances in Cleaning Techniques, the United Kingdom Institute for Conservation (UKIC)
Textile Section forum (Dawson & Berkouwer, 2003), included papers on, for example, the develop-
ment of techniques to remove adhesives from tapestries with organic solvents (Langley & Sanders), the
reversal of a previous adhesive treatment on a Sconish Covenanting banner using an enzyme poultice
treatment (Haldane & McClean), the use of chelating agents to remove copper and iron staining from
textiles (Margariti; Potter) and the use of a vacuum suction table to reduce staining caused by fugitive
dyes (Kvitvang).
There have been few publications on solvent cleaning historic textiles, probably a reflection that there
have been relatively few changes in practice in this area (Glover, 1988; Whelan and Eaton, 1996). This
is one area where development seems to have been reversed, in the UK at least, with the withdrawal of
chlorinated solvents such as Arklone (trichlorotrifluoroethane) from 1999. This made specially adapted
dry cleaning machines at the Royal Museum of Scodand and Leicester Museums redundant (Eaton &
Moodie, 1988).
Humidification has become a common treatment, used to reduce creases ifwet cleaning is impossible.
Goddard used a humidity chamber to treat an Indian painting on cotton fabric (1989) ; this was an inno-
vative use of the technique for painted textiles. In 1995 Kite & Webber used Gore-Tex®, a semi-permeable
membrane previously used in the treatment of paper and on painted miniatures on ivory, in the hu-
midification treatment of an embroidery. Semi-permeable membranes are now widely used to introduce
water vapour to a textile in a controlled manner. Humidification is undoubtedly effective at smoothing
creased and crumpled textiles, but although sometimes regarded as a less interventive treatment, there
is little research to date on the effects of humidification on soiled textiles; for example, does the action
of water vapour catalyse deterioration mechanisms?

Stitched support
Publications inevitably report on what are perceived as unusual treatments so that there are many more
publications on adhesive treatments, where the technology has developed rapidly, than on stitching treat-
ments where techniques reflect a greater continuity, although stitching is probably more widely used.
Leene's 1972 view that 'Sewing methods are more natural to a textile' probably persists today (1972: 151)
(Figure 4.2).
There are few publications explaining the selection of appropriate support fabrics, an area where
subjective views still dominate, and there are still questions to be answered. Some initial work has aimed
to look more objectively at the properties required in a support fabric, mainly in the field of tapestry con-
servation (Hofenk de Graaff et al., 1998). Textile conservators generally favour the use of natural support
144 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 4.2 A conservator carrying out a stitched IfUpport treatment on the lining of a seventeenth-century glove.

fabrics, predominantly silk, cotton and linen, often selected on a like-for-like basis, on the ground! that
the fabric is likely to respond to changes in relative humidity (RH) in the same way as the historic textile
being supported. Polyester crepeline is often used when a strong support is needed, and Landi advocated
the use of polypropylene as a support fabric to restrain movement in tapestries (1998) ; the effect of this
could be explored by testing samples in a tensile test machine to see whether damage is more likely to
be caused by using a support fabric which expands and contracts with the textile or one which does noL
Computer modelling of the different responses of a 'historic textile' depending on the stiffness of fab-
rics used as support patches indicated higher stresses around the patches when stiffer fabrics were used
(Coulter. 2007).
The effect ofpre-stretching support fabrics to remove crimp, as in paintings conservation, has been in-
vestigated (Colliw et al., 1998; Cruickshank et aI., 2007), although as textiles are not usually constrained
like canvas paintings, the natural crimp may help to allow the expansion and contraction of support
fabrics with RH changes. Nylon net is frequently used to support or cover textiles as it is a visually sympa-
thetic and easily worked material. However problems have been reported with the net structure stretch-
ing (Hutton, 1997) 2 and its degradation has been investigated (Kirkwood & Robson, 2003).
Most stitching techniques are selected on the basis of experience; this is probably an area which has
seen the least amount of change, although Gill'. cue atwty demonstrates the subtlety of current stitched
support treatments. However there have been examples of experimentation and testing employed to
assess the long-term. performance of particular techniques Gordan, 2005; Asai et al., 2008) as well as to
evaluate the appearance of specific types of stitching (Gill, 2006).

2 Personal communication, Poppy Singer and Annabel Wylie to Frances Lennard, March 24, 2009.
 REMEDIAL CONSERVATION 145

Figure 4.3 Applying an adhesive-coated silk crepeline mpport fabric to a painted trade union banner.

Adhesive treatments
There have been many more publications on adhesive treattnents. The early debates on the use of ad-
hesives in the 19608-1980s demonstrated a polarization of views between those in favour of modern,
'scientific' techniques and those who remained resolutely opposed to them. The legacy was a widespread
unfamiliarity with the theory and practice of adhesive treattnents. However recent developments have
increased the range of effective and unobtrusive adhesives for use on historic textiles, and there is now
a more sophisticated understanding of their use (Down et aI., 1996) (Figure 4.3). At. Hillyer et aI. com-
mented, 'Refinement of methods is one of the notable advances in the use of thermoplastic adhesives.
Failure of early adhesive systems can most commonly be attributed to poor methods of application as well
as use in inappropriate situations' (Hillyer et aI., 1997: 39).
Many of the presenters at the 1997 UKIC Textile Section forum, Adhesives 11mtments Revirited (Lewis,
1998), described how they had reversed treatments carried out some time previously, but they often
acknowledged the success of the previous treattnents in presening textiles which would otherwise have
been lost (Hartog & Tinker, 1998). More recent developments, in the use of solvent-activated adhesives
such as Klucel G to overlay very fragile surfaces for example, have given adhesive treattnentB even wider
applications (Gill & Boersma, 1997).
While Hillyer has noted a tendency for different studios in the UK to favour particular adhesives, the
type and condition of the textile are now much more influential factors in treatment decisions. A range
of adhesives is now commonly used in the UK; they have different properties and are useful in different
situations. The sheer number of variables involved in devising successful adhesive treatments: the type
and concentration of adhesive(s), the choice of substrate or sometimes substrate-free film, the number
of coats of adhesive, the method of application of the adhesive to the substrate and the timing and
method(s) of adhesive reactivation, make this a complex field; testing is useful to evaluate different com-
binations and the conservator's judgement in selecting from the range of possibilities is critical. There
has been some research into the influence of different variables on the success of the adhesive treattnent
(Karsten & Down, 2005).
146 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Some useful re-evaluation of previous adhesive treatments has been carried out. A survey of previous
treatments carried out at the CCI and three collections in the UK revealed that the m,yority of adhesive
treatments, using a range of adhesives, were continuing to provide effective support (Karsten & Kerr,
2003). Lennard reported on a re-evaluation of two different methods of applying an adhesive to the sub-
strate (Rogerson & Lennard, 2005). Hillyer'. case study demonstrates how adhesive treatments evolved
over a 20 year period.

Re-integration techniques
Visual reintegration is a key area of decision making for textile conservators; an understanding of the role
of the object is fundamental to deciding whether it is desirable to visually infill missing areas. The restora-
tion of the image has traditionally been thought important in areas such as tapestry or carpet conservation
where the value of the object resides primarily in its image or pattern (Petillo, 1994). In other groups of
textiles practice is variable. Conservation treatment can be regarded as a continuum, with purely preven-
tive measures at one end of the scale and complete restoration at the other end (Brooks et al., 1994). It may
be desirable to select treatments from any point of the scale but today the selection is more considered.
Support fabrics are often custom dyed (Oger, 1996; Harrison, Cruickshank & Fields, 2001 ). A variety of
techniques has also been used to camouflage support fabrics where they are visible in areas of loss in pat-
terned or textured textiles (Lennard & Eastop, 2007; ICON Textile Group, In press). These range from
painting or printing the support fabric (Blum, Reiter & Whelan, 2000; Yuori & Britton, 2008) to the use
of patches imitating the structure of non-woven textiles such as knitting (Cogram & Haldane, 2007). The
development of digital technology has expanded the range of visual infill techniques. Textile conserva-
tors have been exploring the use of digital prints of textile objects to alter the appearance of support
fabrics (Lennard et al., 2008). High quality digital images have been used to recreate replica textiles for
temporary display, where tapestries, for example, have been removed for conservation treatment. Wester-
man'. case study describes how a set of banners used to create a tented ceiling was permanently replaced
by new digitally printed replicas.

Mounting
Creating an effective mount is as important as supporting a textile onto a new fabric to ensure it is dis-
played, or stored, safely; the creation of well designed, functional but elegant mounts for storage and
display can be as challenging as supporting or cleaning fragile textiles. 'Mount design and production
should be seen as an integral part of the conservation strategy defined for an object, rather than pro-
cesses that are additional to it' (Lister, 1997: 144). Lister explained how a good mount can mean that
less direct intervention on an object is necessary while it can also aid interpretation. In the CCI survey
referred to above (1996: 645, 648), Stone reported that in most cases the conservation treatment was
still effective. However in a number of cases new damage had occurred to the objects, mainly physical
damage caused by poor handling, storage and display. He felt that the provision of a mount would have
avoided much of this damage: 'some sort of protective enclosure for treated artefacts is very important in
the overall conservation plan for the items'. By 1996 the CCI was routinely providing such mounts.
Creating a good under-structure for costumes that are to be displayed is vital to avoid damage caused
either by strain or by insufficient support while simultaneously re-creating the correct period shape of
historic costume (Becker, 2007). Mounts are custom made or adapted for each object, an operation
which requires good communication between textile conservator and mount maker (Figure 4.4). Even
with good advance planning, it is still necessary to test the fit of a costume on a mannequin; the resultant
handling may dictate the level of support treatment needed.
 REMEDIAL CONSERVATION 147

Figure 4.4 Custom-made mOWlt created for the display of Mandarin military robes.

Stitching flat textiles to fabric-covered boards for display has been a common treatment but it is now
done less frequently in some institutions; they take up more space, are costly in time and materials to cre-
ate and are not easily changed for new exhibitions. Simplified methods have been considered (Perkins,
1993; Gardiner & Burke, 2003). Some of the more simple and cost effective solutions are derived from
the storage and display of archaeological textile collections (Anderson et al., 2001 ). Pressure mounting
has been used, more commonly in the USA and in Europe, but also in the UK. as a way of stabilizing
fragile two-dimensional textiles between a padded board. and a glazing sheet, without first attaching them
to support fabrics (Bacchus & Lord, 2000). Kataoka's case study in Chapter 6 describes an investigation
into the effect of using natural and synthetic materials on the internal environment of pressure mounts,
arising out of a previous study (Windsor et al., 2002).
There has been a great improvement in the range of chemically inert mounting materials available to
the textile conservator in the last 10-15 years. A range of materials such as Ethafoam™ and P1astazote~,
expanded polyethylene foams, and Correxl», a corrugated polypropylene board., is commonly used for
creating storage and display mounts.

Health and safety requirements

There is now a greater awareness of the risks associated with working on historic textiles. Regulations have
become more stringent over the past 30 years. In the UK the enforcement of the Control of Substances
Hazardous to Health (COSHH) legislation from 1989 has given us a protocol for using solvents and other
chemicals safely. All potentially dangerous tasks, such as weighing out dye powders, using power tools,
148 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

dealing with dusty or mouldy textiles or climbing scaffolding, should be carefully planned using a risk
assessment form. Conservators are now more aware of the potential risks posed by textiles themselves,
sometimes where a dangerous component has been used as part of the manufacturing process, such as
mercury in hats (Martin & Kite, 2002), or through previous remedial or preventive treatments, including
chemicals used as pesticides (Heald et al., 2005; Odegaard et al., 2005). Textile conservators have also
been urged to consider their health and safety in terms of the physical strains that can arise from holding
awkward positions for long periods during treatments (Silence, 1999).

Conclusion
In the last two decades textile conservation treatments have not fundamentally changed, but the range
and sophistication of techniques and the availability of materials has increased enormously, along with
our understanding of how treatments work. This greatly increased range of possibilities has made the
selection of appropriate treatments even more important; the textile conservator's judgement and de-
cision-making skills are fundamental. There has been some useful re-evaluation of previous treatments,
which has informed current practice; research funding to allow more systematic surveys of previous treat-
ments would be welcomed.
The expansion in the range of treatments has coincided with ever-increasing pressures on the time and
funding available for treatments. Does this mean that textile conservators are restricted in the treatments
they carry out, unable to make full use of the technical opportunities open to them, or does a greater
technical ability allow a more appropriate choice of treatments - does it sometimes allow treatments
which are less interventive?

Acknowledgements
Figure 4.1 , the banner was treated by Kate Gill, with assistance from Cordelia Rogerson; Figure 4.2, treat-
ment by Rachel Rhodes; Figure 4.3, banner treated by Anne Kvitvang and Kate Gill; Figure 4.4, conserva-
tion and mounting by Kate Gill.

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Windsor, D., Hillyer, L., & Eastop, D. (2002). The role of pressure mounting in textile conservation: Recent appli-
cations of US techniques. In R Vontobel (Ed.), PT.prints, ICOM-CC, 2002, Rio deJaneiro (pp. 75!>-760). London:
James &James.
Yates, N. (1987). Results from a questionnaire on the conservation treatment of painted flags and banners. In
K. Grimstad (Ed.), PT.prints, ICOM-CC, 1987, Sydney (pp. 427-433). Los Angeles: Gel.
152 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Case study 4A

The preparation of condition

reports for costume and textiles
at the Los Angeles County
Museum of Art
Catherine C. McLean, Susan R. Schmalz

Introduction

Preparing written reports that describe the physical condition of a costume or textile is a basic component
of textile conservation and collection management work (AIC TSG, 1995; Appelbaum, 2007; AIC, 2009).
Condition reports are written not only as pre-cursors to conservation treatments but for a variety of museum
activities. More and more, textile conservators at the Los Angeles County Museum of Art (LACMA) are asked
to prepare condition reports for artefacts that are not selected to receive in depth conservation treatment.
Over the past 25 years the museum as a whole has had a measurable Increase In permanent collection
installations and rotations, incoming and outgoing loans, government-indemnified exhibitions and LACMA-
generated and other travelling exhibitions. Costume and textiles go through an acquisition process and. in
very rare instances, a de-accessioning process. All of these activities require condition reports.
Previously at LACMA, condition reporting for non-conservation treatment activities fell to the registrar.
Theoretically this made sense but the duties of the registrars have grown tremendously and, because of their
expertise, some of the reporting responsibility moved to the conservators. With exhibitions, for example,
a large number of artefacts arrive at the museum with only a few days or weeks set aside for receiving.
unpacking, condition reporting and Installation. Invariably, conservators are called In to assist registrars.
Today, conservators share the registrar's predicament of being overwhelmed, thus requiring processes for
creating streamlined and highly effective condition reports (Nodding, Oakley & Smith, 2008).
This case study will examine the process of condition reporting costume and textiles at LACMA, beginning
with the reasons for writing a condition report and the recipients who will be using and updating them.
Condition reports should be designed for others to use easily and quickly. The authors will also present the
museum·wlde effort to streamline the entire condition report package containing photographs, diagrams
and written text, using electronic formats. standard forms and a shared vocabulary.

Why condition report?

Over the past few decades the need for condition reports has expanded tremendously. As LACMA's
programmes grow. textile conservators are often prevailed upon to assist with condition reporting for a
variety of activities Including acquisition, permanent collection Installation, Incoming long·term loan, special
exhibition. outgoing loan and de-accession. These intradepartmental activities necessitate the use of a
collections management database so that information can be easily shared and stored.
During the acquisition process, costumes and textiles are often examined by a textile conservator,
particularly if they have active infestation or damage. unstable materials or are of high value. As curators
prepare checklists for permanent collection exhibitions and gallery rotations, textile conservators will review
 REMEDIAL CONSERVATION 1S3

past records. make preliminary condition assessments and estimate time for tre.1ltments before prioritizing
work for a particular exhibition or installation. From time to time, curators request long-term loans to come
to LACMA to be installed alongside our permanent collection. Depending on the loan agreemerrt. value,
medium, size, etc. a conservator may be required to prepare a condition report.
In contrast to permanent collection exhibitions,. museum exhibitions composed wholly or in part of borrowed
costumes and textiles are more complex. requiring more thorough condition reports. Special exhibitions may have
loan agreemenbi that require a conservator to condition report as artefacts arrive and depart from each venue.
Condition reports are required when costumes or textiles are lent to other institutions. We have observed
that condition reports for artefacts on loan are surprisingly brief when, arguably. the risk of damage is at its
greatest. Written condition notes. diagrams, annotated photographs and detailed digital photography are
essential elements that make these condition reports useful to those who receive them.
As museum collections grow, it becomes necessary to review the content and consider de-accessioning
items from a collection. De-accessions need to meet several criteria established by LACMA's collection
management policy. The process is very thorough. and often requires examination of an artefact's condition,
particularly if it is of high value or stability is an issue.
LACMA textile conservators began entering conservation condition and treatment information into a
collection management database over a decade ago (Figure 4A.1). Staff entered skeletal data for all textile
treatments dating to the laboratory's inception in 1967. These early treatments also have hard copy files
containing detailed conservation reports. Recent database entries are more detailed with reference to a hard
copy file or links to electronic documents. scanned diagrams and digital images. Additionally, the database
allows brief examinations to be entered without creating a hard copy file. With over 32,000 costumes and
textiles in LACMA's collection, information is recorded whenever possible, thereby creating annotated
histories for this large collection.

Figure 4A.l Condition reports are entered directly into the museum's collection management database.
Agood condition report has a written description, diagrams and photographic documentation. Make the condi-
tion report easy for the recipient to use.
154 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Report writing software can extract and assemble information from the database. For example, the museum's
database is used to create a checklist for an exhibition. Then report writing software rem""", specific data, for example,
accession number; title, dimensions, estimated time to conserve and mount requlremenlll, for each artefact on the 1151.

A question of style

Although the styles used to generate condition reporn vary, many are written in prose with complete
sentences and multiple paragraphs. For others the condition reports are brief, disorganized and filled with
regional Jargon. What Is needed Is a style that lies somewhere In between these two extremes: a style that Is
organized, complete, succinct and easily read and understood.
The level of detail in a condition report varies depending upon the reason for the report. Generally
acquisitions and de-accessions receive brief condition reporn. The level of detail Increases with permanent
collection exhibitions and gallery rotations. Photographic and written documentation expand for outgOing
loans, incoming long-term loans and special exhibitions. With time and staff limitations, one is always hopeful
that textiles In the last two categories arrive with condition reports to which comments simply can be added.
At LACMA, condition reporn generated prior to conservation treatment are the longest and most detailed.

Who will use the condition report?

Most conservators take pride in creating a thorough condition report. They want to give the next custodian of an
artwork a document that describes the artefact at that point In time. Consider another perspective. Who will be
reading the report? Does the recipient share the same native language and terminology as the writer? Is the recipient
a conservator? In what circumstances will the person be working? What kind of an impression will the report create?
We have received numerous condition reporn. Many reporn were wonderful glfu; others were heavy
burdens. Pages of lengthy, dense paragraphs can be time-consuming and exhausting to read. Other reporn
are so brief that they are of little use. Added to that is the constant movement of the eyes, switching from
reading the report to stopping to locate the area being described; It Is easy to lose one's place. Often reports,
particularly those prepared for large travelling exhibitions, are handwritten and difficult to read.
Brief outgoing loan condition reports are common the world over and we are by no means exempt. Here is
an example:

'In fair condition. Overall surface dirt and ingrained soiling in some areas. Insect holes overall
that do not affect the structural stability of the coat. The vulnerable areas have been conserved.
Water damage on the top section of the coat and creases In the middle section due to use of belt.'

There Is no photograph. The museum number does not suggest that there Is more than one part. Does a
belt exist? Of the many damages, only two, the water damage and creasing, have a described location. If
the borrowing institution experiences an act of vandalism, an unexpected water leak, an insect infestation
or damage In transit, how will this report prove what Is old damage and what Is new damage? How will this
report assist the borrowing institution?
It is indeed the responsibility of the borrowing institution to conduct thorough examination when the
artefact arrives. But If 100 artefacts arrive at a museum with condition reports similar to the above example,
the borrower's registrar or conservator may be unable to find time to conduct a thorough and documented
examination for each artefact. Whether one has been lender or borrower, responsibility for a good condition
report begins with the lending Institution. The better the outgoing condition report. the easier It Is for the
borrowing institution to properly care for the loan.

A new technique and style for writing condition reports

At LACMA, the textile conservation staff has developed a new methodology for condition report writing
(Figure 4A.2). This Is a work In progress; even as we prepare this case study, our dally activities demand more
streamlined processes.
 REMEDIAL CONSERVATION 155

Figure 4A.2 Basic components of a condition report include a colour photograph, 1ia:t of terma, diagram of
condition and a written repon.

LACMA's methodology has the following basic criteria:

1. The condition report must be thorough

2. The report must be easy to read and follow
3. The report should include the infonnation that the recipient needs

Begin with a general statement about condition

Many conservators avoid using single words, such as 'excellent', 'good' or 'poor' to describe condition. At
LACMA, we do begin with a single word to set the tone for the examination and to warn the examiner about
how to handle the artefact. It is natural that some individuals skew their observations, either positively or
negatively. To be useful, everyone in an institution, registrars and conservators alike, must use the terms
in the same way. Table 4A.1 presents the definitions used by LACMA staff. If a costume or textile seems to
fall between two categories, it can be described with both terms, for example, fair to good condition. The
database uses the following terms: excellent. good, fair, poor, broken, fragile and stable.
Next, an observation about the physical stability and appearance is made. Although very subjective, it
assists curators in the preliminary stages of planning an exhibition. At a glance, a curator would know if the
object could withstand handling, mounting and display. Additionally, conservation condition reports focus on
damages. To the non-conservator, these reports can look frightening and, therefore, misleading. For example,
an artefact may have a long list of damages but at the same time be physically stable and visually pleasing.
Effective communication requires balanced reporting.

The heart of the condition report

Condition reports are actively used. For example, damage is discovered while a costume is on exhibition.
One rushes to the condition report and accompanying photographic documentation searching to answer
156 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Table4A.l Standard terms used by LACMA for reporting the condition of textiles

Six tanns UHd by LACMA for the condition of costume _ taxtlln

Excellent Very stable condition, new or like new, no evidence of use or wear or In remarkably good
condition for the age of the object. Usually very ilttie or no conservation treatment is required.

Very good Stabie condition. faint or slight evidence of use or wear or in good condition for Its age. If
treatment is indicated. it would usually be fairly simple although it may take a few hours.

Good Usually in stable condition with evidence of use or wear. Almost always needs some degree of
conservation treatment.

Fair Usually not in stable condition with clearly visible evidence of use or wear. The object may have
suffered damage prior to acquisition in storage or display. For something several decades old or
oider It rnay be an expected degree of naturai deterioration. Requires treatment, usuaily extensive.

Poor Unstable condition with obvious evidence of use or wear or damage due to poor storage,
display or natural deterioration. Requires extensive treatment.

Unexhibltable Very unstable condition with extreme evidence of use, wear, poor storage, display or natural
deterlor.tion. Objects in this condition wouid be very difficuit. If not impossibie, to stabilize in
such a way that they could be exhibited safely.

the question, 'is this new damage?' Years of experience have taught us the four characteristics that help the
reader answer that question:

1. SystematiC examination, area by area

2. Bullet points, one for each observation
3. Begin with the iocation followed by the damage description
4. Phrases not sentences.

Systematic examination, area by area

Systematically examining a costume or textile is one of the foundations of condition reporting. For textiles
with multiple pieces, each piece is examined individuaily. if each piece has the same damages in common,
include those in a generai introductory section to avoid repetitive statements. LACMA has established a
systematic order for examining costume and flat textiles. These examples can be modified to meet the needs
of different collections.
Costume - use this order for examination for each component:

Overall- give general observations

Exterior

Front - break. into quadrants as needed

Back: - break. into quadrants as needed

Interior

Front - break. Into quadrants as needed

Back: - break. Into quadrants as needed

Oosures

Accessories
 REMEDIAL CONSERVATION 157

Flat textiles - use this order for examination:

Overall- give general observations

Front - break into quadrants as needed

Back - break into quadrants al needed

The qlMdranf system

Often an examiner is tempted to begin by describing the worst damage and proceed to describe the next worst
damage. This results in jumping all around one side of a textile or costume, and can make the recipient of such
a report confused or frustrated. A better approach is to divide the object into four sections (Figure 4A.3):

• upper proper right quadrant (UR)

• upper proper left quadrant (UU
• lower proper right quadrant (LR)
• lower proper left quadrant (LU

Using this method the recipient can review tile condition report in an orderly fashion. For artefacts in relatively
good condition, the quadrant system can be too much. In such cases. one can reduce the sections to two:

• upper half
• lower half
• proper right side (R)
• proper left side (U

Figure 4A.5 Quadrant labelling for the back of cOIItume, here, a train.
158 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

This approach can feel tedious, but all the hard work that goes into creating a condition report is rewarded
when the information is retrieved quickly and easily.

Bullet points, one for each observation

When a condition report is reviewed, the examiner will pause after each comment and look for it on the
costume or textile. Their eyes move back and forth between the report and the artefact. To make this easler,
use a bullet point to describe each condition note separately. Compare these two descriptions:

There are scattered spots overall with a O.Scm long tear, 2cm down from the collar.

• overall, scattered spots

• 2cm down from collar, tear, O.scm long

In the first description, one must memorize multiple damages and look for them on the artefact. One might
not take the time to consider each area of damage fully. When separated Into two bullet points, one first
takes the time to think about spots and then moves on to examine a tear. Using bullet points allows you to
clearly identify the different damaged areas and to prioritize your areas of concern.

Begin with the location followed by the damage description

When writing a condition report for a costume or textile. many conservators first describe the damage and
then its location. When a person receives a condition report. they are more comfortable reading about the
location first. followed by the description of the damage. Compare these examples:

Damage + Location

• There is an Scm long brown liquid stain on the PR side seam of the bodice.

Location + Damage

• On the PR side seam of the bodice, there is an Scm long, brown, liquid stain.

In the first example, the examiner receives a lot of information about the damage before knowing where to
look for it. In the second example, the examiner first leams where to look and then what will be found. The
second example Is easier to follow.

Phrases not sentences

After years of writing In complete sentences, we have switched to using simple phrases. Compare these two
descriptions for speed of comprehension:
On the front of the PR sleeve, 4em from the cuff, there is a brown liquid stain measuring 2em in diameter.

• Front PR sleeve, 4cm from cuff: brown liquid stain, 2 em diameter.

The second description of damage is faster to read and locate on the artefact.

The future

There Is museum-wide demand for yet more streamlining. As a result, a large collaboration between
registrars and conservators from LACMA's four conservation laboratories (paintings, paper, objects and
textiles) is underway. The first topic is avoiding duplication of work. For example, when objects are acquired,
perhaps only one condition report. the registrar's, will be written. There are no hard and fast rules;
conservators will continue to be asked to prepare condition reports as required by contract or if a high
degree of detail Is necessary.
 REMEDIAL CONSERVATION 1S9

Streamlining written and photographic documentation is the new focus. Making written condition notes
faster and easier without sacrificing information is challenging. Some conservators prefer using tick boxes
with pre-set condition terms. This may work well with some media, but if all damages are exceptions then
using tick boxes adds little efficiency. On the other hand, if a large number of condition reports are needed
for artefacts with extremely similar damages, tick boxes can be useful.
A picture is worth a thousand words; a high resolution digital photograph is even better. Added notations
about condition or dimensions make these images extremely useful. Notations may be hand written or
various computer applications, Adobe PhotoshopTM being the most widely used, can be used to make
notations (Figure 4AA).
Textile conservators working with costume have difficulties documenting areas such as the interior of a
sleeve or a trouser leg. Often period costumes have three or more components; the volume of photographs
to document all areas would be large. Despite these reservations. LACMA textile conservaton have
implemented some of the streamlining techniques discussed here. For a recent outgoing loan of costumes
to a European venue, streamlined condition reports were written, accompanied by a wealth of digital
photographs.
One experimental approach that has emerged from the collaboration between registrars and conservators
involves creating a numbering system for noting damages on documentary digital photographs. Conservators
of all disciplines are working to agree on one set of terms and corresponding numbers. Instead of writing
'abrasion' on the photograph, one would write"'. The same corresponding number would be used for a
painting, work of art on paper, a three-dimensional sculpture or a textile.

.,--
n_ •

". \
\
\
\
\

Figure 4A.4 An annotated drawing showing the location of are8l!l of damage.

160 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Table4A.2 LACMA standard term. used to describe mechanical damage across a range of material types

MEOIANICAL

PAPER PAINTING OBJECT TEXTILES

1 Abrasion Abrasion Abrasion Abrasion

2 Break Split BreaklspliUcrack Breaklsplitlcrack

3 Crease1bendlfold Stretcher creases Crease Crease/wrinklelfold

4 Cocklinglbuckling Buckling Deformation Bulge

5 Embrittlement Brittle Brittle

Table 4A.2 is an excerpt from the LACMA's drafted list of terms describing mechanical damage showing
how many terms are shared by paper, paintings, object and textile conservators. Not all terms, though, have
useful equivalents for each type of artefact; In such cases. those areas would be left blank.
Table 4A.3 shows LACMA's drafted list of terms for use by textile conservators. Note that the numbers are
not always consecutive, indicating that they are derived from a larger list that includes terms shared by all
conservators.

Table4A.3 Standard terms used by textile conservaton

TEXTILES

1llE0IAN1CAL DlSCOLOURATION MEDIA

1. Abrasion 19. Adhesive 35. Bleeding

residue

2. Break/spilt/crack 20. Adhesive 38. Colour shlftJloss

staining

3. Creaselbendl 21. Accretion 39. Corrosion

fold

4. Bulge 22. Discolouration 42. Glossy area

5. Brittle 23. Fading 43. Patch/repair

7. Indentation 24. Foxing 44. Matte area

B. Insect hole 26. Flyspeck 45. Paint/media loss

9. Insect grazing 27. Generalized 46. Powdering!

darkening friable

11. Old repairl 2B. Mould 48. Wrinkled

mend
12. Rumpled! 29. Mould staining
crumpled

13. Scratch 30. Stain

 REMEDIAL CONSERVATION 161

Table4A.3 (Continued)

TEXTILES

NEOIANICAL DlSCOI.OURATION MEDIA

14. Tear/cut 31. Surface soiling

15. Crushed surface 32. TIde line
16. Broken element 33. Smudge
17. Loose element 61. Uquld stain
IS. Missing element
49. Unstltched
SO. Flattened
51. Gathered
67. Frayed
68. Pilling
69. Shattered

Conclusion

The success of a condition report lies In Its usefulness. At LACMA the most successful condition report has
a written narrative, annotated images and high resolution digital photographs. It must be thorough, easy
to read and include information the recipient needs. The written narrative has a distinct style that includes
a systematic examination area by area, bullet points for each observation and phrases that begin with the
location followed by the damage description (Table 4A.4). The museum-wide need for a more streamlined
report preparation procedure currently is underway. This will most likely be an ongoing process.

Table 4A.4 An example of • condition ",port

Condition Report
Acquisition .: M.2007.211.3S
Object: Woman's Evening Mantle
Reason for condition report: Out-going Loan

Overall, good condition structurally; very good in appearance.

• General: light creasing overall.

• General: some loose feathers on the surface of the cape, but overall, feathers appear stable.

Front
Upper half

• Front PR at chest, Sin. (20.3cm) In from side and 22 Y, In. (57.3cm) up from scalloped hem: one missing red
seed bead.
162 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Table4A.4 (Continued)
Lower half

• Front PR side at the hem, 13th scallop from the CF [center front] opening: one row missing gold seed beads.

Back

• CB [centre backl. 11 In. (27.9cm) down from top of collar. upper tips of two protruding pleall;: worn.

In_
General:

• Unlng at shoulders: abraded and thinning In areas.

Upper PL Quadrant

• CF opening. PL side: seam sandwiching the top eye dosure is loose.

Upper PR Quadrant

• PR shoulder seam of lining: loose.

• PR seam of the lining. PL side of seam, 3 518 in. (9.2cm) in from the CF opening. parallel to top eye closure:
split.

Lower half

• Waist belt physically stable.

• Belt: slightly soiled and worn around edges from normal use.
• PR belt strap: two metal hooks, stable.
• PL belt strap: three button slitch-covered rings.

Closures

• CF, two metal hook and eye closures: stable.

Est. time to treat: 2-l! hour.;.

References
Ale TSG. (1995). Chapter II. 7. Examination of textiles prior to treatment. The textile specialty group catalogue: Current
conservation treatments and practices. Washington DC: Ale TSG.
Ale. (2009). Code of Ethics and Guidelines for Practice and Commentaries to the Guidelines for Practice, Ale Directory 2009.
WNW.ConservatiOn-us.org.
Appelbaum, B. (2007). The purposes of treatment documentation and creating treatment documentation. In Conservation
Treatment Methodo/ogy{pp. 384-417). Oxford: Elsevier.
Nodding, H., Oakley, V., & Smith, S. (2008). Streamlining condition reporting - A new approach at the Victoria and Albert
Museum. Icon News, 78, 32-33.
 REMEDIAL CONSERVATION 163

Case study 48

Recording change: 1978-:2008:

the cleaning of a needlework
sampler
Patsy Orlofsky, Katherine Barker, Karen Clark, Rebecca Johnson-Dibb,
Mary Kaldany, Barbara Lehrecke

Introduction

Evolution In textile conservation over the last 30 years Is a result of Influences arising from connoisseurship.
technology. science. economics and professionalism. These five driving forces tend to shape contemporary
decision-making in the field and in particular in a regional conservation centre.3 They provide the framework
for this case study on cleaning an embroidered sampler. This type of needlework was selected because It Is
ubiquitous both as an heirloom and as a treatment artefact. Cleaning was chosen because it is central to a
textile conservator's practice and changing attitudes towards cleaning prove revealing about the field as a
whole.
The case study involves a sampler made by a New England schoolgirl. Rebekah Richardson. in 1808.
Embroideries were staples of women's education in America in the early nineteenth century. This sampler
was brought to the Textile Conservation Workshop (Tew) In 2008 by an antiques dealer. It Is silk embroidery
on a linen ground fabric. The client's primary interest was in cleaning the severe stains across the face of the
textile. so that he could sell the piece at a satisfactory price. The client and conservators at TCW ultimately
chose to carry out a localized stain-removal treatment followed by mounting of the sampler.
No case study stands alone. Its usefulness and future applicability depends on the articulation of its place
within a wider context. What factors justify the treatment choices? Early texts in the field of conservation.
such as those by Finch and Putnam (19n). Leene (1972) and Landi (1992) were essentially catalogues of
treatment choices. offered without wider perspective. While they presented nuts-and-bolts options. they
lacked the capability of broader application. which hindsight. experience and maturation now afford us.
In fact, no matter how precisely described the treatment, the modern case study that does not include
a comprehensive contextual discussion is incomplete. In her 2007 book, Appelbaum warns that without
considering the non-material Issues that surround the object •... we risk arriving at a treatment that, although
perhaps technically flawless. may not be appropriate for a particular object or its custodian'.
So in what context was this sampler treated at TCW7 What broader circumstances influenced the
conservation treatment choices for this particular piece? In this case study. TCW conservators will explain the
chosen treatment in terms of the five modem drivers noted above: 1) Connoisseurship. 2) Technology.
3) Science, 4) Economics and 5) Professionalism. This comprehensive context frames our technical approach

3 We, the authors, are conservators at the Textile Conservation Workshop, an eight-member collaborative team, working in
an American regional conservation laboratory in South Salem, New York. Founded in 1978 to provide comprehensive ser-
vices for the preservation of textiles, the Workshop serves museums, historical societies, collectors, dealers and other private
owners.
164 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

I
L'
I~ ,

Figure 4:8.1 Rebekah Richardaon aamplcr before treatment.

to the Rebekah Richardson sampler, as well as all other textiles; and It Is through this construct that a
prevailing modern conservation methodology is dlscernable.

Bias of connoisseurship
In the formative years of textile conservation, a fundamental principle of treatment was the assumption
that decision-making followed objective criteria, and subjective, value-based judgemenu were rejected as
unscientific. The old standard as described by Munoz Vinas was:
'Thus, every conserved object should be given the same importance, and a -single standard- should be
applied to its conservation. When applying this single stllndard of care II masterpiece by a great artist should
be treated according to similar criteria, lind with similar IIttention to thllt given to a minor, anonymous
painting, or to a tin toy dating from the 1940'5' (Munoz Vir\as, 2005: 202).4

.. Until 1994tn. AIC Code of Ethics corrt:Mled. 'slngi41 st.Ind.d' duse which rNd 'WIth.wry historic or Irtistic work n. un-
dertllkes to conserve, ~ of his opinion of itt VIIlue or qu.ltty, the comerntor should ednereto the kigkert: and most
exKI:ing standM'd of trutment. Altkough clrcummmces m.y limit tne extent oftreltment,. tne qu.lity of tr9lment should
never be governed by tne qu.llity or VIIlue of the object.'
 REMEDIAL CONSERVATION 165

Figure 0.2 R.cbckah Richardaon aamplcr after treatment.

In contrast. contemporary thinking now toierates the flexibility that all artefacts have a plurality of
meanings.. functions and values which are subject to multiple interpretations. Further, it admits that there
are subjective, even preconceived biases and cultural factors that inhibit or encourage us when considering
treatments. For archaeological and ethnographic objects very little treatment is prescribed, presumably
because they were first collected for academic study, while for tapestries full-blown restoration is the
norm, probably because they are pictorial. This modern heterodoxy promotes the notion that there are
no interpretively neutral treatments. and even allows that unconscious tastes are projected into the
conservatlonlrestoration.
Thus, the early, overriding, theoretical guideline for conservation practice gave way to a complex network
of more realistic connoisseurship elements. This factors in tastes. beliefs. the marketplace, the innate desire to
recapture original appearance, aesthetic biases and the influence exerted by the owner or custodian. To these
value biases some might add a group of completely inexpressible prejudices: greed, vanity, sentimentality and
religiosity.
The sampler in this cue study is the quintessential American heirloom (Figures 48.1 and 48.2), the product
of school instruction and symbol of the desire of parents to afford a school that taught 'accomplishments'.
These domestic textiles, like dowry fabrla, ethnic embroideries, and ritual cloths, transmit deep associations
and can be appealing in their blemishes and mellowness. NotwIthstanding an owner may reasonably dean
166 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

them.s Neither owners nor dealers take a casual approach to these samplers, they carry a history of female
education, genealogical connections and intimate relation to the people who taught, created and inherited
them. The Richardson Sampler, rich In folk art Imagery, seemed marred by Its water stains. Knowing the stains
could not be removed completely, the treatment goal was to improve its appearance and longevity.

Specialized technology

Typical cleaning methods for a schoolgirl sampler at TCW have changed over time largely due to
advancements in technology and improved equipment such as the suction table. Although originally
designed for treating works of art on paper, refinements have led to the development of a suction
table uniquely suited for textiles, permitting treatments with greater finesse, enhanced efficiency and
effectiveness. Now, to clean a sampler we primarily use the suction table.
The Richardson sampler exhibited two unrelated kinds of staining: severe brown stains (eventually determined
to be associated with iron) surrounding the dark embroidered alphabet that were not readily soluble in
de-ionized water; and lighter brown liquid tide-lines throughout the sampler that were responsive to de-ionized
water. (The latter stains had resulted from bleeding of the Ink under-drawlng beneath the embroidery stitches.)
Three cleaning options frequently performed on the textile suction table, localized stain removal, overall
contact cleaning and drying were vetted for use on the Richardson sampler. Ultimately, the two types of
staining present In this sampler demanded localized cleaning rather than overall contact cleaning. Contact
cleaning was contra-indicated because of the discovery of iron ions which could be further spread by contact
with the moist cloths required by that treatment. Therefore only localized stain removal and drying are
discussed here as suction table treatments.
The suction table offered a controlled means of applying de-ionized water to the soluble lighter
brown tide-lines while avoiding more risky areas, such as the Intact portions of the under-drawlng. The
aforementioned areas of severe brown staining surrounding the dark embroidered alphabet could then be
treated in an isolated step with an oxidizing agent.
This case study brought Into focus our reliance on the suction table and the need for textile conservators to
understand the intricacies of its wor1<ings. By understanding the basic mechanics of the textile suction table, each
conservator develops a working relationship with herJhis equipment. Of the numerous advancements in suction
table technology. three changes can be credited with significantly Improving Its use for stain removal and drying.
These are: an increase in pressure; a new physical surface of the table and a shift in the dominant airflow pattem.
The airflow pattern of the early paper suction table is primarily downward. The latest textile suction table
Is a transverse or lateral flow large area suction table, but maintains the option of working with a downward
flow, a great advantage. The vacuum port is located on one end of the table. Air is introduced into a bleed
at the opposite end and when the motor Is turned on the air passes across the table towards the port end.
In the case of this sampler, downward flow was used in localized stain removal and lateral flow was used for
drying when saturated areas needed to be dried quickly.
The success of localized stain removal on the suction table Is dependent on the equipment's capacity to
overcome particular characteristics inherent in the textile including capillarity and interstices. In a woven
textile, the ordered arrangement of fibres into long yams encourages outward wicking of any cleaning liquid
due to capillarity. Thus, the pressure from the suction table must be great enough to overcome this force,

5 In the past.. cleaning of historic textiles was considered compatible with the concept of reversibility, a bedrock tenet of con-
servation; as stated in the pre-1994 Code of Ethics: The conservator is guided by and endeavors to apply the 'principle of
reversibility' In his treatments. After 1994, the revised Code replaces the notion of reversibility with a softer version which
no longer mentions the word reversibility. It reads 'The conservation professional must strive to select methods and materials
that, to the best of current knowledge, do not adversely affect cultural property or i1s future examination, scientific inves-
tigation, treatment or function: Today we understand and accept that no cleaning techniques are truly reversible, yet we
strive to make treatments as reversible as possible.
 REMEDIAL CONSERVATION 167

specifically at least 6-8 inches of mercury. This was accomplished with the addition of motors capable of
producing enough pressure to overcome the inherent physical characteristics of woven textiles that differ so
greatly from the felted structure of paper.'
At the same time, because liquid and airflow through an object on the suction table will follow the path
of least resistance, the majority of flow through a textile is through the interstices between the yarns. The
relatively open-weave structure of the linen ground fabric in this and most samplers encourages applied
solvents to pass down through the interstices without solubilizing the stain.
The key to localized stain removal on the textile suction table then is to achieve a balance that allows
enough working time to solubilize the stain while preventing outward wicking due to capillarity. By closing
down most of the table with a membrane and leaving only a small area open to work through, one limits the
volume of flow and increases the pressure. By manipulating the size of the opening the levels of flow and
pressure can be adjusted and balanced with the method of solvent delivery and blotter of choice.
The physical surface of the early paper suction table was perforated aluminium above other stacked
perforated sheets, a configuration designed to encourage downward air flow. Among the first textile-friendly
improvements to the paper table was to add a woven stainless steel screen surface above the perforated
sheets. Eventually this became a fine polyester screen quite sympathetic to most textiles because of ih
smoothness and comparable openness, over a shallow stack of perforated layers chosen to direct the lateral
air flow. The polyester screen surface also enhances stain removal as it allows the cleaning liquid
to be effectively evacuated away from contact with the textile rather than keeping it saturated.
The most noteworthy result of the change in airflow direction is more predictable drying behaviour. Air
flow just below the table surface means drying occurs first in the layer that is adjacent usually an absorbent
cloth, and then proceeds upward into the textile. Because stains and soils migrate into the driest place, they
deposit in the bottom cloth making it act as a poultice. The conservator, mindful of the airflow pattem
employs it to herlhis advantage when fine-tuning drying or cleaning treatments (Figure 4B.3).
The lateral flow textile table was designed expressly to improve drying times over those of the downward
flow table. Drying was accomplished on the earlier table by opening the top membrane and pulling air

~ Closed transparent roomtxan<=

Yu/ll1 Y'WII! VI m'llv/ Y W'I "{ my YI y"l YI YUH V III Y 'h TV W '1;" - - Texll ie 8rtJtact
_ _ _ _ _Soils and stains migrate to here' _ _ _ __ Absorbent drying cloth

'---_..
_ .... "_"'_:_"'_:_':_~_:_:'_~i_:~_~_~:_~_'_""""_Y_ "_rl"_~_:_""_d_:_:_,_,_.._..
_.._.._8 _ +_ _, \

Motor capable
of 12' Hg

Figure 0.5 Drying on the lateral. flow textile suction table.

'The felted structure of paper is dominated by capillarity along the individual fibres that are randomly arranged within the
three dimensions of the paper sheet including its thickness, Outward wicking of cleaning liquids is great but can be uploited
to the paper conservator's advantage because capillarity can be extended Into an adjacent blotter Into which the stain can
be drawn. Textile capillarity functions along the weave structure of the artefact. and cannot easily be extended Into the
structure of an adjacent blottar. In fact. a blotttlr balow the artefact Is oftan a hindrance to !taln ramOVllI .u It cuts down on
pressure. A thin textile, similar in _ight and WNWI to tha artefact proves mora successful.
168 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

through the textile. This necessitated a top doth to guard against air pollutants. The top cloth unfortunately
obscured the textile from view during the procedure, often sticking due to hydrogen bonds formed in the
drying process. The absence of the top membrane also posed a problem. It removed pressure during drying
which often translated into undulations or even shrinkage from a lack of restraint. The lateral flow table
allows textiles to dry more quickly while held under pressure by the transparent membrane.
Today the lateral flow textile suction table with polyester screen surface and motor capable of achieving
12 inches of mercury has so improved the quality and ease with which we are able to clean samplers and
other textiles that our centre has invested in three suction tables and it is our default method of cleaning.

Scientific advancements
Conservators are increasingly looking to scientific contributions to inform and improve the quality of
treatment choices. The modem conservator has much to gain from familiarization with an ever-growlng body
of published research that derives from a global, inter-disciplinary exchange. Recently, and more specifically,
new research on the subject of iron-gall corrosion on cellulosic substrates has emerged and impacted the way
samplers are treated at TON. The Richardson sampler Illustrates a treatment that was shaped by an active
reading of scientific research published about iron gall.
Preliminary tests on this sampler showed that while much of the widespread staining in the linen ground
fabric could be deaned with dlHonized water, the severe stains surrounding the dark-brown embroidery
were quite stubborn. The nearby embroidery threads were noted to be friable and powdering, a common
phenomenon which conservators have observed with dark-brown and black dyes on fabrics and yams, as with
dark-brown, historic inks on paper. Although this particular degradation has long been correctly attributed to
'iron gall corrosion' by both paper and textile conservators, its chemical characterization had not been decoded.
Recently (In the mld-I990s), a group of European paper conservators revisited the topic. collecting and
publishing a formidable body of new scientific research on iron gall (Neevel, 1999; Reissland, 2001 ). Although
the research originated in the realm of paper conservation, there was soon enough useful information to
draw both theoretical and practical conclusions for the field of textile conservation (Barker, 2002).'
This discussion about the deleterious effects of iron gall, which bridges the disciplines of paper and
textile conservation, has taken root in the minds of conservators at TON. In a deeper sense, the scientific
publications have expanded our theoretical understanding of the Inherent problems with Iron gall dyes, and
shaped our approach to treatment in new ways. In the Richardson sampler's tenacious stains, a measurable
presence of iron was detectable.8 The iron could be responsible for binding the stain to the ground fabric, in
much the same way a mordant binds a dye to a fibre. Theoretically the Iron might be solubilized by using a
chelate or an oxidizing agent, thereby allowing for some enhanced stain-removal prospects.
However, scientists now warn that solubilizing the iron ions can pose serious long-term risk to the greater
linen substrate, since Iron and other polyvalent metals are known to catalyse free-radical oxidation reactions
that degrade the cellulose chain. Overall moist cloth contact cleaning on the suction table, which normally
might have been a logical proposal for the sampler, would risk spreading the iron ions throughout the
linen substrate to trigger degradation. It Is Ironic that this minimal and controlled alternative to complete
immersion represents every bit as much risk to the sampler, but of a different sort. The scope of the iron-
catalysed degradation within the cellulose only broadens, jeopardizing its long-term preservation.

7 A professional conference dedicated to iron gall ink corrosion on paper was held in the Smithsonian Museum Support
Center In Suitland. MD In 2001. Only a year later. the topic of Iron gall on textiles was presented at the North American
Textile Conservation Conference in Philadelphia (Barker, 2002).
a With the Introduction of a non-bleedlng Indkator test-strlp. commercially marketed In the USA by University Products
after 2001, there is now a qualitative test that is safe for artwork. and can prove the presence of water-soluble iron (II) ions.
This test has now been incorporated into the initial treatment reports at Tc:.w, and was used to prove that soluble iron was
present in this sampler. concentrated in the areas of the ground fabric near the dark-brown embroidery.
 REMEDIAL CONSERVATION 169

,.,...
Figure 48.4 The test strip has turned pink, indicating the presence of water-.101uble iron (II) ions in the brown

So what to do with a severely stained sampler in a condition that is unacceptable to the owner? To reduce
the staining some iron must be solubilized. a risky venture. Our specific response to the question was a
localized stain removal treatment using a dilute oxidizing agent on the suction table. This allowed us to work
in isolated regions thereby inhibiting the spread of both the solvent and the iron ions (Figure 48.4).
The theoretical risks and benefits of treatment represent a complex choice for the client. It is important
to state the compromises that exist, and include the option not to treat the object. The 'best' decision is
one that takes into account the client's needs and the conservator's technical abilities, as well as the object's
material parameters. The applied treatment ideally reflects an understanding of the full theoretical world.
Progressive conservators must keep up to date with scientific literature in order for it to inform their
choices, and foster their own scientific education so that they can absorb the information. Having said this,
modern conservators must keep in mind 'the limitations of science in eliminating uncertainty' (Appelbaum,
2007: 376). Much of the choice of treatment and the quality of its execution still 'rely on the conservator's
skill. experience, and creativity, supported by scientific fact' (Appelbaum, 2007: 31n. In this case. the TeN
suction table provided the technological means to apply scientific theory to the Richardson Sampler.

Economic influences
The economic needs of the owner can also exert an influence on the treatment discussion. Macro-economic
circumstances are cyclical and affect both public and private clients. Granting institutions have fluctuating
amounts to dispense depending on the ebb and flow of greater economic circumstances. Museum funding for
conservation treatment varies with society's overall prosperity, political attitudes and private sector interests.
Attitudes towards these economic considerations have evolved requiring more flexibility in the options
offered. The conservator must acknowledge that she is sometimes now forced to contour treatment to a
client's economic parameters. In the past, our conservation discussions were less yielding when considering
the economics of a treatment believed to be best for the textile. It has become more acutely clear however,
that it is frequently necessary to offer a broader financial range of treatment options, because if a treatment
seems excessively expensive. the client may forego any or all of it. This translates into long-term consequences
for the object and, more controversially, for the finances of the conservator. Should the client refuse
treatment due to the cost, a disservice is done to the object. It also means loss of revenue for the practitioner.
170 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

often a taboo subject. It is more often incumbent upon the conservator to be creative and devise a financially
viable treatment. Fortunately one is aided in this endeavour by evolving research and technological
developments which shorten treatment times and therefore cost.
The construction and condition of the Richardson sampler required a complex. time-<:onsuming, cleaning
approach that had to be reconciled with the owner-dealer's finances. As is now often the case, the client's
financial considerations were a part of the declslon-maklng process. Because the client was a dealer for whom too
much expense in treatment could have reduced his Profit. he might have elected not to proceed. Fortunately, the
developments in iron gall research and suction table technology helped off-5et the time drain by allowing more
effective stain removal options that could be accomplished more quiclkly. In addition the framing of the sampler
was postponed. Balancing the client's financial imperative and the requirements of an effective and ethical
treatment Is Increasingly Important as the client base for regional centers becomes more economically diverse.

Professional maturity

Textile conservators have always relied on research and support from the larger conservation community
as well as adjoining fields to inform our approach. In the early years, practitioners often came into textile
conservation from a range of disciplines as diverse as textile science, art history, anthropology, archaeology,
museum studies and fibre arts, bringing with them adaptable methodologies from those fields. Today, most
textile conservators are trained in graduate programmes with integrated curricula that impart competence in
many areas of study such as chemistry and analytical science, art history and studio arts. This has consolidated
a significant bocly of knowledge specific to textile conservation.
The most recent advances in specialized knowledge have been aided by internet access which continues
to Increase accessibility to and dissemination of emerging research. The field now has many Intemet-based
resources that comprise its current 'bookshelf' (as well as the knowledge that sites may quickly become dated).
The global circulation of research, experience and technical Information allows one to Incorporate new
thoughts and techniques with little lag time. Today we have forums such as the conservation distribution
lists, CAMEO (Conservation and Art Material Encyclopedia Online), AATA (Art and Architecture Technical
Abstracts), CoOL (Conservation On-line) BCIN (Bibliographic database of the Canadian Heritage Information
Network) and internet discussion groups.
Internet searches yielded research that informed the Richardson Sampler problem of embroidery threads dyed
with Iron-based colourants. The CAMEO website has a link to the 'Iron Gall Ink Corrosion Page' which sets forth
general theory and treatment parameters for an object containing iron gall components. This afforded access to
the current topics under discussion by scientists and made it possible to chart a course of appropriate remediation.
These actively partklpatory sites are always under construction waiting to Integrate new Information.
Niche publishing and subject.,.pecific conferences have burgeoned as a result of the intemet. On-line
refresher courses, interactive bulletin boards. frequently updated catalogues from academic art conservation
publishers are now available to browse and Inform. The sharing of Ideas and practical experiences can now
help to alleviate the apprehension of the conservator or team working in relative isolation.

Conclusion

Maturity In textile conservation over the past 30 years Is a result of Influences from connoisseurship,
technology, science, economics and professionalism. Connoisseurship issues determine the level of intrusion
and restoration prescribed within each textile category. and conservators respond to a great many external
cultural biases by broadening and refining their treatment strategies accordingly. Technological advances have
led to the development of equipment uniquely suited for textiles, improving treatments and reducing the need
to employ laboratory apparatus from other specialties. Scientific advancement through research continues to
change the landscape of alternatives presently In the hands of conservators, sometimes abolishing previous
standard treatments, sometimes widening the repertOire. Economic considerations have always affected
 REMEDIAL CONSERVATION 171

textile conservation, but now they are overtly factored in. Professional performance in textile conservation
has been aided by the proliferation of internet source material available, niche publishing and subject-specific
conferences which foster a greater community and collective sharing of textile-related Information.
Modern methodology considers all of these elements to greater or lesser degrees depending on the object
and client. Good contemporary conservation is mostly comprised of judgements that balance the material
risks and benefits, and decisions that consider all the non-material contexts associated with a particular textile.
These elements are not just theory for discussion but an active dimension in the decision-making process today.

References
Appelbaum, B. (2oon. Conservation Treatment Methodology. Oxford: Butterworth-Heinemann.
Barker, K. (2002). Iron gall and the textile conservator. In V. Whelan (Ed.), Strengthening the bond: Science and textil~
Preprlnts. NATCC, 2002, Philadelphia PA (pp. 7-13). Philadelphia: NATec.
Ale. Code of Ethics and Guidelines for Practice of the Amerkan Institute for Conservation of Historic and Artistic Works.
www.conservation-us.org.
Finch, K., & Putnam, G. (1977). Caring for Textiles. New York: Watson-Guptlil.
Landi, S. (1992). The textile conservatort manual (2nd ed.). London: Butterworth-Heinemann.
Leene, J. (Ed.). (1972). Textile conservation. Washington DC: Smithsonian Institution.
Munoz Vinas, S. (2005). Contemporary theory of conservation. Oxford: Elsevier.
Neevel, J. G. (1999). The behavior of Iron and sulfurk add during Iron-gall Ink. corrosion. In J. Brldgland (Ed.), Preprlnts,
ICOM-CC, 1999, Lyon, (pp. 528-533) London: James & James.
Reissland, B. (2001). Ink corrosion: Side-effects caused by aqueous treatments for paper objects. In Postprints. The Iron Gall
Ink Meeting, 2000, Newcastle (pp. 109-124). Newcastl~pon-Tyne: University of Northumbrla.

Case study 4C

The conservation of four 1760s

chairs: revealing and reinstating
original upholstery features
during in situ treatment
Kathryn (Kate) Gill

Introduction

Historic chair frames with their original upholstery under-structures are quite rare, but rarer still is the
survival of original top covers and trimmings. One exceptional example is a magnificent suite of seat furniture
commissioned by Paul Methuen for his Corsham House residence in Wiltshire. UK. The majority of this suite
remains on display at Corsham Court in the Picture Gallery, for which it was originally commissioned.
The suite was probably supplied by George Cole of Golden Square, London c. 1763-74. The silk damask was
supplied for furniture and walls between 1765 and 1769 by Morris and Young (Beard, 1997).
172 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 4C.l Three-quarter front view of one of the armchairs after conservation treabnent.

The suite now comprises thirty open armchairs, two pairs of settees, three pairs of window seats and a
winged armchair. The mahogany frames are upholstered with red silk damask top covers. The top cover
seams are welted with a red wool and silk nalTOW woven tape. Both the back and the seat upholstery are
lightly tufted. The outer backs are covered in a red wool 311 twill weave with a napped finish. The front
and each side of the seats have a double row of dome-headed brass nails. The under-upholstery comprises
an open lattice webbing layer and a base cloth layer (both layers are of bast fibres, possibly flax and hemp)
which support a loose filling of curled animal hair encased in linen cloth. The encased hair is shaped with
stitches of flax twine. All under-upholstery layers are fixed to the main frame of the furniture with
hand-wrought iron tacks and further secured with single and double rows of dome-headed brass nails
(Figure 4C.1 ). The furniture is no longer used as seat furniture.
In 2005 the condition of the upholstered element of the suite was assessed by the author.' It was evident
that many of the damask top covers had been repaired with patches of fabric, some of matching silk damask
taken from the walls behind the paintings in the Picture Gallery at Corsham. The patches had been secured
to the top covers and the under-upholstery layers with a combination of adhesive and stitching techniques.
The patched damask top covers were largely covered in orange-red net. The patches and net covering had
protected the top covers, testifying to the good in-house care that the suite had received over many decades.
A large proportion of the original covers and trimmings, as well as original stitching seams and structural
elements of the under-upholstery, remained intact. although largely concealed by the repair work.
The condition assessment confirmed that some of the repair work was starting to damage the silk damask.
Sixteen of the most fragile upholstered chairs were prioritized for conservation treatment and the author
undertook the conservation of the upholstered elements of a number of armchairs from the suite.
This case study discusses the aims of treatment and factors considered before and during treatment in
order to assess the conservation needs of the suite and to determine the conservation techniques that would
most effectively preserve, stabilize and re-establish the subtle original features of the upholstery and the
upholstery profiles.

, TCC unpublidled report 9 M.y 2005.

 REMEDIAL CONSERVATION 173

Condition of the upholstery

Detailed condition assessment of the upholstery elements was restricted by the net overlays and patches,
which largely concealed the red damask. However, it was possible to see that the condition of the red damask
ranged from good to extremely fragile and In some areas It had been completely worn away exposing the
linen under-upholstery layers. The deterioration was largely due to two factors: first, the natural degradation
processes which had rendered the damask more fragile than it was when the repair patches were first
applied; second, some of the repair work itself was causing damage. For example, the tackiness of the
exposed sections of the degrading adhesive patches meant these areas had become ingrained with soils
and stains. The relatively sharp edges of the stiffened adhesive-Impregnated patches had cut through the
weakened fibres of the red damask.
The original upholstery under-structures appeared to be in remarkably good condition overall.
The seat webbing on some had failed and had been replaced or reinforced with a brown and white
reverse twill webbing, probably of nineteenth century date. Fortunately, this replacement webbing
had been attached without removing or disturbing other layers of the original seat structure.
However, a number of the tacks holding the replacement webbing had become detached from one
frame (TCC ref 2929.3, client ref 116]). As a result it had lost any tension it may have had when first
applied, resulting in a sagging seat, which if left unsupported would probably result in further collapse
ofthe upholstery.

Treatment and decision making process

The overall aim of treatment was to make the chairs safe for continued open display In their original historic
house setting. One of the main aims of the upholstery conservation treatment was to protect any original
(andlor historically significant) materials still on the frame. Since original upholstery is quite rare. it was
considered a priority to keep original materials with the frames wherever possible so that these Important
primary sources of material evidence were subject to minimal disruption. Consequently, it was decided that
treatment would be carried out in situ'O on each chair. This approach was extended to the sagging seat of
one chair, where a 'non-Interventlve' seat support was proposed.
Many factors needed to be considered including: what elements should be removed and on what grounds;
how should the revealed evidence be interpreted; with what should the removed elements be replaced;
how well would the replacement elements visually Integrate with the original damask, and how would the
replacement elements be attached? How could all of this be achieved without removing any element of the
original upholstery, including stitches, from the frame?
As Is often the case with many multi-layered, three-dImensional objects with concealed Inner structures
requiring conservation, a phased approach to treatment was implemented. It was recognized that assessment
of condition of revealed components and the interpretation of their significance would inform the
subsequent treatment phases.

Phase one - permanent removal of the net overlay

Working In close collaboration with Bristol Museums' curator," It was decided that all existing net overlays
would be removed. They were no longer providing protection or support and they were causing abrasion to
the original damask and concealing original features.

10 In this case study the term 'In situ', In reference to the conservation treatment, means all conservation procedures were car-
ried out on the upholstered chairs, and that no elements were temporarily removed for treatment.
11 Sixteen armchairs, the winged armchair and the window stools from the suite were accepted by H.M. Government under
the 'In-Ileu [of Inheritance Tax] In situ' arrangement and allocated to Bristol's Museums, Galleries and Archives.
174 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 4C.2 Line drawing of one of the armchairs to show the location of the shallow tufting.

Shallow tufting
As anticipated, removal of the net covering revealed several well-preserved, original features. Of particular
note was evidence of shallow tufting. beautifully welted seams and examples of the red silk damask top
covers before and after fading. Shallow tufting, a series of spaced, individual stitches passing from the rear!
underside webbing and base cloth layers. through both the hair filling and the frontlupper filling cover,
would be expected in chairs of this type and date.
Upon initial examination the extent of the shallow tufting was not fully evident since large damask repair
patches, applied across some seats and backs, concealed any evidence of the indentations. In other cases the
original thread drawing the original silk damask cover onto the surface of some of the indented areas no
longer existed, causing the damask to lift away from the indentation. Closer examination of the original silk
damask cover revealed two stitch holes as evidence that the damask was once stitched to the indentation.
This evidence was backed up by the presence of stitched indentations in the upholstery under-structure
located directly behind the stitch holes, revealed by gently feeling for the contours of the inner back under-
structure through the red damask. In addition further examination of images of all remaining chairs in the
suite suggested that originally each chair back lind seat had eight tufts positioned symmetrically as shown in
illustrated Figure 4C.2. All sixteen indentations have survived in the under-structure upholstery of eight chairs
examined in more detail. No evidence has survived to suggest that the shallow tufted sections of the Corsham
chairs were ever embellished with decorative tufts or buttons.

Welted seams
The welted seams located around the perimeter of the seat and the inner back upholstery were also fully
revealed following removal of the net (Figures 4C.3 and 4C.4). They appeared largely int..ct and for the most
part structurally sound. The welted edge comprised a narrow figured weave tape of silk and wool, folded in
half lengthwise over a fine cord and hand stitched into the damask seam with an unbleached thread. The
thread and the fine cord were probably of flax. 12 The seam allowance had been positioned to the side edges,

12 Fibre identifiartion WIIS based on visual eXIImin.-tion only.

 REMEDIAL CONSERVATION 175

I1gure 4C.3 Detail of one corner of the armchair back. before conservation treatment.

rather than the top face of the under-upholstery making the line of the tape covered cord very firm, straight
and quite pronounced as shown in Figure 4C.4.
Along with the single and double rows of close nailing, the welted edges are an important feature in
accentuating the straight lines of the flat square-edged upholstery profile. The edges were surprisingly
well preserved with the exception of sections of the top edge of the chair backs and the front edge of the
seats where repair stitching had concealed the welting. A decision was made to remove the repair stitching
in these areas as it was causing damage to the welted edge as well as distorting the line of upholstery. A
conservation treatment was required that would not reduce the impact of these two important features of
the upholstery.

Phase two - permanent removal of damaging patch repairs

The full extent and nature of the later repair work was revealed once net was removed. Repairs included
red damask.. some orange damask and many plain weave orange in-fill patches (the latter two fabrics were
originally red, but are now faded to orange), attached to the reverse side and in some cases to the top face
of the red damask with adhesive<oated white net. Some of the orange plain weave patches and white
net repairs were causing damage to the red damask that they had protected for many years (Figure 4(.4).
Where possible, they were permanently removed. None of the damask patches were removed as they were
not causing damage to the original elements and, having been sourced from the walls of the Picture Gallery
(unlike the orange patches), were considered to be a historically significant element of the suite (Marko, 199n.
176 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 4C.4 Detail of one comer of the armchair back, during conservation treabnent.

Once the damaging patches were removed a more detailed condition assessment could be made. It was
apparent that more of the original top cover damask had survived than had been originally thought; however,
some areas were weaker than expected. In contrast the welted seams were more stable than anticipated and
suffered less loss than estimated. Furthermore, fewer areas of exposed linen were revealed than predicted.

Phase three - preserving and stabilizing the original upholstery and its profile
This phase of treatment raised another set of questions. What materials and methods should be used to
support the weak areas of damask? How well would the replacement elements visually integrate with the
original damask. How would original and replacement elements be stabilized on the frame? How could all of
this be achieved without removing any element of the original upholstery, including stitches, from the frame?
To what extent would solutions found for one chair be applicable to others awaiting treatment?

The integration of old and new materials - compensating for loss

The owner of the house and Bristol Museum's curator (henceforth referred to as 'the custodians1 had
requested that the areas of loss in the red silk damask be camouflaged with patches in order that the
exposed linen upholstery layers would be concealed.
Interpretation of objects on display can be influenced by a number of factors. including role of object.. its
historical and social context, including the context in which it is displayed, the significance of later additions
 REMEDIAL CONSERVATION 177

and individual preference ofthe custodians, notto mention resource constraints (Gill & Eastop, 1997; Eastop
& Gill, 2001 ). Treatment options range from stabilizing the object as found, through removing damaging
later additions, to replacing missing elements with new (Gill, 2004).
In the case of the Corsham chairs, one option considered initially was to stabilize the loss but leave it un-
camouflaged as the areas of loss would reveal some of the rare surviving original upholstery structure and
materials underneath. In this Instance the primary role of the object would be that of a historic document, a
valuable study piece for upholstery scholars. This practice has been observed in historic houses and museums
including the former upholstery bays at the Victoria and Albert Museum and also at Ham House, UK. On
display in a room setting such pieces have been presented in historically in-keeping case covers, a practice
now well established in many historic houses and museums (Sandwith & Stainton, 1991). Understandably,
at Corsham Court. this was not considered a desirable option by the custodians for the pieces currently
undergoing treatment, however, there was some discussion about treating one of the remaining chairs in the
suite (with a high percentage of damask loss) in this way.
Following discussion of the options with the custodians, a decision was made to use a medium weight,
plain weave habutai silk with crepeline overlay for the conservation patch in-fills. Habutai silk and crepeline
of different shades of red were dyed to accommodate the varying tones observed across the unevenly faded
damask of the top covers. The patches played an aesthetic rather than supportive role. They were positioned
across the areas of loss and their edges were gently inserted behind the top cover and in most areas held
with a few stitches to the well-preserved underlying linen upholstery under-structure layer. The linen layer
provided a strong base and was a critical element In the success of the next stage of treatment.

In situ conservation treatments - the important role played by net

Numerous past successful In situ upholstery conservation treatments have Involved the use of semi-transparent
conservation grade nylon bobbin net to stabilize individual upholstery layers and entire upholstered seat or
back units. The popularity of net as a protective overlay is due in part to its unique properties, including the
stretchy structure, which, with subtle tensioning and easing and effective placement of support stitching,
can be made to conform well to the undulating surface of the upholstered form. Its relative thinness and
its resistance to fraying if handled carefully, eliminate the need to hem edges and enable raw edges to be
tucked behind trimmings or under the edges of decorative nails. If applied effectively net can provide a full
continuous support without interfering with the upholstery profile and in many instances, by gently securing
the degraded top covers back in place, it can help to re-define the original profile. However its success is largely
dependent on the condition of the upholstery under-structure and the top cover Itself. The net relies on being
stitched directly to the upholstery under-structure, not an ideal solution, but preferable, in most instances, to
temporarily removing the top covers for treatment. The style of seat furniture and upholstery also determines
how, if at all, the edges of the net can be attached to the upholstery or the frame. Furthermore, the top covers
have to be stable enough to withstand net in direct contact with the surface. If the cover is too fragile, even
the threads of the conservation grade nylon net pressing against the degraded threads of the conserved textile
can be too abrasive. For example, pile fabrics are particularly problematic and net overlays are rarely successful
as the net will at least permanently bruise the pile and at worst, over time, cause the pile to break off.

Adaptation of original upholstery techniques to meet the requirements of conservation treatment

Application of net overlays to serve as an effective support, rather than just as an overlay to protect the cover
on open display and during surface cleaning. requires skill. experience and a thorough understanding of
the upholstery structure and technical knowledge of how the upholsterer originally applied the cover to the
upholstered form.
Net was selected as an in situ protective overlay and external support for the inner back seat and arm pad
covers for the Corsham chairs as It could be manipulated around the shallow tufting and the edges of the net
panels could be securely anchored into the relatively stable welted seams. Following consultation with the
178 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

custodians. the net was custom-dyed to a tone which more closely resembled the colour of the aged damask
rather than to the colour of the damask when new. The purpose of this was to improve the visual integration
between the patched top covelli.
The primary aim of the net application was to maximize support of the patched damask covers, including
the welted sums, using a minimal amount of stitching across the surface of each panel. In order to adlieve this
across the undulating shallow tufted surface, the net was stitched through the original locations of the shallow
tufting. To provide the tensioning necessary to maximize contact, the original tedmique used by the upholsterer
was adapted and refined as follows. The heavy flax thread that would have been used by the upholsterer
originally was substituted with a finer polyester thread.1J Using a double pointed upholstery needle, the
individual anchoring stitches were passed through the original location of the shallow tufting and through all
upholstery layelli and the net. In the case of the seat, the anchoring stitch, in effect a slip knot. was tied off on
the underside of the seat. Due to the presence of the outside back cover the slip knot was tied off at the front;
once the tension had been adjusted the thread ends were fed through, out of sight. into the upholstery interior.
To reduce bulkiness and achieve better cont..ct between net. damask and welted SNm, the top and side
panels of the seat and the back were covered in two separate panels of net rather than one continuous piece.
The net edges were carefully and firmly manipulated around the welted seam and stitched close and adjacent
to the original seam in order to realign and reinstate the crisp fine line of the upholstered edge (Figure 4C.5).

Figure ole.S Detail of one comer of the armchair bact, after conservation treatment.

13 GotennannTII MARA SO.

 REMEDIAL CONSERVATION 179

The net was trimmed around the close nailing. Most of the edges were anchored by stitching them to the
silk and linen that survived in the 'V' shape sections between the nails. This fabric had been protected by the
nalls, so was considered strong enough to hold the stitches. In a few areas along the seat side panels the net
was stitched directly to the silk damask as a continuous layer of linen underlay did not appear to be present.
Again the edges of the net overlay were tucked between the nail heads and the wood to anchor them
securely In position, offering further protection to the fragile silk.

A non-interventive seat support

These core principles were applied throughout. but the condition of each chair was individually assessed and
the treatment adapted slightly to provide the most effective support for that particular case.
For example, additional support was required for one chair which had a sagging seat." A support
system was required that would address four main needs. First, it needed to support the weight of the seat
upholstery and reduce the risk of the webbing falling and the seat collapsing further Into the seat frame.
Second, it needed to raise the seat sufficiently to reduce areas of tension and distortion within the damask,
and within the underlying upholstery layers and along the tack lines. Third, the support system needed to
be as firm as the web-supported seat structures on the remaining chairs to accommodate the conservation
stitching ties in the tufted areas, enabling the net to work as an effective protective overlay for the damask.
Finally, the system needed to be affixed to the frame without disturbing the under-structure or introducing
metal fasteners (such as tacks or staples) Into the frames. Many successful non-Interventlve seat support
systems have been designed and implemented in upholstery and fumiture conservation, although they are
not widely published (Anderson, 1988). A non-interventive seat support using the system illustrated by Gill
(Rivers & Umney, 2003) was adapted slightly to meet the specific requirements of the Corsham chair.
This seat support made for the Corsham chair comprised a vented Perspex™lPlexigla'" acrylic panel which
had been cut to fit the exposed area of the webbed seat base15 (Figure 4C.6). The acrylic panel was screwed
to four custom-made brass brackets which rested on the top surface of the seat corner blocks.'. The acrylic
panel support raised the seat suffiCiently to allow the net to work as an effective protective overlay for the
damask. Thread ties which secured the net to the surface of the damaSK at the original tuft locations. were
passed through the seat upholstery and through small pre-drilled holes In the acrylic panel. The exposed
section of the threads were protected from the drilled edges of the acrylic by passing them through short
lengths of fine silicon tubing before tying them off (Figure 4C.6). The acrylic panel is not visible when the
chair is on display.

Conclusion

Case studies concerning In situ upholstery conservation treatments are rarely published. Perhaps It 15 because
such treatments are often regarded as relatively straightforward and well established within the textile
conservation discipline, especially if the treatment involves encasing top covers with net. a treatment option
often regarded as a relatively low cost, short-term solution to project the upholstery on open display.
Treatments focussing primarily on stabilization may also receive less attention because the issues, and the
skills and knowledge required to execute them, may be considered less noteworthy (Gill, 2004).
However, as this case study shows, In situ treatments Involving net as the main support material can be
quite complex. The unique qualities of net can enable a sophisticated minimally interventive treatment to be
undertaken to maximum effect. In this Instance preserving, stabilizing and re-Instating the subtle features of
the upholstery and profile without removing original elements from the frame. Successfully executed in situ

14 Tee 2929.3.
15The templates were prepared by Kate Gill and fabricated by Aida Plastics following Kate Gill's Instructions.
" The brass brackets were designed by Kate Gill and fabricated by Mike Halliwell.
180 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

. - -t----c,

Figure 4C.6 CI'05IHectional view of the non-interventive &eat mpport. The vented acrylic support panel (1) is
held in poaition with four custom-made brass brackets which rest upon the four comer blocb of the seat frame.
The support panel ill attached to the threaded element of the metal fixing (2) with a washer and wing nut. The
metal fixing slips between the corner block of the seat rail (3) and the seat webbing (4). The wing nut enabl.e!l
the position of the support sheet to be lowered or raised u necessary. This diagram show.s one of the thread ties
(5) which secure the net to the surface of the red damask at the original tuft location (6). The thread passes through
the seat upholstery and through two small pre-drilled holes in the acrylic panel. The aposed thread. is protected
from the edges of the drilled holes by passing them through sections of silicon tubing before tying them off.

treatments are not always straightforward; they can raise many issues and may require considerable experience in
textile conservation and other disciplines, as well as a thorough understanding of historic upholstery techniques.

Acknowledgements

I would like to thank Mr James Methuen-campbell, Corsham Court, Wiltshire; Karin Walton, Bristol's
Museums, Galleries and Archives; and Nell Hoare, Director, Textile Conservation Centre for permission to
publish this work. I would like to acknowledge the support provided by colleagues at the Textile Conservation
Centre, University of Southampton. Special thanks go to Dinah Eastop for her invaluable editorial advice.

References

Anderson, M. (1988). A non-damaging upholstery system applied to an 18th century easy chair. In Wooden a~cts group
",.."rlnts (no editor. pp. 1-15). Ale.
Belrd. G. (1997). UphofstBersl Interior furnishing In England 1.90-1840. London: Vile.
Eistop, D.. "Gill, K. (2001). Introduction. In K. Gill. "D. El!top (Ed!.), UphofsWyconservation,. principles and practice
(pp. 1-9). Oxford: EIMVierlButterworth-Heinemann.
Gill, K. (2004). The development of upholstery conservation IS I practice of investigation, interpretation Ind preservation.
Reviews in Comervation, 5, 3-22.
Gill, K., Il Doyal, S. (2003). Conserving other materials II, 16.3, Upholstery. In S. Rivers. " N. Umney (Eds.). Conserntion of
furniture (pp. 721-730). Oxford: ElsevierIButterworth-Heinemlnn.
Gill, K., Il Eastop, D. (1997). Two contrllsting minimally interventive upholstery trelltments: Different role5, different
1:r9tments. In K. M.rko (EdJ. Textiles in trust (pp. 67-77). London: Archetype" the N.-tionlll Tl1.Ist.
Marko, K. (1997). Continuing conservation traditions at Uppark: The conservation of the saloon curtains. In K. Marko (EdJ.
Textiles in trust (pp. 108-117). London: Archetype" the National Trust.
Sandwith, H.. "Stainton,. S. (1991). The N.tion.1 trust m.nlMl of housekeeping. London: Viking.
 REMEDIAL CONSERVATION 181

Case study 40

Advances in adhesive
techniques - the conservation
of two Coptic tunics at the
Victoria and Albert Museum
Lynda Hillyer

Introduction

A notable development in the field of textile conservation over the last 20 years has been an ongoing
evaluation of the use of adhesives for the support of fragile textiles. Issues surrounding the use of adhesives,
and particularly thermoplastic adhesives, polarized the profession for many years and created deep
divisions in the field. Since the mid 19805 scientific testing programmes, practical experimentation and
open communication between different schools of textile conservation have enabled conservators to make
significant advances In understanding the appropriate use of adhesives for specific conditions. Analysis of the
successes and failures of early adhesive treatments became the foundation of a more detailed understanding
of the importance of application techniques and the working properties of a wider range of materials. As a
result methods have become more refined and there is greater access to a more informed choice of materials.
This chapter describes the treatment of two Coptic tunics which were conserved at the Victoria and
Albert Museum (V&A) between 1986 and 1996, a period that was characterized by changes In approach
and advances in techniques, leading to a more differentiated understanding of both the limitations and the
potential offered by adhesive treatments.

Conservation

Archaeological textiles are rarely suitable objects for adhesive treatments but In both cases the body of the
tunic was considered to have enough tensile strength to withstand a light adhesive bond. The primary aim of
each treatment was to give coherence to fragile areas which could not be supported adequately by stitching
alone. A second function of the adhesive support was to minimize the overall amount of stitching needed to
stabilize the object. In both cases the tunics were conserved for immediate display.

Coptic funic dated 6 _ AD

A seventh-century tunic (136-1891) was conserved in 1986 (Hillyer & White, 1998). It had been excavated
from Akhim in Upper Egypt, an important centre for linen manufacture in the ancient world. The discovery
of burial grounds to the east of the city In 1884 yielded large numbers of textiles. The seventh-century tunic
(Figure 40.1 ) is a man's garment and a typical example of daily wear in Coptic Egypt. It is T-shaped. The
sleeves and upper part of the tunic were woven in one piece and the garment was constructed with the
warps of the linen running horizontally. The side seams and lower sections of the tunic are Joined with run
and fell seams. The sleeve seams were open when the garment came into the studio but stitch marks indicate
that they were once joined. The tunic is decorated with fine tapestry roundels and bands (clavi) woven with
182 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure ID.l Coptic tunic dated between 600 and 800 AD.

linen warps and wool weft of red, blue, yellow, green and black depicting men and animals. Cruse marks
around the central tucked seam indicate that the tunic was probably worn belted.
The spread of Christianity in Egypt in the third and fourth centuries AD meant that many bodies were
simply buried in the clothes they would have worn in life. By the seventh century embalming practices were
carried out in a perfunctory manner. The condition of the seventh-century tunic was a strong indication
that the body had been prepared for burial with preservative oils or resins. Virtually the whole of the back
of the tunic was impregnated with waxy deposits resulting in a dark,. inflexible appearance which obscured
the weave of the linen (Figure 40.2). The back had been slit from neck to hem to remove the remains of

Figure ID.Z Back of seventh-century Coptic tunic. The linen is impregnated with the remains of embalnring fluids.
 REMEDIAL CONSERVATION 183

the body which had caused extensive staining, a phenomenon commonly H!en on the backs of excavated
Coptic tunia. The condition of the rest of the tunic varied. On areas within the sleeves and seams. the linen
was 50ft and flexible and retained a creamy white colour. A range of colours on the face of the garment
indicated different stages of cellulose deterioration. On the face of the tunic,. between the two clavi, there
was a friable area which contained several areas of loss. The edges of all areas of 1055, where the linen had
been exposed to greater oxidation, were predictably more brittle. However, in general the tunic was safe to
handle and the linen on the front of the tunic was flexible. At some point in its history it had been given a
full support of cotton rep fabric which was attached with numerous small running stitches around each area
of 1055.
Once the preliminary support had been removed, the conservation treatment followed standard studio
practice. An eighth-century tunic had been conserved in a similar way in 1979 (Mark.o and Dobbie, 1982). The
seventh-century tunic was wet cleaned, despite the hydrophobic nature of the back., a process which gave
great clarity to the colours of the tapestry woven roundels and the clavi and raised the pH from 5 to 5.5.
The whole object was then given a support of nylon net treated with 3 coats of Mowilith DMQ (vinyl
acetate and dibutyl maleate co-polymer) in a 40% solution with de-ionized water applied on a custom made
net table (Landi, 1966). The adhesive bond was activated with a heated spatula iron. The main function of
this treatment was to join the slit in the back of the tunic. There was a predictable problem of securing the
adhesive bond; the surface of the object had an almost rigid surface. It was treated with a light application of
1.1.1. Trichloroethane in an attempt to reduce the waxy deposits and the net support was given a further coat
of adhesive. A dyed linen support was made and areas of loss were couched to this secondary back.ing. Finally
a cotton lining marginally smaller than the conserved tunic was made for the final display in the gallery where
the tunic was hung on a T-bar display stand.

Second-third-century tunic
In 1996 a very rare linen tunic (361-1887) was conserved for a loan to the British Museum. It too was
excavated from the Akhmin burial grounds and is considered to be one of the finest and earliest tunia
found at this site (Figure 40.3). It is a wide sleeved garment or dalmatic.. probably made for a woman.
Several ancient repairs of thin linen patches indicate that it was well worn. The clavi or shoulder stripes and
the sleeve bands have intricate interlaced patterns of plant forms woven in purple wool with flying thread

Figure 4».5 Second--third-century tunic after conservation.

184 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

brocading in un-dyed linen. A narrow gold and purple wool band, identified as Tyrian purple, on the lower
front of the tunic indicates an object of high quality (Woolley, 1997). All seams of the tunic were open but
there was evidence of stitch holes and sleeve seams. Stitch holes across the width of the tunic at waist level
suggest that originally there was a tuck that had been released to adjust the length.
There were substantial areas of loss around the waist and across the shoulders. The linen surrounding
these areas of loss was fragmented, brittle and stained. Throughout the rest of the tunic, however, the
linen, although yellowed and degraded, was surprisingly supple. There was no evidence of embalming fluids
or body deposits and in general the tunic appeared to be remarkably clean. There were numerous creases
associated with burial. At some point in its history it had been stitched to a heavy ill fitting linen support with
numerous small silk stitches in a similar manner to the preliminary support given to the seventh-century tunic.
The stitching had caused the linen to break around the areas of loss resulting In further damage. A Mellnex
map of the object was created to record stitch marks, creases and areas of ancient repair.
A number of treatment options were considered. Encapsulating the object in silk or polyester crepeline
could have achieved a satisfactory result but would have obscured the surface texture and the varying tonal
values of this fine and extremely rare linen. The object had to be available as a reference for study and stable
enough for relatively long-term display. All original evidence had to be accessible. A stitched support could
not have given adequate support to the most vulnerable and brittle areas of the linen. The condition of these
areas eventually determined the choice of an overall adhesive support. The choice of adhesive and substrate
and the application method reflect wider changes in the field.
The tunic was given a full support using Vlnamul 3252 (vinyl acetate - ethylene copolymer) In a 20%
solution applied to a Stabiltex substrate. The linen was too vulnerable to consider a patched support but
retained enough tensile strength and flexibility to make the adhesive support a viable option. The fact
that all the seams of the tunic were unstitched meant that the garment could be opened out and this
facilitated the application. The adhesive was activated using a spatula iron after preliminary placement of the
fragments by hand. Vlnamul 3252 has a low Tg which gives It pressure sensitive qualities, a useful quality for
fragmented objects. The tapestry woven bands were treated separately and couched to untreated Stabiltex
supports. One of the most important considerations of the adhesive support was that the object should retain
all evidence of creasing from burial. The softness and flexibility of this fllm meant that this was possible.
Another important practical and aesthetic factor was that the adhesive could be easily removed from the
substrate where it was exposed in areas of loss. A simple method was devised using long-fibre machine-rolled
acid-free paper. Small sections of paper (about 50 mm2) were laid on the exposed film and dampened with
acetone using a cotton wool swab. The damp paper activated the film and removed the adhesive when the
paper was peeled away. This method worked well on areas containing loose threads or exposed warps which
had been used as a decorative feature (Figure 40.4). Microscopic examination of the linen after a section of
film was removed to create a 'viewing window' on the reverse of the tunic revealed that there was no visible
penetration of the fibres by the adhesive.
The supported tunic was given a secondary support of dyed cotton lawn which enabled supplementary
stitching to be carried out. A slightly padded mount which followed the outlines of the conserved tunic and
gave additional overall support was constructed for display.

Re-evaluating treatment choices

Both treatments were highly interventive and the treatment decisions may well be questioned by modern
conservators. Twenty-flve years ago It was routine practice to wet clean many archaeological textiles. This
practice continued until the late 19805 when conservators began to become more aware of the potential
loss of evidence that wet cleaning can present and the vital necessity of preserving all forms of evidence for
future research and study (Cooke, 1988a). Work at UMIST (University of Manchester Institute of Science and
Technology) in the 19805 using the Scanning Electron Microscope revealed dramatic images of the extent of
fibre damage (Cooke, 1988b). These graphic images were a major contribution to debate among conservators
 REMEDIAL CONSERVATION 185

•
•

QjC~
,

Figure 4».4: Detail oflower front of the second-third-century tunic Ihowing purple and gold Itripe and warp
decoration at the outer edge.

about the irreversible nature of wet cleaning. But perhaps the most contentious aspect of the treatment
choices is the use of thermoplastic adhesive techniques on fragile archaeological material. In the case of the
sixth-century tunic,. it is unlikely that an adhesive method would be a treatment option today. The slit in
the back of the tunic had directed the choice of treatment but the condition of the back.. impregnated with
embalming oils. made adhesion problematic. There are altemative ways in which the back could have been
stabilized for display without the use of an adhesive, eliminating the need to remove (however minimal)
some of the original deposits, a treatment that could be considered unethical. The use of a T-bar stand would
be considered inadequate for the long-term display of such a relatively fragile object today. The development
of sophisticated mounting techniques is another notable advance of the last 20 years; the importance of
well-designed mounts is recognized as a vital part of the support system for many types of object and can
often reduce the amount of intervention needed (Lister, 1997). By contrast.. the third-century tunic has been
examined recently and the conservation treatment is still considered valid and successful. By the time it was
conserved in 1996 there had been considerable advances in the approach to the use of adhesive techniques.

Developing wider choices

By the early 19905 there was wider agreement in the field about the use of adhesive techniques. They
began to be considered as a valid choice rather than a last resort in the treatment of textiles which could
nat be adequately supported by traditional stitched supports (Keyserlingk,. 1990). Textiles that had been
given thermoplastic adhesive supports 20-25 years earlier began to be retumed to studios for re-treatment.
Inevitably this led to a re-evaluation of early techniques. Failures of treatments could often be traced to poor
application even where the adhesives had been shown to have long-term chemical and physical stability
(Keyserlingk,. 1999). Nylon net had been used extensively as a substrate for the adhesive in early treatments
at the ViA. The adhesive was usually applied to net stretched on a custom built net table. The net could
sometimes be overstretched on this apparatus and a common cause of failure was a tendency for the net to
distort and revert to ibi original dimension, thus breaking the adhesive bond (Gentle, 1998). Other causes
were the use of high temperatures and pressures to secure a bond. Temperatures that were considerably
higher than the melt point of the adhesive led to eventual mechanical breakdown of the bond. The use
of a vacuum hat table ensures an even bond by utilizing all points of contact on a textile and guarantees
186 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

even temperature and pressure; it is particularly useful for large textiles. However, high pressures were used
routinely and this practice led. in extreme cases. to an imprint of the net on the face of the textile.
In the very early days of adhesive treatments there was less understanding of the need for supplementary
stitching and for an isolating layer behind the adhesive substrate. Adhesive supports were also used to support
inappropriate weave structures such as brocades and brocatelles or on inappropriate objects, such as tapestries.
Treatments failed eventually because of Insuffldent contact between the adhesive substrate and the textile
and the lack of supplementary stitching. These failures (many of which were reversed or modified by the 19905)
motivated conservators to investigate the working qualities of a number of thermoplastic adhesives and the
relationship of the adhesive film to the method of application (Hillyer. 1998). The method of application was
recognized as important a factor in the conservation treatment as the selection of the adhesive on a scientific basis.
In 1984, the canadian Conservation Institute (CCI) published the preliminary results of an extensive
programme of testing of selected poly(vinyl acetate) and acrylic adhesives at the International Institute for
Conservation (lIe) Adhesives and Consolidants Conference in Paris. At the same conference Howells et al.
published their research on a number of polymer dispersions. Largely on the basis of this work, Vlnamul 3252, a
material which has high extensibility and flexibility, became the adhesive of choice for a number of studios in the
UK. Both these studies have had a lasting influence on the choices made by textile conservator. and coindded
with the beginning of focused examination of the whole subject of adhesive applications In textile conservation.
Communication between conservators from different schools of conservation opened up the field. The
19905 witnessed a series of workshops and conferences on the subject of adhesives. In the late 19805 the
Conservation Dlstllst was established giving conservators a forum to share difficulties and Information.
Interdisciplinary communication widened the field. Consultations with paintings conservators led to a
review of the use of the vacuum hot table and to the introduction of much lower pressures, a development
which had already occurred in the paintings conservation field (Gentle, 1994). However, textile conservator.
began to look for alternatives to the use of thermoplastic adhesives and the 19905 saw the emergence of
renewed Interest In starch pastes. Collaboration with paper conservator. led to experimentation In the use
of new techniques and materials for the support of brittle silks (Kite & Webber, 1995). By the mid 19905
almost half of UK conservators had used Japanese paper as a support highlighting an increased interest in
the use of wheat starch and the possibilities of cold lining techniques (Hillyer, TInker & Singer, 1997). At the
British Museum, a banana fibre belt was supported using Japanese mulberry paper and a mixture of sodium
carboxymethyl cellulose (Blanose 7MC) and arrowroot starch which was re-activated using a humidification
technique on a low pressure lining table (Cruickshank & Morgan, 1993). The same method was successfully
used on fragile archaeological shroud fragments (CruiCkshank & Morgan, 1993).
The use of solvent activated films began to appear in the mid 19905. Klucel G (Hydroxypropylcellulose) was
used on a silk crepellne substrate to protect the surface of a fragile twentleth-century embroidery (Gill &
Boersma, 1997). By the late 1980s conservators began to use a combination of water-based acrylic dispersions,
Lascaux 49BHV and Lascaux 360HV. These adhesives could also be solvent activated. Both Vinamul 3252 and
the water-based acrylic adhesives were useful additions to the field because of their flexibility. Both have low
Tgs which gives them pressure sensitive qualities and are useful in the preliminary placing of very fragmented
textiles before final adhesion to a support. Klucel G (Hydroxypropylcellulose) became a popular choice
because of its matt appearance when used to face textiles and for its solubility in both water and organic
solvents. Both Klucel G and the acrylic adhesives have been used as substrate free films (Haldane, 2000;
Thompson, 2001 ).

Conclusion

In the last 10 years there have been fewer publications on the use of adhesives. This is due in part to a
resolution of the controve"Y surrounding the use of adhesives and to a decrease In the number of adhesive
treatments carried out. A plateau in the technical application of adhesives has been reached. The methods
used in the late 19905 appear to be still valid today and the adhesives currently used in the field appear
 REMEDIAL CONSERVATION 187

to be valid. There have been no further major testing programmes of adhesives for textile conservation.
There have been two interesting studies on the complex inter-relationship between object, adhesive and
adhesive substrate (Pretzel, 1997; Karsten, 2002), Indicating a different perspective. Not only are methods and
choices more differentiated but dialogues between conservators and scientists have led to investigations of
techniques in greater depth.
The response to the failures of some early adhesives techniques has been a positive and constructive
examination of almost every aspect of the subject. Wider choices developed out of discussion and debate
between textile conservators and a willingness to examine openly the successes and failures of treatments
carried out over a period of three decades. The use of adhesives in textile conservation has become far less
frequent but at the same time more differentiated and refined. In most studios the choice is seen as one of
technique and materials rather than of principle.
An Egyptian tunic has recently been conserved at the V&A for the new Medieval and Renaissance Galleries
which opened in November 2009. Its treatment is described in a case study in Chapter 6 of this publication.
The tunic Is constructed of wool fabric and there was never any question of the use of an adhesive technique.
However the approach to its conservation reveals further developments in the field. The role of the object
has changed and it is displayed within a wider context. Extensive analysis was carried out to reveal what
stories the tunic might reveal. The Information gathered Is of Interest to both museum professionals and
the general public. The conservation treatment is minimal. The support of the tunic relies not only on its
conservation but on a custom made mount which utilizes magnetic pads. The approach is more holistic;
the object Is seen as part of a much larger vista and made accessible to its public not only by the method of
display but by the information that has been revealed.

References
Cooke, W. (1988a). Creasing In andent textiles. Conservation News, 35, 27-30.
Cooke, W. (1988). Research in textile conservation. In V. Todd (Ed.), Conservation today, Preprinfs, UKIC 30th Anniversary
Conference (pp. 34-35). London: UKIC.
Crulclcshank, P., & Morgan, H. (1993). Uning a banana fibre belt- A cool vacuum table technique. SSCR Journal, 4(2), 10-14.
Gentle, N. (1994). The conservation of an early 18th century Indian chintz Qanat. VilA Conservation Journal, ", 15-17.
Gentle, N. (1998). A decade and a half of hindsight: two adhesive treatments reconsidered. In J. Lewis (Ed.), Adhesive
Treatments Revisited. Postprints, UKIC TS Third Adhesives Forum, 1997 (pp. 27-30). London: UKIC.
Gill, K., a Boersma, F. (1997). Solvent reactivation of hydroxypropyl cellulose (Klucel Ge) In textile conservation: Recent
developments. The Conservator, 21,12-20.
Haldane, E. A. (2000). Notes on a new method of application for Klucel G: Substrate-free adhesive films developed for use
on a fragile applique and embroidered textile. Conservation News, 73, 64.
Hillyer, L, TInker, Z., & Singer, P. (1997). Evaluating the use of adhesives In textile conservation. Part 1. An overview and
survey of current use. The Conservator, 21, 37-47.
Hillyer, L (1998). Re-evaluating adhesives - Current work in the United Kingdom. In A. Tfm6r-BaI6zsy, & D. Eastop (Eds.),
International perspectives on textile conservation (pp. 18-22). London: Arehetype.
Hillyer, L, & White, S. (1998). The conservation of two Coptic tunics. In J. Lewis (Ed.), Adhesive Treatments Revisited.
Postprints, UKIC TS Third Adhesives Forum, 1997 (pp. 4-11). London: UKIe.
Howel~, R., Hedley, G., Burnstoci<. A., & Hackney, s. (1984). Polymer dispersions artificially aQed.ln N. 8rommelle ot al. (Eds.),
Adhesives and consolidants. Preprints, lie. 1984 (pp. 36-<l3). London: lie.
Karsten, I. (2002). The properties and light stability of silk adhered to sheer silk and polyester support fabrics with poly(vlnyl
acetate) copolymer adhesives. Studies in Conservation, 47(3), 195-210.
Keyserllngic. E. (1990). The use of adhesives In textile conservation. In K. Grimstad (Ed.), Preprlnts, ICOM-Ce. 1990, Dresden
(pp. 307-312). Paris: ICOM.
Keyserllngk, E. (1999). Case histories of textile adhesive treatments using acrylk resins poly (n-butyl methacrylate).
Symposium on the Use of Adhesives and Consolidants in Textile Conservation, January 1993. Textile Conservation Group,
New York & CCI Professional Development Workshop, April 2002. Adhesives Today: Exploring current adhesive options
and application techniques.
188 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Kite, M., & Webber, P. (1995). The conservation of an English embroidered picture using an Oriental paper method: A joint
approach. The Conservator, 19,29-35.
landi, S. (1966). Three examples of textile conservation at the Victoria and Albert Museum. Studies in Conservation, 11(3),
143-157.
Uster, A. (1997). Making the most of mounts: Expanding the role of display mounts In the preservation and Interpretation of
historic textiles. In Symposium 97 - Fabric of an exhibition: An Interdisciplinary approach. Preprints, NATCC, 1997, Ottawa
{no editor. pp. 143-148}. Ottawa: ca.
Marko, K., & Dobbie, M. (1982). The conservation of an 8thC AD sleeveless Coptic tunic. Studies In Conservation, 27(4),
154-160.
Pretzel, B. (1997). Evaluating the use of adhesives In textile conservation. Part II. Tests and evaluation matrix. The
Conservator, 21, 48-58.
Thompson, K. (2001). LascauxTM - Its use as a substrate-free film. Conservation News, 74, 45--46.
Woolley, L (1997). Catalogue entry. In Ancient faces, mummy portraits from Roman Egypt. London: British Museum Press.

Case study 4E

The conservation and replication

of the banner covered ceiling
in the 5tibbert Museum,
Florence, Italy
Mary Westerman Bulgarella

Introduction

In recent years textile conservation trends have rapidly changed and the advances made in theory. science
and practice have caused changes in both the conception and implementation of our work. To be current,
conservators must acquire new experiences and knowledge through a continuous exchange of Information
with colleagues.
An example of this revised approach is the conservation and replication of the banners which covered
the ceiling of one of the historically evocative rooms In the Stlbbert Museum In Florence. Here. at the
end of the nineteenth century. 13 silk flags were draped together to create a tented pagoda-style ceiling
decoration (Figure 4E.l ). These banners date between 1826 and 1859 and are the oldest in existence in Italy;
they represent 12 of the 17 Slenese contrade ofthe famous Pallo horse race (Santi. 1998; Cepparl Ridolfi
et al .• 2001 ). The ground floor room was designed to recall a neo-Gothic style and measures approximately
5 x 5.50 m. The walls are covered with gilt leather panels. One wall has a large stained-glass door encased
In carved wooden mouldings which create Gothic Revival arches. At about 3.50m from the ground runs a
wooden carved decorative cornice from which the banners rise and they are draped up towards the centre of
the ceiling at a height of approximately 4.50m from the floor. Due to their unconventional hanging method
 REMEDIAL CONSERVATION 189

Figure 4&1 The banner covered ceiling before the conacrvation and replication p~ect began. The Stibbert
Museum, Florence.

and over-exposure to light and dust, they were badly deteriorated and in urgent need of conservation. From
the onset it was understood that the banners would have to be removed from the Ct!!iling and that, even after
their conservation, they could never be repositioned there. It was uncertain, however, just how the fragile
and damaged banners should be taken down and, after their removal, what could or would replaCt!! them.
tt was apparent from the condition of the banners that an intervention of some sort would be required
before they endured more damage. Prior to initiating any type of treatment, it was necessary to acquire
historically accurate information. Of equal importance was the acquisition of the technical knowledge
required to complete the long-term (2002-2006) task.
After consulting with conservation and scientific colleagues, historians were consulted and preliminary
research was conducted. The information gathered was Ct!!rtainly applicable to the conservation interventions.
It was also valuable in arousing interest in the banners' historic and cultural significance and securing
financial sponsors. When trying to establish conservation procedures and estimating expenses, an alTay of
variables and constraints were considered. The physical condition of the banners constrained the decision
of their removal and subsequent treatment. Time and economic factors were also determinants. A further
constraint was the desire to employ and collaborate with Sienese textile conservators if at all possible. A
further contractual stipulation was that the conserved banners would be on display, as a complete set,
in Siena under a 10 year renewable loan contract. Once this agreement was made between the Stibbert
Museum and the Municipality of Siena, the Monte dei Paschi Foundation of Siena became the financial
sponsor.
The project's magnitude required the collaborative efforts of a team of specialim including individuals and
firms from FlorenCt!!, Siena and Prato. To start, a Florentine company, Opera Laboratori Fiorentini, with years
of experienCt!! working with historic upholstery fabria, was asked to collaborate with a textile conservator
(the author) while she analysed the job and planned for the banners' documentation, removal, conservation
and replaCt!!ment with facsimiles.
The first analysis was purely visual, climbing up to the cornice on a ladder to understand the construction
of the tented fabrics. The banners were hung separately and each was individually lined. The tears and gaps
in the silk were visible from ground level. Wnen a raised platform was constructed that allowed close enough
access to thoroughly document the extent of the damage, it was determined tnat the primary problems were:
190 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

1) how to safely remove the banners from the ceiling, 2) what methods and materials would be employed in
conserving the individual banners and 3) the problematic aesthetic and ethical query of what to substitute
for the originals.
A range of experiences acquired in other textile and conservation-related fields helped to work out a
solution to the facsimile problem. The possibility of creating replicas by photographing the banners and
printing them onto a suitable seamless fabric emerged as a plausible solution for the reproductions.

Removing the banners from the ceiling

The bannered ceiling was photographed in its entirety from floor level. Each wall was photographed, and
topographical drawings were made to document the locations of all the art works before they, and all of
the furniture in the room, were removed. The leather wall decoration was covered with protective padded
sheeting. The enormous Murano glass chandelier was removed from the ceiling and stored suspended in
a specially made container. Removal of the decorative metal shield that covered the centre of the ceiling
revealed the original colour and condition of the underlying central banner.
Once the room was emptied, and the walls protected, a 'suspended laboratory' was constructed out of
metal tube scaffolding with wooden floor and siding. A portion of the suspended floor could be momentarily
removed to lower the Individual banners to the ground on temporary supports without tilting them. A ladder
leading to a 'trap door' in the floor made the laboratory accessible. While standing room was only available
in the centre of the suspended room. low stools on caster wheels made it possible to glide around the entire
area. The laboratory was equipped with lighting, again on wheels and a series of wheeled carts served to
hold tools and materials.
Documentation of the condition of the banners and the work processes was accomplished by video recording
all procedures throughout the project. A professional documentary film producer/director oversaw this work
and produced a digital video of the entire process (II Restauro della Sa/a delle Bandiere, 2008). Documenting
the tented ceiling's added decoration, which Included suspended lances tied In place with a complex system of
cords and tassels, was accomplished by mapping and numbering all the elements and their location.
After all these elements were detached, the removal of the individual banners began. In addition to the
visibly deteriorated silk of the exposed portions of each banner, the hidden areas which were either folded
back or stuffed into the cornice were probably damaged as well. Protecting the fragile silk from further
breakage during the detaching phase was necessary. Attaching some light weight, semi-transparent patches
pre-treated with a pressure sensitive adhesive was considered, but these adhesives leave a non-removable
residue. Therefore, the visible portion of each banner was protected with tulle netting tacked to the ceiling
frame where the banner was attached. Unreachable areas were not protected. A temporary core-board
support, cut to the size and shape of the banner, was suspended at the height of the ceiling's cornice. Once
the nails that held the individual banner to the ceiling were eliminated, the released banner was lowered
onto the support which was then lowered through the suspended laboratory's temporary floor opening to
ground level. From there it was placed in an especially constructed shallow wooden box, laid flat in a van and
transported to the Textile ConseNation Laboratory at the Pitti Palace for treatment.

Conservation treatment of the banners

From here the treatment of the individual banners began as did their documentation and the programming
of their reproductions. Fortunately the laboratory at the Pitti Palace is large enough to accommodate
two banners at once since the measurements of each flattened and conseNed banner would average
2.00x2.00metres. To expedite the job, two teams of two conservators each were employed to work
simultaneously on two separate banners. The first two banners (Onda and LupaJ were conserved, respectively,
by the Sienese companies L' Arcalaio and L'Ermesino. All subsequent banners were COnseNed by L'Arcolaio
and Tela dl Penelope of Prato. All technical support and backup was given by the author.
 REMEDIAL CONSERVATION 191

During the initial phases of a banner's conservation, the aim was to document the condition, remove
the lining. flatten it out as much as possible and superficially clean the exposed side in preparation for its
photograph. It was necessary to have a good digital Image of the entire banner before proceeding with the
work of replication. While the conservation work proceeded, the work on the replicas continued as well.
When a banner was completed, it was temporarily stored and then another one was removed from the
ceiling and brought to the laboratory for treatment In a sort of 'assembly line' production.
Nothing was standard; each banner presented a series of unknowns as conservation progressed. For
example, the Onda banner was perhaps in the worst condition since much of what was stuffed into the
cornice was in either a severely deteriorated state or missing altogether. It, like many of the other banners,
had been 'restored' in the past and often this made it even more difficult to understand the original layout
or design. The Drago banner was also In a very precarious state due to the fact that It had been adhered
to another support, perhaps in Frederick Stibbert's time, using a wax-based adhesive which had become
insoluble. Therefore, the mechanical removal of the old support was a difficult and time consuming
procedure. This was done using controlled hot air to soften the adhesive and peeling off the added support
in small strips. The adhesive residue was also heated and removed by mechanical scraping.
Nonetheless, all the fabrics of the banners could be flattened, cleaned and consolidated. The consolidation
techniques varied according to the banners' Individual conditions. With the exception of one banner, all
were treated using a solvent reactivation adhesion method. The degraded silk of the Lupa banner was in
part supported with the heat-set application of a crepeline substrate which was pre-treated with a low
concentration of polyvinyl acetate (Mowilith DMC2). This treatment consisted of the application of pieces
of silk crepeline, dyed with eiba-Geigy Irgalan dyes to match the colour of the area to be treated and pre-
coated with Klucel Ge (hydroxypropyl cellulose), adhered to one side of the banner's silk and the re-activation
of the adhesive with alcohol vapour.
The banners were made up of an assemblage of fine multi-coloured silk taffeta shapes which had been
pieced together and bordered with double edged stitching. This technique was done in such a way that
both sides of the banner appear the same and therefore there Is no front or back. The central portion of the
banner has the symbol of the contrada painted on both sides of the same silk ground. The paint was applied
directly to the silk with no primer. Although samples were not taken from each banner, the paint analysis
carried out by Editech, Florence, under the supervision of Maurizio Seracini, hypothesized that the medium
was casein. Some areas around the centre were also painted to add shading or definition to the decoration.
All of the banners, with the exception of Drago, were completely void of any original suspension system.
Instead they were simply sewn on to a lining of non-dyed cotton calico on all four sides and with long basting
stitches at regular intervals throughout the interior. It was at this time that the banners' front and back
sides were affirmed. The linings were added when the banners were put up on the ceiling as was much of
the previous restoration work done by stitching the ripped, torn and broken areas of the original onto this
lining17 (Figure 4E.2).
The first Intervention was the partial opening up and flattening out of the banner to permit removal of the
old lining. An ultrasonic humidification was carried out to relax the fibres so that the folds could be gently
opened and the fabric extended. The lining removal was an extremely delicate task primarily because the silk
was so deteriorated, dry and dirty that It continued to shatter with the slightest manipulation. Added to this
was a large quantity of old repair stitches that passed through the original silk onto the cotton lining, all of
which had to be removed in order to separate the two layers. When the banners were released from their
position on the ceiling, they were face down, and turning them over at this stage was not only difficult, It
might have caused further damage. Therefore. it was decided to unpick the stitches from the reverse side in
order to subsequently release and remove the lining.

17 Frederick: Stlbbert received a bill dated July 26th, 1887 from the Florentine upholsterers, Gaetano Cavalensl and Giuseppe
Botti, for having restored and hung the 13 banners. Frederick Stibbert Archive, P.S. (1888).
192 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 4&2 A detail of the many repair stitchea which passed through the banner'slilk onto the cotton lining.
The Stibbert Museum, Florence.

Once the lining was removed, with further humidification the fabric could continue to be flattened and
broken areas could be recomposed until the entire banner was extended, being held flat under weights andl
or pinned out with a slight tension. This intervention was done on a specially constructed large support of
core-board covered with Melinex™ which allowed not only for a flat. non-stick working surface, but also a
means into which pins could be fixed when necessary.
At this stage it was still impossible to turn the banner over, and until the fragmented silk was consolidated
this would remain the case. We were fully aware that the dust and soot accumulated on the 'front' could
not be removed until the banner was consolidated and turned over to the other side. Any type of washing
intervention was discarded as the risk of losing yet more silk was implicit, and the characteristics (size,
composition and materials) of the banners did not lend themselves to such a treatment. Removal of the
superficial dirt was postponed until after the consolidation process. In any case, micro-vacuum cleaning was
carried out on the entire back side before any other treatment was initiated.
After the banner was completely vacuumed and subsequently flattened out and partially reshaped, it could
be turned over. To do this, two joined strips of MelinexTIII were laid over it and, with the aid of a long and
large diameter cardboard tube, the banner, now between the two layers of Melinex™, could be gently rolled
over the tube and slid along the underlying plane of core board until its underside was uppermost.

Replication
From the front more work could be done to alleviate the superficial dirt, again using the micro-vacuuming
method. Many loose fragments were repositioned and the banner further flattened. Once this was done,
the banner, now on its core board support, was lowered onto the floor of the laboratory and digitally
photographed in its entirety from above. As conservation continued on the individual bannen, their
photographs were uploaded onto a computer to digitally enhance these images. This work was done in
collaboration with a computer technician who set up a work station in the conservation laboratory to allow
continual consultation while the photographic enhancement was being carried out1• (Figure 4E.3). In fact,
it was essential for the technician to be present and to fully understand the scope of the enhanced images
in order to satisfy the prerequisites for their subsequent printing on fabric. It was equally important that
the lacunae be integrated correctly with the precise same colour and quality of their surrounding areas.

1. All digital photographs were taken and 5ubsequently digitally enhanced by Industrialfato of Florence.
 REMEDIAL CONSERVATION 193

Figure U.! The computer technician working on the digitally enhanced photographs during conservation.
The Stibbert MU5CUIII.. Florence.

Continuous colour controlling was done while resisting the temptation to 'restore' the silks' original colours
or brightness. We were intent on reproducing the colour and the visual quality of the banners' silk as they
were, not as they had been originally. To this end a pantone was used to establish the colour formulas which
were then fed into the computer and reproduced.
When we were satisfied with the enhanced image, it was printed to scale 1:1 on photo paper so that it
could be compared side by side with the original and any necessary adjustments made. The final digital image
was then sent to a specialized fabric printing company in Holland where a trial banner replica was made.,g
When the trial copy arrived. it was first compared to the original and then temporarily hung on the ceiling
in the Stibbert Museum so we could evaluate the final effect. Our response was one of amazement at the
incredible accuracy of detail of the reproduced banner. The reproductions of the remaining banner facsimiles
were ordered.

Adhesive support
Parallel to the creation of the replicas, the conservation of the original banners proceeded. Much work went
into the preparation of the substrata material to be adhered to the banners' degraded silk. Silk crepeline
was dyed specifically to match the colours of the silks to be consolidated. The dyed crepeline was positioned
over a sheet of MelinexTIII and a 4% concentration of Klucel G. was brushed on to it and allowed to dry. The
shapes of the areas requiring treatment were traced onto transparent sheeting. transferred to the substratum
and carefully cut out, allowing for the slight overlapping of the edges between one area and another. The
MelinexTIII WillS then peeled away and the trellted crepeline was placed, adhesive side downward. on top
of the IIro to be consolidated. This was covered with II similarly shaped piece of absorbent blotting paper
which had been spray dampened with alcohol, again covered with MelinexTIII and pinned and/or weighted
down until all of the alcohol had evaporated. It was during the evaporation phase that the adhesive on the
crepeline was reactivated and a bond was created with the underlying silk. After the adhesive was dry and
removal of the weights, Melinex TIII and blotting paper, the treated sections were completely supported and
consolidated. This type of treatment proved suitable for the majority of the banners for several reasons. the

" After extensive research and trials done in Italy, the same company that printed the works of the Dutch fabric artist,. Wilma
Kuil, was contacted. Print Unlimited (www.printunlimited.nl)specializesintextile printing on demand in limited quantities
on a variety of substrates and In very wide widths.
194 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

first being its less invasive method of application, requiring neither heat nor impregnation of the original
fabria. Second was its straightforward preparation and trouble-free reversibility; third was the ease in
which the excess adhesive could be removed from exposed areas and last, but not least. the appearance of
the original silk in the treated areas remained unaltered. An important consideration in the decision to use
hydroxypropyl cellulose as the adhesive is that it does not create a very strong bond. Since the conserved
banners were to be displayed horizontally on a flat suPPOrt.. a stronger adhesive bond was not required
(Gill & Boersma. 1997).

Redisplay
While the conservation of the original banners proceeded at the Pitti Palace laboratory, all 13 reproductions
(12 of the contrade plus one from the ceiling centre) arrived at the Stibbert Museum. Before they could
be hung, the ceiling was covered with a heavy cotton calico fabric which serves as an underlining for the
replicas. The copies were then rearranged over the underlining precisely in the same manner as they were
before being removed. This concluding phase of the replication work was carried out by the upholstery
firm, as they are specialized in the artistic and technical skill of hanging wall and ceiling fabrics. The cording.
tassels, lances,. central shield and chandelier were cleaned and conserved before being replaced in situ
(Figure 4E.4). Again, the entire operation was videoed and documented for future consultation. At this point,
the author's task was to direct the work of the finishing details and make sure that the entire room was
returned exactly as it once was.

Figure 4E.4 The F1ag Room after coDllervation. The Stibbert Museum, Florence.
 REMEDIAL CONSERVATION 195

The project for the original banners' display has recently been approved and rooms in the Sienese museum
complex of Santa Maria della Scala have been allotted for this purpose. Here every banner will have its own
individual display case, equipped with internal reflected optic fibre diffused low lighting (under 50 lux) and
extractable trays in the base of each case for the insertion of silica gel packets. Each banner will be positioned
horizontally on a fabric covered support panel constructed with conservation state-of-the-art materials. The
case cover will be of a single sheet of tempered glass placed over the banner without resting upon It. Apart
from the 12 banners in their cases, the display will include explanatory panels and audiolvisual material
which will not only illustrate the historic and artistic significance of the Palio banners but also their physical
characteristics and conservation.
At the time of writing, the transfer of the original banners to Siena has not yet taken place and the
conserved banners are in temporary storage in the climatically controlled environment of the conservation
laboratory at the Pitti Palace. Here they are laid on core-board supports, covered with sheets of Melinex
and stacked with spacers between each supporting layer. In order to transfer them to Siena, large cylinders
will be specifically constructed around which the banners, between layers of Mellnex will be rolled and
then suspended in a large lorry for their journey. Upon their arrival to Santa Maria della Scala, they will be
temporarily stored in another climatically-controlled area until the cases are ready to house them. By the time
this paper goes to print, this work will be completed and It is our hope that both the original banners and
the replicated ceiling can be enjoyed by many for many years to come.

Acknowledgements

Special thanks for their unending support during all phases of the presented work go to Kirsten Aschengreen
Piacenti, director of the Stibbert Museum; Simona Oi Marco, curator and Bruno Santi, art historian and ex-
commissioner of fine arts in Siena and of conservation in Florence. Particular thanks for their collaboration
to Antonio Frenna, and the technicians of Opera Laboratori Fiorentini; film producer Massimo Becattini;
the conservators of Tela di Penelope, Arcolaio and Ermesino; the photographers and computer technicians
of Industrialfoto; the staff of the Stibbert Museum and of the Textile Conservation Laboratory in the Pitti
Palace. Further thanks to Jane Down, Senior Conservation Scientist at the canadian Conservation Institute,
for her information regarding pressure sensitive adhesives, and to all the personnel in Siena involved in the
realization of the Pallo banner project.

References

Ceppari Ridolfi, M. C., Ciampolini, M., & Turrini, P. (2001). L'lmmagine del Palio: Storia Culture e Rappresentazione del Rita di
Siena.
Gill, K., & Boersma, F. (199n. Solvent reactivation of hydroxypropl cellulose (Klucel Ge) in textile conservation: Recent
developments. The Conservator, 21,12-20.
II Restauro della Sala delle Band/ere. F~erick Stibbert e iI Suo M~. (2008). Florence, OVD directed and produced by
Massimo Beccatini.
Santi, B. (1998). Bandiere In 'Terra Guelfa'.11 Carrocdo di Siena, anno XIV, 74, 30-32.
This page intentionally left blank
 Preventive conservation
Patricia Ewer, Frances Lennard

Introduction
It is no coincidence that the three case study authors in this chapter all have backgrounds in textile
conservation. It may be presumptuous on our part to assume that much about the field of preventive
conservation developed from the aspects of caring for the large quantities of the most fragile of objects
within historic house collections in the UK and the USA. That may not be the case but the beginnings of
these two disciplines are very similar as well as their advancement towards professionalism.
With the prevalence of textiles or textile elements in collections, it may be the textile conservator who
instructs staff members on preventive care as Brennan discusses in her Chapter 7 case study relating her
experiences teaching preventive conservation in other countries. Our experts in this chapter present
in their case studies three different levels of preventive expertise: Silence, a former textile conservator,
discusses the big picture issues that affect all the collections including textiles at Colonial Williamsburg;
Rendell focuses on the preventive needs of textiles and finally Howard narrows down to the care of a
specific category within textiles - those made of modern materials.

Development
The preventive field is not as distinct in the USA as it is in the UK and Europe. An early pioneer for pre-
ventive conservation in the USA was Carolyn Rose and her teaching programmes at George Washington
University (Pearlstein, 2005). Many preventive conservators come with a background from objects con-
servation. In the USA preventive conservators may be grouped with collections managers or registrars.
As yet there is no professional group in the USA for preventive conservators.'
In the UK preventive conservation evolved after the two world wars from a housekeeping expertise,
based on the traditions of the housekeeping staff that originally took care of the great houses (Sandwith
& Stainton, 1984). The responsibilities of those positions (the housekeeper and butler) were enormous.
The Butler's log at Biltmore House was an invaluable historic document. Now more codified as preven-
tive conservation there are essential publications that maintain the term such as T"" Manual ofHoosekeej>-
ing, by the National Trust (The National Trust, 2006).
In both countries the term preventive conservation is sometimes used synonymously with collections
care or is part of museum management programme. Preventive conservation may include collections
care, cleaning (Figure 5.1 ), pest management, storage and display design, environmental monitoring

1 Personal communication, Patricia Silence to Patricia Ewer, August 20, 2009.

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

197
198 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure S.l Surfuce cleaning The lim tapestry by Helena Hemmarck.

and mitigation (and possible systems design and maintenance), event protections, disaster preparedness
and recovery and even building design.

Education
There are many training opportunities, but not a specific graduate degree programme in the USA. In
the UK there is one specialist MA programme for Preventive Conservation at the University of Nor-
thumbrla and a few other programmes that offer M& in Care of Collections such as Cardiff University.
Course work for preventive and/or collections care eD.stll within some museum studies and conserva-
tion programmes such as the one at the George Washington University, the University of Delaware
Art Conservation Program and some UK programmes (Hawks, Pouliot & Williams, 2005). This makes
it evident that these institutions feel that collections care should be introduced to all future museum
employees.
Because preventive conservation is being conducted by such a wide range of people with different
core specializations, access to best practice information is vital. There has been a tremendous increase in
available resources for information in North America and the UK for people looking for professional de-
velopment opportunities. The International Council of Museums Committee for Conservation (ICOM-
CC) has a Preventive Conservation working group, which has four sub-groups: lighting and climate con-
trol; control of bio-deterioration; care of work of art in transit and disaster preparedness. The triennial
meetings produce topical publications and there is an annual newsletter. Workshops and classes are held
by the Canadian Cowervation Institute (CCI) and the Campbell Center for Historic Prel!lervation Studies,
USA. There are many on-line resources such as the Conservation Online (CooL) announcing training
situations and podcasts of training from the National Center for Preservation Technology & Training
(NCP'IT) . Other organizations that provide training information include the International Centre for
the Study of the Preservation and Restoration of Cultural Property (ICCROM) and The American
Institute for Conservation of Historic and Artistic Works (AlC). The Getty Conservation Institute has a
 PREVENTIVE CONSERVATION 199

Preventive Conservation Case Study project that intends to compile case studies from museum situations
to use for teaching preventive conservation.
More general information targeted towards other museum professionals dealing with care issues can
be readily found. In the UK, Collections Link is a national collections management advisory service man-
aged by the Collections Trust in partnership with the Institute of Conservation (Icon) and the National
Preservation Office (NPO) . The website and Collections Trust publications provide a wealth of informa-
tion for museums and others on many types of objects including costume and textiles.
In the USA care information is available from the National Park Service. Information on care, risk
assessment, planning and disaster planning can be found from Heritage Preservation: The National In-
stitute for Conservation. Specialist organizations like American Association for State and Local History
(AASLH) and Society for Preservation of Natural History Collections (SPNHC) also offer publications.
US regional conservation organizations such as the Regional Alliance for Preservation offer workshops in
collection care, preventive conservation and disaster planning for museum staff [rap-arcc.orgl.

Preventive conservation and textiles

There have been excellent conferences with publications on the topic of preventive conservation includ-
ing textiles. The International Institute of Conservation's 1994 Ottawa Congress brought together 108
authors from 15 countries to discuss in 49 papers the broad aspects of preventive conservation at that
time. Much of the focus was on the environment, but included discussions of visitor impact (Lloyd &
Mullany, 1994) and costume mounting as a preventive measure (White, 1994). Another publication dedi-
cated to the late Carolyn Rose was the Fall/Winter 2005 issue of the Journal of the AlC. A special project
by the AlC 01!jects Specialty Group, this publication consists of seven papers on preventive topics from
conservators at m'!ior museums in the USA and UK. Textiles were mentioned in the papers by the staff
from the two Smithsonian institutions. And within our specialism, the NATCC organized a conference
titled Facing Impermanence Exploring Preventive Conservation fur Textiles in 2007.

Textile-specific preventive conservation

What does preventive conservation mean to textile conservators? Why has prevention become so im-
portant? It is not that treatment conservators are too busy, but rather that there are so many pieces that
need treatment. Ifwe could mitigate the damage by establishing programmes to slow down the degrada-
tion it ultimately decreases the rate at which objects need treatment and avoids the loss of information
and harm to the aesthetic qualities of objects caused by damage. However, while conservation treatment
is expensive, preventive measures do not come without significant costs of their own. As part of their
on-going efforts to control costs, some museums have tried to consolidate the preventive and treatment
functions. Hiring an objects conservator was the strategy adopted by some museums; this was thought
to be more cost effective as they could handle both the preventive and the conservation aspects of all
objects. For other museums, hiring a collections manager - someone who could do a little bit of every-
thing - was their solution. Neither strategy was very effective; the burden was simply shifted. Preventive
measures such as environmental controls are also very expensive; museums consume huge volumes of
energy and the climate is changing (Collins, 2006). 'And to be realistic, high quality controlis rare; only
a small percentage of the world's cultural patrimony will ever be in controlled environments' (Appelbaum,
2007: 271). The debate between interventive treatment and prevention will continue (Figure 5.2).
Some of the most fragile and vulnerable ol:!iects on display are textiles - they are inherently vulnerable to the
effects oflight, dust and handling (Figure 5.3). Unfortunately, ten of the ten agents of deterioration as noted by
Canadian Conservation Institute - physical forces, theft and vandalism, dissociation or records management,
fire, water, pests, pollutants, light, incorrect temperature and incorrect RH - all affect textiles (CCI,2009).
200 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

J'igare 5.2 Students at the Textile Conservation Centre carrying out environmental monitoring in a textile store.

Figure 5.S Nmeteenth-century bodice damaged by light, damp and poor support during display.

With the recognition of all the agents of deterioration that can harm textiles, assessing the most signifi-
cant risks is a key step. In specific textile collections which risk. may be greater, water, fire or pests, some
or all? Useful references include Ashley-Smith·s Risk Assusmentfor Object Conservation (1999) and Waller's
Cultural Properl'} Risk Ana;sit Model: Development and Application to Preventive Conservation at the Canadian
 PREVENTIVE CONSERVATION 201

Figure 5.4 Insect larvae have eaten the wool fabric of this sampler but not the silk embroidery.

Museum of Natum (2003). The preventive specialist must make this detennination for all the collections
and mayor may not have help from object-8pecific specialists. A textile conservator may do this on their
own with their collections. This helps inform storage and display rationales.
Once risks have been recognized we need to determine how good our intellectual control is over the
collections (Fifield &: Fiorino-Iannace, 2005); what do we have? How much? Where is everything and in
what condition? Are the pieces tagged numbered or labelled properly? We may need to produce a col-
lections survey or plan that includes condition assessment and possibly an overall estimate for the cost
of care and treatment Tools avallable include the 'Condition Assessment Tool', a computer software
program developed by the Scottish Museum Council.
There is much literature that documents the relationship of textile conservation and preventive care;
or who textile conservators reference to handle preventive care of the textiles in their charge. Montague
(2005 &: 2(07) in her discussion of the new storage initiatives in the Museum ofFme Arts, Boston, relates
how the design improved access while limiting handling; Carrlee (2002) and Gould (1999) discuss the
risks of pests in storage or display and how they are dealt with (Figure 5.4). How much light can textiles
take? Textile fibres are very susceptible to light damage or change (Figure 5.5). How is light monitored,
by whom (Eaton, 2000; France, 2007)?
A pertinent topic for reference is the discussion of environment controls, and to what end? There have
been many re-eva1uations of the parameters as well as the instances of where and what type of buildings.
How close can you come to a perfect environment in a building that is newly constructed, or an ancient
structure that cannot have environmental controls installed and now we must include the concerns of
energy efficiency and climate change as mentioned before (Erhardt, Tumosa &: Mecklenburg, 2(01).
How will the environment be used? Will there be a party in the gallery, food served, drinks made? Is
the institution being rented out for functions? What needs protecting - the objects, new or old, historic
building structures or both (The National Trust, 2006; Lloyd &: Mullany, 1994; lloyd, 1995)?
202 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 5.5 A woven silk. furnillhing fabric damaged by expomre to light; thill has caused fading of the dye! and
physical. damage to the fabric.

Who is involved? In small institutions it could be everyone from the Director to the cleaners. Ultimately
all the staff should be involved and take responsibility for the care of the site, buildings and collections.
The textile conservator's role may be that of technical advisor, project manager and or designer. The
textile coruservator in the USA is usually the one to design and plan storage, thereafter, in a larger institu-
tion, handing over the management of the daily aspects of storage to a collections specialist or preventive
conservator. While the textile conservator may need to be more focused on interventive treattnent. there
is a give and take working with others throughout the museum to erusure the care of the collectiorus, not
only the preventive staff, but the scientists mentioned in the following chapter researching aspects of the
environment.
Textile conservators as seen in the literature (Kiseljev. 1994) may be personally involved in disaster or
salvage. The experience of students from the Textile Conservation Centre undergoing work placements
in museum conservation departments showed how regular is the occurrence of unexpected events -
without exception each year when reporting on their experiences, one of the students would have en-
countered a flood, an insect infestation or another event.
Preventive coruservation is not to be ignored by any conservator. Whether one chooses to punue the
specific discipline or remain object specific it is part of everyone's life as a coruservator.

References
American Association for State and Local History (AASLH). (2009). www.aaslh.org.
American Institute for Conservation ofHilItoric andArt:i.stic works (AlC). (2009). www.conservation-m.org.
Appelbaum. B. (2007). Con.mvaIion ~ mnhodology. Oxford: Elsevier.
Ashley-Smith,J. (1999). RWc a.mssmt:rlt forobfrct conservation. Oxford: Butterworth-Heinemann.
Campbell Center for Historic Preservation Studies. (2009). www.campbellcenter.org.
 PREVENTIVE CONSERVATION 203

Canadian Association for Conservation. (2009). www.cac-accr.ca.

Canadian Conservation Institute. (2009). www.cci-icc.gc.ca/crc/articles/mcpm/indes-eng.aspx.
Carrlee, E. (2002). Summary of potential artifact damage from low temperature pest managemenL Pustprints, AlC
TSG, 2002, Miami FL, 12, 75-l!3.
Co11ins (Ed.). (2006). Fragile earth: V""", of a changing world. New York: HarperCollins.
CoOL, & Conservation DistList. (2009). www.conservation-us.org.
Eaton, L. (2000). Let there be light: Wmterthur's lighting projecL In M. M. Brooks (Ed.), Textiles nroealed: Object lessons
in histlYric textile and costume research (pp. 93-98). London: Archet}'pe.
Erhardt, D., Tumosa, C., & Mecklenburg, M. (2007). Applying science to the question of museum climate. In
T. Padfield, K. Borchersen, & M. Christensen (Eds.) , Museum microclimates: Contributions to the copenhagm
conference 2007 (pp. 11-17). Copenhagen: Nationahnusset.
Fifield, R., & Fiorino-lannace, C. (2005). Collections care at the Antonio Ratti Textile Center, Metropolitan Museum
of Art, New York. Postprints, AlC TSG, 2005, Minneapolis MN, 15, 1-8.
France, F. (2007). Lighting the treasures (2007). 1u S. Thomassen-Krauss (Ed.), Facing impermanence: Exploring preven-
tive conservation fur textiles. Preprints, NATCC, 2007, Washington DC (pp. 119-123). NATCC, Cd.
Getty Conservation Institute. (2009) www.getty.edu/conservation/education/case/index.hOOl.
Gould, B. (1999). Insect iufestation: A large tapestry's fumigation and stabilization for storage. Postprints AlC, TSG,
1999, Arlington VA, 8,9-13.
Hawks, c., Pouliot, B., & Williams, S. (2005). North American graduate-level education in preventive conservation.
Collections: A Journal for Museum and Archives Professionals, 2(2}, 95-116.
Institute of Conservation (Icon) and the National Preservation Office (NPO). (2009). www.collectionslink.org.uk.
International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). (2009).
www.iccrom.org.
International Council of Museums - Committee for Conservation, Preventive Conservation. www.icom-cc.org/36/
working-groups/preventive-conservation.
Kiseljev, D. T. (1994). Rescuing water damaged textiles during LA's urban riots. Postprints, AlC TSG, 1993, Denver
CO, 3, 38-45.
lloyd, H. (1995). The role of housekeeping and preventive conservation in the care of textiles in historic houses. In
K. Marko (Ed.), Textiles in trust (pp. 4()"'53). London: Archet}'pe and the National TrusL
Lloyd, H., & Mullany, T. (1994). The impact of overvisiting: Methods of assessing the sustainable capacity of historic
houses. 1u A. Roy, & P. Smith (Eds.), Preventive conservation, practice, theory and research. Preprints, nc, 1994, Ottawa
(pp. 132-138). London: nc.
Montague, M. (2005). Improving accessibility ofa textile and fashion arts collection at the Museum of Fine Arts,
Boston. Postprints, AlC TSG, 2005, Minneapolis MN, 15, 53-62.
Montague, M. (2007). Textiles and fashion arts on the move: new storage for a collection (video presentation).
In S. Thomassen-Krauss (Ed.), Facing impermanence: Exploring preuentiv< conservation for textiles. Preprints, NATCC,
2007, Washington DC. NATCC, Cd.
National Center for Preservation Technology & 1hrining (NCPTT). (2009). www.ncptt.nps.gov.
National Institute for Conservation. (2009). www.heritagepreservation.org.
National Park Service. (2009). www.nps.gov/hfc/products.htm.
The National TrusL (2006). The National Trust manual of house1reeping. Oxford: Elsevier.
Pearlsteiu, E. (2005). Introduction: Carolyu Rose 1949-2002.}AIC, 44(3}, 157-158.
Regional Alliance for Preservation. (2009). www.rap-arcc.org.
Sandwith, H., & Staiuton, S. (1984). The National Trust manual oflwuse1reeping. London: Viking.
Scottish Museum Council (SMC). (2009). www.collectionslink.org.uk/conserve_objects/caL
Society for Preservation ofNaturaI History Collections (SPNHC). (2009). www.spnhc.org.
WaIler, R. (2003). Cultural frroPerly risk ana(yris modek Development and application w preuentive conservation at the
Canadian Museum a/Nature. Acta Universitatis Gothoburgensis. Philadelphia: Coronet.
White, S. (1994). The role of costume mounting in preventive conservation. In A Roy, & P. Smith (Eds.), PmJentive
conservation, practic~ theory and researr;h. Preprints, nc, 1994, Ottawa (pp. 228-232). London: IIC.
204 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Case study SA

Preventive conservation at
the Colonial Williamsburg
Foundation
Patricia Silence

Introduction
The Colonial Williamsburg Foundation (CW) is located in the Tidewater region of Virginia, USA. Since its
establishment in 1926 as the restored eighteenth-century colonial capitol of Virginia (the Historic Area), CW
has grown to include two modern museum buildings and an SO,OOO square foot purpose-built collections
and conservation facility. The Historic Area is sited on over 300 acres and includes 88 eighteenth-century
buildings and 300 reconstructed buildings. CW's educational mission, 'that the future may learn from the
past' is fulfilled in part by the restoration, preservation and maintenance of the Historic Area and collections
(Figure SA 1).
CW's collections include more than 10,000 textiles and costumes. The objects range from seventeenth-
century European and Asian export fabrics to eighteenth- through twenty-first-century costume, home

F"JgUre SAl Aerial view of Historic Area at Colonial Williamsburg.

 PREVENTIVE CONSERVATION 205

Figure SAl Costumed interpreters Deborah Elder and Mark Hutter in a Governor's Palace bedchamber.

fumishings and folk art. They are displayed in two purpose-built museums, the DeWitt Wallace Decorative
Arts Museum (commissioned in 1985) and the Abby Aldrich Rockefeller Folk Art Museum (2007) and stored
at the museums as well as at the Bruton Heights Wallace Collections Building (1997). Study and conservation
takes place at Bruton Heights. Additionally, superbly crafted reproduction textiles are displayed (and worn)
throughout the CN Historic Area, enhancing the interpretation of the oldest and largest living history
museum in the USA (Figure SA.2).
It is well understood that exposure and use of textiles accelerates damage, yet their function as educational
tools and documents mandates that they are accessible. Antique textiles are very rarely displayed in the Historic
Area due to the rigors of open display and their irreplaceable nature. While reproduction textiles can be
replaced, a tremendous amount of highly skilled labour is required to make them. The fabrics,. trims and other
components are expensive and often difficult to acquire. CN embraces the concept of preventive conservation
for a number of practical reasons. not the least of which is the cumulative benefit to these textiles.
CN has a comprehensive preventive conservation programme, currently led by a former trained textile
conservator. The programme covers several general types of collections: archaeological, historical, fine
art and architectural. Note that textiles and fibres are found in all of these categories. The approach is
necessarily collaborative and engages every department and trade of this large institution. Catastrophic risk.
such as fire or severe weather, and damage due to environmental problems are addressed through careful
preparation, education, monitoring and communication, as well as active engagement with the collection.
The backbone of this programme is its preventive conservation team of approximately a dozen technicians,
aides and custodians. Each day they inspect. clean and gather data everywhere collections are kept. They are
responsible for materials testing, light management and monitoring, and collections handling for storage,
movement and installation. The members of this team maintain interaction with colleagues in the Collections
Conservation and Museums Division and CN staff throughout the Foundation (Lord 8: Lord, 2002; Hatchfield,
2002; Tlrtreault. 2003; The National Trust, 2007).
206 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Why preventive conservation?

A background in textile conservation provides one with a broad and deep understanding of 'agents of
deterioration', Textile conservators are also keenly aware that conservation treatment, particularly efforts to
restore appearance and structural properties close to original condition, are labour Intensive and rarely result
in an object suitable for use. In collecting institutions, the expense of long treatments and prioritization
of time spent towards preparing textiles for display limits the list of what can be treated. In the case of
conservation or disaster triage for privately held collections, the monetary value of a textile may be weighed
against the cost of treatment and many important objects are not conserved at all.
Prevention Is In fact. less expensive than bench conservation. Its global approach might be seen as democratic.
preserving far more cultural property than individual treatments. Preventive care ensures that more material is
available for future generations to study and assess as collections grow, taste changes and value judgments evolve.

Disaster preparedness and response

TIdewater Virginia is susceptible to intense storms, particularly hurricanes, and all sites have the potential of
structural or mechanical failure resulting in disaster. CW has an emergency response plan that considers both
man-made and natural disasters. In the plan, each building Is considered, and aspects of response and who
is responsible for these tasks are clearly described. The preventive conservation team keeps emergency bins
stocked with supplies at a number of locations so that immediate response by staff is possible to prevent
further damage. Training in object handling is performed with all collections staff members, ensuring that
necessary collections protection and moves can be done properly and quickly when an emergency occurs.
Triage decisions, such as freezing or controlled drying, are made by specialist conservators and curators.
Hurricanes are fairly predictable, and several days prior to possible landfall are spent tracking the storm
and making preparations to protect the collection. Textiles are removed from harm's way and packed in our
most secure storage sites. Larger objects are moved away from windows (which are shuttered as possible) and
covered with plastic or Tyvek. Generators are in place (and kept fuelled) in case of power failure, which can
last for several days. This emergency power supply only runs essential pumps, egress lights and a few outlets
that might be used for fans or dehumidifiers. Historic Area sites may reopen when the power Is out and
recovery of the area is in progress. The museums and collections storage areas are kept closed and secure, as
conditions will stay fairly stable until power is restored.

Fire and associated damage

Fire and associated water damage present a significant risk. to collections. After every effort to prevent fire is
employed, fire detection and means of suppression must be In place. CW uses a wide variety of fire detection
and suppression throughout its many buildings, as each building and its use must be carefully evaluated for
these important elements to fit and function properly.
In the new museums and collections sites (commissioned since the 19805) wet-plpe fire suppression Is In
place, replacing failed original pre-action and dry-pipe systems. Pre-action systems are designed to prevent
accidental discharge by requiring activation of both a heat or smoke detector and an automatic sprinkler
before operating. Dry-pipe systems are comprised of air-filled pipes designed to fill with and discharge water
following the activation of a local sprinkler head. Wet-pipe systems are maintained full of water. Pipes used
in systems that maintain air pressure are quite susceptible to corrosion. All fire suppression systems require
careful and regular maintenance In order to operate as required.
Many textile conservators are adamant that water above their collections presents too great a risk in the
event of activation of the fire suppression system. However, CW has come to the conclusion that the benefit
of stopping a fire as quickly as possible reduces risk of catastrophic loss to people and collections. Less water
is used to suppress a blaze in the early stages and therefore less material is susceptible to smoke and charring.
 PREVENTIVE CONSERVATION 207

Most of the textile collections in storage are kept within cabinets that should limit water damage, should the
system go off. While gaseous suppression is sometimes used in small and self-contained textile storage areas,
It Is rarely an option In more open exhibit spaces. Water backup for these systems Is stili recommended In case
the suppression agent is exhausted before a fire is extinguished. Mist systems are very expensive, and require
significant maintenance and space for equipment within the building. A properly installed wet-pipe fire
suppression system Is effective and the least expensive type to Install and maintain.

Building and mechanical systems design

Textile or preventive conservators have a great deal to offer In building design, whether new construction,
remodelling or repair. Conversations and collaboration should begin with the initial concept and continue
throughout design and construction. This allows for integrating conservation concerns into the process,
reduces expensive change orders and retrofitting and gives the conservator an understanding of how
the building and its mechanical systems work. This is the model employed at CWF. Rather than asking the
conservator to write specifications that may be unrealistic or impractical, or the architectural team to create
a highly functional exhibit, storage or treatment space without understanding the nuances of working with
collections, ongoing mutual education ensues. The result of this expanded design-build process is essential
simplification and economy based on priorities of collections safety and institutional sustainability. Those who
use and maintain the building are familiar with the rationale for materials, mechanical and safety equipment,
such as the aforementioned fire suppression.
Although mechanical engineering 15 typically beyond the scope of conservation training, It plays a
significant role in collections environment. CW has reaped benefits from including their preventive
conservator in HVAC (heating, ventilation and air conditioning) design, operation and repair discussion and
decisions. All parties have Increased empathy and understanding of each others' professional challenges
and goals. Establishing rapport that allows for questions and sharing concems has been instrumental in
creative problem solving. An example is management of the environment during periods of equipment shut
downs, due to maintenance or failure. The conservator has access to view the buildings' automation systems
and can provide suggestions that reduce pressures on the mechanical plant, by closing certain galleries or
turning off hot exhibit lights. Collaboration of this sort assures the entire Foundation that proper collections
care will continue as fuel prices rise and greenhouse gas reduction becomes more Important. Changes and
compromises can be made with confidence that all sides of the issues have been explored and considered.
Technological advances will improve mechanical performance, and excellent building design enhances
efficiencies. Conservators must continue material science research In order to provide practical temperature
and relative humidity guidelines, including establishment of a realistic standard for desired rate of change in
both aspects. It 15 most likely that these guidelines will vary depending on the climate of the region where
the collections reside.

Lighting management and design

Textiles are particularly susceptible to damage from light In every range, from Infrared (IR) to visible to
ultraviolet. The challenge for conservators, designers and building managers is to use only the light that
is needed for optimum viewing of collections and safe movement in the building. There are a number of
arguments for reducing light to essential levels: energy savings, less heat (most lamps currently In use for
exhibits generate a significant amount of IR), fewer intrusions for changing bulbs and improved environment
for light sensitive objects. If a careful assessment of desired light levels combined with duration of exposure is
employed, exhibits can stay up longer, reducing labour and exhibit expenses (Michalski, 1997; Cuttle, 2007).
ON has found a number of ways to reduce light in exhibit environments. In the Historic Area, shutters,
elghteenth-century-style Venetian blinds, filtering plastic film and Plexiglas, and where appropriate,
twentieth-century-style insect screen all help to reduce natural light that comes through windows of the
208 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure SA! QuiltedFashiuns exhibit at DeWitt Wallace Decorative Arts Museum.

buildings. Since an eighteenth-century experience is desired, traditional covers and seasonal protection (such
as mosquito netting) for household items help protect furnishings. Interiors are lit at night or on dark days
with candles or high quality electric candles, which have bulbs that provide the equivalent of one foot candle.
The Abby Aldrich Rockefeller Folk Art Museum has a very sophisticated automated lighting control system
that is programmed to turn on 'walk-through' lights when staff is in the building and 'exhibit' lights during
the hours the museum is open to the public (Figure 5A3). Two small windows are on the north side of the
building. They are equipped with black out shades that open only when the museum is open to the public.
A large clerestory window provides natural light to one gallery. It is equipped with louvres that adjust more
or less open based on readings from four light metres on the walls of the room. Light monitoring in these
special situations has resulted in an understanding of where light and dark pockets can be found. The exhibit
designers use this information, provided by the preventive conservator, to create exhibits that can last more
than a few months without over-exposing collections.
Attempts to reduce light at the more immediate viewer level have included visitor-activated lights (switches
that the viewer turns on) and automated motion sensors. With the former, some visitors do not turn on
the lights, resulting in a less than ideal experience. Motion sensors, however, have been very well received.
Their use varies from entire rooms to sections of exhibits and individual objects. An advanced time metre
associated with one gallery illuminated by motion sensor activation has yielded data indicating that the lights
are on in that gallery about 45% of the time that lights are on throughout the rest of the building. This can
allow for either higher foot candles (better viewing experience) or longer exhibit time (saving exhibit labour
and materials) - or a combination of both.

Pest prevention and treatment

Biological agents, from fungi to insects and rodents, can damage or destroy textiles. The first line of defence
against these threats is to maintain an environment that does not support them. typically, dry and clean. Recent
 PREVENTIVE CONSERVATION 209

Figure 5A.4 Governor's Palace fonnal garden looking towarda the Ballroom Wmg.

acquisitions and items with suspected biological activity are quarantined and treated if necessary before being
brought into the collections environment to prevent cross-contamination. Monitoring serves to discover and
eliminate pest problems while they are small. Staff education encourages everyone to report noted problems
and maintain clean and food-free collections areas. This integrated and communicative approach results in less
pesticide use and a safer work environment (Integrated Pest Management Working Group, 2009).
Preventive conservation, facilities and landscape staff work closely with a pest control contractor to carry
out a comprehensive integrated pest management programme. The interior of exhibit and collections storage
buildings is monitored by technicians and the pest control contractor. Records of noted activity are kept and
trends are noted. Recommendations regarding sealing building fabric and pruning vegetation are carried out
by ON staff. The pest control contractor applies pesticide only as needed.
Tidewater Virginia can be a very hot and humid place, and mould is everywhere. Keeping collections clean,
particularly in the Historic area, prevents spores from growing on susceptible objects. When an outbreak of
mould is discovered in a textile, the specialist textile conservator treau the object. Following treatment.. every
effort is made to correct deficiencies in the environment.
When objects that can withstand freezing require treatment for insect pests, a dedicated chest freezer
is used. Reproduction textiles from the Historic Area are often frozen as a prophylactic measure prior to
retuming to storage. Anoxic treatment.. using oxygen scavengers in barrier film bags, is employed when items
are too large for the freezer or might be damaged by low temperatures. A leak detector is used to ensure the
necessary seal of the oxygen barrier film.

Conclusion

Preventive conservation has always been an important part of the textile conservator's skill set. Whether
performed by a collections manager, textile conservator or preventive conservator, it remains the key to
sustainability of collections and institutions. Its success relies on communication and cooperation between
stake holders and experts both inside and outside the cultural heritage world, making it a more social
endeavour than most bench conservation.
210 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Of course, technology plays a major role in modem preventive conservation. Monitoring, record keeping,
analysis and again, communication, are all enhanced by employing powerful new tools and computer
programmes. They help the preventive conservator Interpret Interconnected aspects, such as building design
and environment. The survival of many textile collections depends on this understanding of 'big picture'
elements combined with a clear vision of optimal collections care (Ashley-Smith, 1999).

References
Ashley-Smith, J. (1999). Risk assessment for object conservation. Oxford: Butterworth-Heinemann.
Cuttle, C. (2007). Light for art's sake: Ughting for artworks and mUSftlm displays. Oxford: Elsevier.
Hatchfield. P. B. (2002). Pollutants in the museum environment. London: Archetype.
Integrated Pest Management Working Group. (2009). http://www.museumpests.netinewpageldefaultaspAccessed 05.09.09.
Lord, e., & Lord, G. D. (2002). The manual of museum exhibitions. Walnut Creek CA: A1taMira.
Michalski, S. (1997). The lighting decision. In Fabric of an exhibition: An interdisciplinary approach - Preprlnts, NATCC, 1997,
Ottawa (pp. 97-104). Ottawa: CCI.
The National Trust. (2007). The National Trust manual of housekeeping. Oxford: Elsevier.
Tetreault, J. (2003). Airborne pollutants In museums, galleries, and archives: Risk asselSment control strategies, and
preservation management. Ottawa: CCI.

Case study 58

Preventive conservation
solutions for textile collections
Caroline Rendell

Julia, Lady Calverley, worked a set of needlework panels in the 171 Os for Esholt Hall, the family seat; in
1755 they were brought to Northumberland In the north east of England by her son. Today the panels are
a highlight of the Needlework Room at Wallington, in the care of the National Trust (Figure 58.1). The
Needlework Room Is the most complete surviving room of the elghteenth-century house. The ten needlework
panels rise from the dado rail to the ceiling and are set within rococo frames. The central panel on the
north wall is dated 1717. In the Pigeon Hall, next door, a fine six-leaf needlework screen made by Julia, Lady
Calverley, In 1727 Is displayed and her portrait hangs opposite the screen (Trevelyan, 2004).
Wallington has approximately 500 textiles in the collection, of which the eighteenth-century textiles
are the most significant. All are cared for using the National Trust principles of preventive conseNation,
good housekeeping, day-to-day condition monitoring and managing visitor access. The National Trust Is
a registered charity which cares for more than 300 historic properties for the benefit of the nation. The
National Trust definition of conseNation is: 'the careful management of change. It is about revealing
and sharing the significance of places and ensuring that their special qualities are protected, enhanced,
understood and enjoyed by present and Mure generatiOns' (Staniforth, 2006).
Thomson's pioneering publication, The Museum Environment (1978) identified the causes of deterioration
to collections and presented solutions to mitigate that damage. The National Trust has applied what Is now
termed 'preventive conseNation' standards to its collections since that time. However it is worth noting that
the best traditional housekeeping practices are akin to the science of preventive conseNation. For example,
 PREVENTIVE CONSERVATION 211

Figure 58.1 The Needlework Room. Light is managed with UV film, wooden shutten, double blinds and rep-
lica festoon curtaina:. The light dOlle is measured using a data logger and blue wool dosimeter. Dust is recorded
using a dust monitor, the grey box on the floor in front of the door.

covering furniture and keeping light at bay by closing rooms when country houses were not in use was part
of a traditional good housekeeping routine. A mixture of science and tradition is evident in the National
Trust's management of its collections today (Lloyd, 1995).
Preventive conservation can therefore be described as a systemized form of risk management - a stitch in
time which saves nine. By carrying out surveys such as Preventive Conservation Audits (PCA), threats to textile
collections can be identified and preventive conservation measures taken to monitor and control the relevant
agents of decay to minimize further damage. Advising on preventive conservation is the responsibility of the
portfolio conservator and the conservation adviser. A conservator works with his or her portfolio properties,
giving advice on preventive conservation and being the champion for all aspects of collections care.
Conservators come to the National Trust with different conservation specialisms. A conservator who may
have had their training in easel paintings, for example, will be advised on the care of textiles by the National
Trust textile conservation adviser, who has a strategic role and a national overview of all of the textile
collections owned by the National Trust. A specialist textile conservator is called upon when necessary.
The National Trust collections are on continuous, permanent and open display and such items as carpets are
still in use (Marko, 20(6). There are very few collections which are able to rotate items. Often items in store are of
secondary ratner-than primary importance to the story of the house and its presentation. This creates particular
cnallenges in retaining the atmosphere of houses. Wherever possible tile aim is for textiles to remain on open
display in their room settings. Daylight is regarded as the best means to appreciate a historic house interior,
rendering colours accurately and introducing attractive variations according to weather, season and time of day.
While visible light is necessary to enable visitors to see tile objects, the high ultraviolet (UV) content of daylight
causes tile active deterioration of the textiles present. Therefore the management of the light, i.e. the reduction of
daylight illumination, is the first preventive conservation strategy to be put in place and takes precedence when the
Trust is developing a preventive conservation policy. The policy must also embrace tile individuality of each nouse.
212 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Providing glazed protection and illuminating textiles using artificial light at otherwise unachievable low
light levels can be very intrusive, lending a 'museum' quality to the presentation of a house. Where the
textile Is of great significance, It Is sometimes unavoidable; state beds at Knole, Erddlg and calke Abbey are
now displayed inside environmentally controlled glazed 'rooms' whilst the calverley Needlework Screen at
Wallington is illuminated using fibre optic lighting (Figure 5B.2).

Light control

As textiles are so ubiquitous in houses, and so vulnerable, benchmark standards of light exposure are used.
For example the guidelines suggest a maximum of SO lux failing on highly IIght-sensltlve materials, and a
maximum dose of 1SO,000 lux hours per annum is applied to show rooms which contain highly light-sensitive
materials (Bullock, 2006). These figures are being reviewed because of a shorter period of closure during the
winter months. The effect of this benchmarking means that a range of preventive conservation measures are
put in place to remove, reduce and control the damaging effects of light UV absorbent films are applied to
the window glass (unless the glass is itself vulnerable), window shutters, blackout roller blinds and curtains are
used when the rooms are closed; sun curtains and roller blinds reduce light levels, and In the latter case, are
adjusted in response to daylight levels during open or working hours. All these protection measures need to
be renewed periodically, as films degrade over time and roller blinds fail through constant use. When the UV
transmitted exceeds 75 mlcrowatts per lumen Uv, the absorbent film Is replaced. The cost of such preventive
conservation measures are identified by the conservator and inform the conservation budget process.

Light monitoring

Hand-held monitors are used to measure light levels; the readings are logged on Light Plan sheets by a
member of the house team. Light data loggers take readings at regular time intervals and form part of the
environmental mapping of a room and house, and contribute to the computerized collections management
systems. Blue wool dosimeters are a popular recording device; on average a large house will have six positioned
around the house on vulnerable objects, such as textiles. The dosimeters are renewed annually at the beginning
of the open season then scanned for the annual light dose. Should the annual dose exceed 1SO,OOO lux hours
in a showroom with highly light-sensitive objects, the need for tighter light management can result in the
introduction of a double roller blind system to optimize the control provided by the blinds. Used blue wool
dosimeters can show a contrast between the protected and exposed areas of the blue wool. This makes the blue
wools an extremely useful engagement tool to demonstrate the effect of light to visitors and volunteer room
guides alike -If the blue wool has faded then the textile It was resting against has also faded.

Relative Humidity (RH)

When relative humidity fluctuates organic materials can suffer as they expand and contract, made worse if a
textile Is held under tension, such as upholstery tacked to a wooden frame or a textile adhered onto a timber
substrate. However research shows that textiles manufactured from nominally the same materials behave
differently; this can be a function of the weave, the fibres, dyes and finishes and many other variables. In the
National Trust mixed collections It Is recommended that. In general, the RH Is stabilized so that It sits within
the target band of 5(H;5% RH.

RH monitoring

Hand-held hygrometers and data loggers collect RH data. The information gathered, often for many years,
informs the discussion about which method of environmental control is to be adopted at each individual
house. Conservation heating Is controlled by electronic humldlstats which switch In response to the RH In
the room leaving the target bands. When this happens the humidistats call for heat from the heat source.
 PREVENTIVE CONSERVATION 213

Figure 5B.I The needlework screen. Natural light has been eliminated from the room and instead the screen is
lit byfibre optic lights. The fibre optic lenses are incorporated into a metal. kick board, the light being projected
from the floor up onto the screen, emphasizing the quality of the needlework. The radiatoris controlled through
the building management system.

The heat source can be simple, stand-alone, controlled electric radiators or can develop into a sopnisticated
Building Management System (Staniforth et al., 1994).

Biological agents
Textiles. as organic materials, are weakened, consumed and otnerwise damaged by moulds, insects and
rodents. Keratin. tne structural protein of wool. fur and feathers, is consumed by the four species of elotnes
moths and the two types of beetle known as carpet beetle. The larvae are voracious eaters.

Insect pest monitoring

Integrated Pest Management (lpM) trials are being undertaken at a number of houses. Tne core of an IPM is
a system of good maintenance and housekeeping, a safe. practical and cost effective method of preventing
collections being damaged by pests. Should the house teams observe any changes to the collections they
inform the conservator. The use of insect traps, otherwise known as blunder traps, is routine at all houses.
They have been used to catch carpet beetle. while pheromone traps have successfully caught elotnes motns.
By recording and mapping pest activity in rooms or entire nouses, sources of infestations can be found and
dealt with as necessary «(nild. 2006).

Dust
Recent joint research by tne National Trust and other organizations has increased our knowledge and
understanding of dust (Lloyd & Litngow. 2006). Lightweignt inorganic partieles and airbome dust are moved
around a nouse by air movement; neavier inorganic dust tends to accumulate near the point at wnich it
214 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

enters the house. The research has concluded that dust behaves in a predictable way. Dust mobilized by
people's feet rarely rises more than 0.3 m above the ground. Visible dust, which constitutes fibres generated
from people's clothing and lightweight Inorganic particles, is displaced 0.11-1.5 m above the ground onto
horizontal surfaces such as upholstered fumiture and bed covers, the level of deposits falling off above 2m.
Therefore. as expected, the nearer objects are to visitor movement or to external doorways or ill-fitting
windows, the greater are the dust deposits.
Dust and dirt are usually considered an agent of deterioration, unless the deposit has a historical context
and significance. If the ideal level of deposits is zero, then anything beyond that causes disfiguration,
mechanical or biological problems. As textiles do not have solid surfaces and are pliable, dust particles
can penetrate and become enmeshed in the cloth. If the particle is sharp it can cut the fibres, causing, for
example, the pile of carpets to wear, especially when the carpet is in dally use.

Dust monitoring

Dust trials were first carried out in the National Trust Libraries to accurately inform the levels of book
cleaning needed. Their use has now spread to other rooms and objects such as vulnerable, dust sensitive
textiles. The technical methodology uses various capturing techniques: sticky slides, polished glass slides, and
latterly, automotive photographic recording (Figure 58.1).
Once there is an understanding of the levels of dust present, then an appropriate care regime can be
adopted. This may include the use of secondary case covers to cover a piece of upholstery permanently or
in rotation with other chairs from a set, or a routine annual, biannual or less frequent surface cleaning
treatment. In extreme cases, after advice from the conservator and curator, a textile is retired, where it is felt
that even a slight build up of dust and its removal would be too detrimental to the textile.
Record of Monitoring and Plan of care Sheets can help with this, and the conservator will help to devise
appropriate cleaning regimes for a specific collection. These regimes may bring in a textile conservator
at regular intervals to vacuum very fragile or complex items. Alternately for more robust surfaces the
conservator trains the house team to carry out the vacuum-cleaning. This often includes the use of the
following dust trial test:
'Place a small square of butter muslin or gauze over the vacuum cleaner suction tube and then attach the
vacuum head, so that the muslin will trap any dust removed. Vacuum clean on a low suction, 20m.b, a 20cm
square of textile, tum off the machine. Examine the muslin to see if dust has been removed. If a noticeable
greyish brown fluffy deposit is there, then cleaning is needed. At the same time check if the dust is the same
colour as the textile, It is worth examining the muslin under a magnifying glass. If you see any colour the
textile is breaking uP. you should stop vacuuming and seek advice.
To work out how often the same surface needs cleaning, repeat the test at intervals say once a year in
different areas, bearing in mind that horizontal surfaces will always collect more dust. An all-over grey layer
of dust on the muslin will indicate that the textile needs vacuuming. Keeping a detailed record of these tests
will help in drawing up an appropriate cleaning regime for each piece' (Rendell, 2006).
Complex cleaning regimes sometimes emerge where component parts of a single object have different
requirements. For example. a house may contain a state bed where the curtains are vacuumed every five
years by the house team, the bed cover needs vacuuming each year by the house team and the decorative
headboard is vacuumed by a textile conservator every three years. Meticulously recording the technique and
any changes to the textile is essential if the guidance is to be followed from year to year.

Condition surveys

To log the current condition of textiles in a room or area. a series of survey sheets. induding Record of
Monitoring and Plan of care Sheets, contribute to an understanding of a collection and the specific needs of
individual textiles. The sheets are completed by the house teams with additional guidance given in the form
 PREVENTIVE CONSERVATION 215

of 'Special Instructions' which record any advice from a textile conservator regarding care or the need for
conseNation treatment. Watch points identify common causes of deterioration, and drawings, or increasingly
digital Images, are labelled accordingly. The sheets are reviewed annually or more frequently If prompted by a
change of condition. All textile collections are also surveyed by a textile conservator; the survey scores condition,
stability and remedial treatment requirements. The tabulated information is then used to prioritize treatment
needs, may reflect management concerns such as high levels of dust being found and will also Inform the level
of funding required for a particular treatment whether that is in situ or an off-site conseNation treatment.

Training and coaching

The training of the house teams, or indeed volunteers, who may be involved with the surface cleaning of
textiles is crucial. Training is delivered through Housekeeping Study Days, Care of Collection days which may
look at textiles In detail, and In situ coaching, and Is delivered by the conservator or textile conservator. The
Record of Monitoring and Plan of Care Sheets are often completed during this training session. The house
team is the National Trust's eyes and ears, the frontline, who help to achieve the preventive conservation
objectives, being the first to raise concems about an Increase In touching by visitors, or a chair seat being
repeatedly brushed against.

Access

Textiles in historic houses are vulnerable to wear and tear. Sustainable levels of visitor access are being
analysed for each major property and the outcomes will contribute to each Property Management Plan. In
the showrooms, visitors occasionally touching surfaces as they walk and tum will erode textile surfaces such
as carpets, large wall hangings (such as tapestries hanging in narrow corridors which can be brushed against)
and curtains. As soon as damage has been identified control measures are implemented if possible, which
could mean Introducing ropes and stanchions Into a room to provide distance from the visitor, or covering a
carpet with a drugget to protect it from the wear of visitors' feet. The house team is responsible for recording
the impact on the collections during the open season and although the impact of a single year of visiting may
seem minimal, cumulative wear and tear may eventually result In physical damage to objects and surfaces.

Storage

The same environmental and physical parameters pertain to stored textiles In order to protect those textiles
from the agents of deterioration. Although storage can be seen as being beneficial, the storage areas require
good management, regular cleaning. checking and monitoring. The use of pest traps is a case in point; they
have to be analysed regularly and action taken. Infestations, whether In the store or showrooms, pose a
serious threat to whole collections.

Case study: Wallington Needlework Room and the Pigeon Hole

The preventive conservation solutions

Both rooms are situated on the east side of the house on the first floor. The foot print of the Needlework
Room is 6 m x 5.5 m. The ten needlework panels are incorporated into rococo frames. one between the two
windows on the east wall, three on the north wall, four on the west wall and two on the door and fireplace
wall. The 10 needlework panels have a design influenced by Oriental textiles, worked in polychrome wools
and silks on a linen canvas ground with 6 cross stitches per 10mm. The room also contains oval portraits
painted between 1695 and 1709. In addition, there Is a set of six chairs upholstered with elghteenth-<:entury
canvas work covers and a nineteenth-century conversation seat covered with velvet and canvas work panels.
The floor is covered with a carpet (Figure 5B.l).
216 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The preventive conservation solutions have been driven by the significance and vulnerability of the textile
contents. The Preventive Conservation Audit (Table 58.1) shows the measures in place and the ongoing
monitoring. Ught Is managed with UV film on the two windows, annual UV readings are taken and a cycle of
renewal is in place. The windows have wooden shutters which are opened in the moming for housekeeping
work and then remain closed until the house is preparing for opening. reducing the light dose as much as
possible. Although the windows were Initially hung with single, stone-coloured roller blinds, secondary dark
blue blinds have been added to provide additional light control measures. The blind fabrics recommended
transmit less than 2% of the light falling on them into the room. The upper portion of the windows is
covered by replica festoon curtains which can be lowered if needed on a particularly bright day. The good
management of light can be seen in the light dose recorded by the blue wool dosimeter positioned on the
north wall at the base of the needlework panels:
Date out 4.6.07, date in 14.6.08. Colour change 1.3.
Total lux hours 120,000 (below the annual 150,000 lux-hours guideline).
The Needlework Room Is linked Into the Building Management System which provides the RH control
at Wallington. A humidistat controls two radiators in the room. The data shows that the environmental
readings are within the National Trust target bands. Although there has been discussion about limiting

Table 5B.1 Pnlventlve Conservation Audit form used to record conditions In the Needlework Room

Preventlv. Conse.".tlon Audit SECTION 3

ROOM: W.llington _.work Room
RISKS OF PHYSICAL Present I Comments ConcItIon Action IIyWhom PrIorIty
OAMAGEBY (A-D) 1""
FOOTWEAR

Oruggets Sacrificial Sacrificial carpet A Monitor KW 1

carpets
RISKS OF DAMAGE BY PESTS

Monitoring (sticky Two sticky traps Replace KW 4

traps +/- pheromone March 09
lures)

RISKS OF PHYSICAL DAMAGE BY TOUCHING

Stanchions Ropes Visitors have full access 1

Polite covers None present

Signage or other On upholstered None RT 1

deterrents of furniture reads Fragile
touching/sitting Textile. please refrain
from touching

RISKS OF DAMAGE BY FLUCTUATIONS IN RH

Recording Device Logger and control 1

Telemetry Humbug linked to BMS

Control (conservation Wet system part of Conservator LL & NB 1

heating) BMS Low RH caused by to discuss with
barrowed heat from Environmental
surrounding rooms Adviser
 PREVENTIVE CONSERVATION 217

Table 5B.l Continued

Preventive ConMrvIItIon Audit SECTION 3

ROOM: W.llington N_1ework Room

Present I Comments Condition Action IIyWhom PrIorIty

(A-O) 1-4

RISKS OF DAMAGE BY UGHT

UV Filters Yes Renew Conservator 4

Jan 2009

Shutters Yes

Sun roller blinds Yes stone 1

Black-out blinds Yes dark blue Fabric SD and 3
becoming Conservator
chalky

Sun Curtains
Sacrificial dress Yes, historical pattern 1
curtains installed 2006

Artificial light None present

Ught Monitoring Yes Increase blue EC

- Hand held Yes wools to 2,
- Electronic Yes one north wall one on north
- Bluewool wall and one
dosimeters on south wall

RISKS OF PHYSICAL Conversation seat chairs Some loose of KW 3

DAMAGE BY OVER- Panels silk Complete
CROWDING Plan of Care
Sheet

Pinch points

RISKS OF DAMAGE Noted that rusting tacks Textile Conservator

BY DISPLAY visible Conservator
SYSTEMS to chode
and take
photographs
to monitor
this area.
Hanging systems

Support Systems

access into the room, its physical configuration as one of three rooms leading off a small landing precludes
this. Therefore visitors have access to the whole room, which enables the embroideries to be Inspected and
appreciated. However, it has been noticed that the panels beside the door can be touched and brushed
against before the Room Guide is able to intervene to discourage any touching of the textiles displayed in
the room. To mitigate wear and tear, conservation net has been stretched over the panels beside the door,
and the effeetiveness of this is being monitored.
218 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

'nIbie 5B.2 The RKord of Monitoring and Plan of C.re for the Needlework Room
RECORD OF MONITORING AND PLAN OF CARE: TEXTILES

Region: Yorkshi,. & N.E

Name of Recorder: CR Inventory No: Panels Wa1.T.16 OIairs Wal.F.l64 a-d

D.te of RKord: October 1& 2001 Room: Needl~ Room

M .....i.ls .nd Construdion: brief description of Obied:-

Needlework panels linen embroidered with coloured wools and silk, used as the pale background.
A set of needlework upholstered chairs embroidered with coloured wools and silks.

Speclallnstrudlons from AdvIsor or Conservator: (where appropriate)

RevIew cleaning regime and canyout dust trials on the panels (:3 yearly) except at the door which may require
annual vacuuming please retain dust trial muslins. Chair seats annual vacuuming. Backs 3 yearly.
Use museum vacuum set at 20milli bars and the soft screening.
Name: C.roIine Rendell Date: October 16 2001

SKETCH: Give mlNlUNmMl" wheN pouible; .nd use lattar cod. to show problam .....s/m.lari.ls .. dlltllilad
below:

Watchpolnts:
(In) Insects Live (H) Holes (Md) Mould Growth (5) Stains (W) Wear
(ld) Insect Damage OJ Ught Damage (Pr) Previous Repair (T) TearslSplits

PLAN FOR CARE (Preventive and Interventive Treatment)

(To include environment. situation, handling, cleaning, protection, etc.)
Chair back to be monitored: move chair from present position to the North Wall
Conservator has been informed.

A one, two and three year ()'Cle of vacuum cleaning of the textiles is in place. The seah of the chairs
are vacuumed annually as the build up of dust is considerable. The lower third of the wall panels on the
west wall near the door are vacuumed biannually, whilst the upper panels and chair backs are vacuumed
on a three year ()'Cle. The Record of Monitoring and Plan of Care for the room (Table 5B.2) show how the
conservator works with the house team to develop high standards of care.

Interpretation
A painting of the reverse of one panel, revealed during repairs to the panelling in the 19805, gives an idea
of the brilliance of the original silks and wools. There remains a discernable difference in colour between
 PREVENTIVE CONSERVATION 219

the panel hanging between the windows on the east wall and the panels on the north wall hanging in close
proximity to the windows. This differential fading reflects the history of use and past housekeeping regimes
since the 1710s which are unknown to us now. These differences are drawn to the attention of the visitors
and are used to emphasis the need for the low light levels in the room.

""PIgeonHo/e
In the Pigeon Hole the display takes on a 'museum' feel and contains the six-fold screen, a portrait of
Julia, Lady Calverley and interpretation sheets relating to the screen (Figure 58.3). For many years the
Calverley Screen was displayed in the Central Hall, and then retired to act as a dividing screen on the East

---
----
-_
.....
_
--__- __ _-_
_....... ---
....._._---_
..... _-----_
.. -.--~
--.......--...
__............--._....._........._-- -_-
-._---
....--_._.
- .....-
'._'-"-
_... .
.. . . . .-.. ....

...----
-..- ..
-..----
--'-
---
....... --..
--_
... __._----_
--_
_._ . - ...............
. _-"._-_.-
... _---_.--..-_ ..... -
----
--__. _..
--~
....
-- _-----
---- .. ___ .. _
_._.---_....
_
.......... __.._---
._._ ..... -
--,,--------
Figure SBol Interpretation material explaining how textiles are easily damaged.

Gallery. This caused concern and although efforts were made to improve and manage light by providing
the screen with a blackout curtain. a major building work project acted as a catalyst for its relocation.
As it is a small room the Pigeon Hole proved to be an ideal location to showcase the screen. The six-fold
screen. worked in fine petit point using polychrome wools and silks, was embroidered by Julia, Lady
Calverley in 1727. Her inspiration was Wenceslaus Hollar's engravings for a 1663 edition of the Roman
poet Virgil.
Natural light has been eliminated from the room and instead the screen and painting are lit by fibre optic
lights. The fibre optic lenses are incorporated into a metal kick board, the light being projected from the
floor up onto the screen, emphasizing the quality of the needlework. The lighting is turned on as the house
is being prepared for opening. Environmental control is achieved with an electric heater controlled by a
humidistat linked into the Building Management Systems. The screen is vacuumed by a textile conservator on
a five yearly cycle. Monitoring sheets are also used.
To highlight the conservation issues surrounding the needlework screen, a series of panels have been
produced which explore the causes of deterioration and show how the National Trust cares for such a
significant textile (Figure SBA).
220 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

References
Bullock, L (2006). Light as an agent of deterioration. In The National Trust manual of housekeeping (pp. 92-101). Oxford:
Elsevier.
Child, R. (2006). Biological agents of deterioration. In The National Trust manual of housekeeping (rhe National Trust) (pp. BCHl1).
Oxford: Elsevier.
Lloyd, H. (1995). The role of housekeeping and preventive conservation in the care of textiles in historic houses. In K. Marko
(Ed.), Textiles In Trust (pp. 40-53). London: Archetype and the National Trust.
Lloyd, H" &. Lithgow, K. (2006). Physical agents of deterioration. In The National Trust manual of housekeeping
(rhe National Trust) (pp. ~7). Oxford: Elsevier.
Marko. K. (2006). Tapestries, carpets and rugs. In The National Trust manual of housekeeping (The National Trust)
(pp. 421l-433). Oxford: Elsevier.
Rendell, C. (2006). Textiles. In The National Trust manual of housekeeping (pp. 404-419). Oxford: Elsevier.
Staniforth. S., Hayes, B., &. Bullock,. L. (1994). Appropriate technologies for relative humidity control for museum collections
housed In historic buildings. In A. Roy, & P. Smith (Eds.), Preventive conservation. Preprfnl>,lIC, 7994, Ottawa (pp. 123-128).
London: IIC.
Stanlforth. S. (2006). Introduction. In The National Trust manual of housekeeping (The National Trust) (pp. 2-n. London:
Elsevier.
Thomson, G. (1978). The Museum Environment. London: Butterworths.
Trevelyan, R. (2004). Wallington. London: The National Trust.
 PREVENTIVE CONSERVATION 221

Case study 5C

Working with synthetic

fibres: the response of
textile conservation to
twentieth-century dress
Sarah Howard

Introduction

Twentieth-<:entury dress has been referred to as a time bomb waiting to explode in museum collections
(Palmer, 2006). This is in part due to the new synthetic fibres and decorations that were developed during
this time. It Is becoming evident that these modem materials are exhibiting signs of breakdown, sometimes
in a dramatic and rapid way and the nature of their deterioration and speed with which this can occur is a
concern for those who care for collections. This is a very present issue for conservators as the twenty-first
century begins and Is a new chapter In the experience of textile conservation. This case study examines
why synthetic materials are increasingly present in, and important to, museum collections and how textile
conservation can respond to their care and survival.

The growth of modern materials in museum dress collections

In discussions regarding museum dress collections, the term 'modern materials' is often used to describe
predominantly synthetic or man-made fibres. These fibres have either a natural base such as the regenerated
cellulosics, for example rayon, which rose to dominance in the 19205 and 19305, or the totally synthesized
fibres such as nylon which heralded the profusion of new fibres initiated by technological developments
In the 19505 (Mossman, 1992). Another material that Is sometimes Included In this mix Is rubber and Its
derivatives although rubber was in use from the mid-nineteenth century predominantly as elastic or as fabric
coating (Petzold, 2006).
The range of modern materials In museum dress collections and their Intrinsic value as documents of
the past has grown in recent years. More synthetic fabrics are present in collections than ever before for a
number of reasons. This type of material was widely worn in the twentieth century because technological
changes meant that they were easily available and therefore cheaper to use on a mass scale for ready to
wear garments. Their properties revolutionized the clothing market and they provided benefits for the
wearer In terms of comfort and care, Increasing their desirability (Braddock & O'Mahony, 199B). As museum
collections strive to reflect the social and economic values and significant changes of the twentieth century it
is inevitable that there is an increase in synthetic materials entering museum collections.
The growth In quantity and use of synthetic materials has also gained greater significance In the museum
context as an appreciation of the everyday garment, not just the special or couture, is more widely
understood. The opportunity to view these items in museums offers a means of connecting the visitor with
their own recent past and brings a sense of nostalgia which Is now perceived as an Important element of a
museum visit (Black, 2005).
222 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The visitor experience has been enhanced by an understanding in museum interpretation of the need
to link with the immediate past through projects such as reminiscence schemes, and at the same time the
opportunity to touch and handle objects Is seen as providing a way of reconnecting with that personal
experience (Walsh, 1992). The power that touching an object can engender is increasingly recognized and the
intimacy and connection that it can bring has led to more requests to see twentieth-century materials
(Pye, 2(07). Collections also now represent a more rounded view of the past, a change from when they
were first established, often with a strong nineteenth-century bias (Lumley, 1988). Public demand to access
collections on display, in store and on-line has meant that collecting policies have had to respond to the
desire to view the everyday and the mass produced, not just the special and designer made.

The impact of twentieth-century collections for the textile conservator

The Increase In synthetic materials In museum collections, Its Importance and the demand for this material
is significant for the conservator. These items of dress in museum collections provide an often complex mix
of materials and all demonstrate different behaviours and responses to the environment in which they were
once used and are now stored (Blank, 1990; Tfmar-Balilzsy & Eastop, 1998). These Items were not made to
last and were produced cheaply and often did not withstand extensive use and wear. Long-term survival is
not intended. Labour saving washing machines and biological washing powder have had an impact on the
survival of these garments too.
The structure of these materials potentially makes them unstable in the long term as they have been
synthesized from a number of different products using complicated and aggressive manufacturing
techniques. Other elements such as the anti-static agents and finishes that are added to improve their
properties and the ultimate wearability of the material can have a dramatic impact on their ageing (Blank,
1990). The dyes and dyeing processes also play their part In the Instability of a fibre as well as the actual
construction of a garment and how the material came in contact with the wearer (Mossman, 1992). All these
elements make a complex cocktail of factors that can impact on the stability of synthetic materials and hasten
their deterioration.
Research into the characteristics and ageing of synthetic fabrics is ongoing and recent conferences have
provided forums to discuss these issues and provide guiding strategies to help conserve them (Grattan, 1993;
Rogerson & Garside, 2006). However, these collections provide a challenge for the textile conservator as It Is
not always possible to recognize known pattems of deterioration, as is the case with natural textile fibres,
where research and experience has been gathered over many decades. The identification of modern materials
Is not straight forward and It is often difficult or Impossible to undertake without scientific analysis.

An approach to the care of twentieth-century dress at

Hampshire County Council Museums and Archives Service

Hampshire County Council Museums and Archives Service (HCCMAS) is one of the few County Museum
Services to remain in the UK. It comprises 18 historic sites and town museums with a headquarters for stores,
resources and specialist staff In Winchester. The collections represent the contemporary and historic flora,
fauna, archaeology, social history and decorative arts of Hampshire. Based at the headquarters is a team of
eight conservators with one specifically responsible for the care of the county's Dress and Textiles collection.
The conservation team work closely with colleagues across all disciplines but In particular with the Keepers of
the collections and the curators of the sites in order to make the collections accessible in store and on display.
With ever increasing numbers of synthetic materials entering the HCCMAS dress collections and increased
demand for access to it, its care and management has had to be adapted. One of the main weapons in a
textile conservator's arsenal is to prevent damage from occurring as soon as the item enters into a museum
collection. To slow down degradation reactions Is a key element In the care of twentleth-century material
especially as their decay can be very rapid.
 PREVENTIVE CONSERVATION 223

Figure 5C.l A mid-1960s skirt which shows cracking and delaminating PVC.

For the majority of the twentieth-century dress collections at HCCMAS, items are stored in boxes.
Some garments are stored vertically in wardrobes on padded hangers but concern over the effects
of gravity, tension and unknown tensile strength of synthetic fabria mean that it is considered more
appropriate to store potentially vulnerable items flat to reduce a potential source of distortion and
damage.
At HCCMAS a collections audit process has been established as part of a strategy to review all museum
collections. This audit has proven an ideal opportunity to assess the twentieth-century collections in detail.
The audit process commenced with dress from the 19505 onwards. as this is the time period from which we
currently receive most public donations. One of the first benefits of the audit process has been to identify
similar deterioration signs across various items of dreH. Examples of this can be seen with several 1950s white
polyester wedding dresses displaying small brown spot marks on the surface, which scientific analysis has
identified as a reaction of a finish added to the polyester fibres. Also, cracking, weeping and delaminating of
PVC (poly-vinyl chloride) has been observed in two pairs of boots. a skirt and several coats dating to the mid-
1960s (Quye and Williamson, 1999) (Figure 5C.l).
In dealing with these issues it was decided that certain items of clothing that are predominantly
constructed of known vulnerable materials such as PVC and rubber should be isolated in the stores away
from the main collection. Items that are composed from 25 per cent or more of these materials are housed
in a specific cooler part of the stores. This is in accordance with research that identifies temperature and
humidity as a trigger to the deterioration of these material types (Blank. 1990; Quye and Williamson, 1999;
Petzold, 2006). These items are stored in acid-free boxes with holes in the side to enable good ventilation and
to eliminate the possibility of a micro climate developing which can lead to an auto-catalytic reaction taking
place (Quye and Williamson, 1999). For example, prior to using this storage method, a rubber bathing hat
from the early 1970s had been placed inside a box without holes in the side. Within 18 months the rubber
had become soft and sticky and the shape distorted along one side (Figure 5C.2). Insufficient ventilation had
caused this accelerated deterioration.
224 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 5C.t A 197& rubber bathing hat showing distortions and tacky elements that havc become adhered to
acid-free tissue paper UICd to line the storage box.

Figure SC.! The storage of rubber and II}'Ilthctic items of dreu at Hampmirc County Council MweUIDJ and
Archivcs Service.

A large, red coloured label is placed on the outside of the box with instructions to monitor twice yearly
to ensure new signs of deterioration are noted (Figure SC.3). The boxes are lined with silicone release
paper to prevent objects that are tacky or that become sticky from adhering themselves to anything
that they come into contact with and items are padded in order that their shape is not lost or becomes
distorted. This is particularly the case with rubber bathing hats and gas masks that can easily collapse in on
themselves.
Much research has been undertaken on the benefits of providing a low-oxygen environment for
rubber-based objects using oxygen scavengers or nitrogen in a controlled, isolated environment (Quye
and Williamson, 1999; Skals and Shashoua, 2006). However, whilst it is recognized that this is a way of
dramatically slowing down the deterioration of rubber, there are practical issues when dealing with a
collection of numerous garments that contain rubber components or are totally made of rubber, and that are
used on a regular basis for study or display. It has been found that this option becomes less easy to achieve
and not always practical as a regular collections management tool.
A further benefit of the HCCMAS audit process has been the photography of the collections. Not all of
the collections have been photographed in the past but this is now being seen as an important part of the
 PREVENTIVE CONSERVATION 225

preservation of the twentieth-century collections as a means of benchmarking the condition of the items. As
known vulnerable objects deteriorate beyond salvage and are disposed of, this photographic record will enable
museums In the future to have an Image of these Items as a means of documenting the past (Howard, 2008).
Although it has been possible to identify certain material types such as rubber and PVc. the issue with
items from the 19405 onwards is that the profusion of synthetic fibres makes identification difficult. Care
labels are often present In garments and sometimes provide names of fibres; they cannot always be a reliable
source of material identification. Also, donor information can sometimes be misleading. This was apparent
when a late 19405 dressing gown was required for display at HCCMAS and was discovered to be wrongly
identified as parachute silk due to information provided at the time of acceptance into the collections. To
ensure authenticity, analysis was undertaken by the Textile Conservation Centre and the fabric was discovered
to be nylon 6.6. Although the dressing gown was In good condition the knowledge that It was composed of
an early nylon material meant that its display was monitored more carefully especially for potential signs of
distortion whilst on a mannequin.
Research has focused on ways of characterizing modern materials non-Invaslvely using Fourier transform
infra-red spectroscopy (FT-IR) and near infra-red spectroscopy (NIR) which offer great opportunities to
understand twentieth-century fabrics (Garside & Wyeth, 2006). However, at present this form of analysis
Is not widely available and does not provide assistance on an everyday basis. As synthetic fibres become
more technical and engineered and patents protect the manufacture and design, understanding the
materials in museum dress collections will become increasingly difficult to achieve. This will have an impact
In determining their long-term survival and treatment. Therefore, the textile conservator will need to
gather and share information regarding known deterioration signs and put in place considered collections
management strategies in order to exercise thorough preventive conservation measures.
The display of twentieth-century materials is treated in the same way as any textile item in terms of
lighting, temperature and humidity considerations. It is important to provide mannequins and support that
do not put undue strain on garments, especially those wfth a slight stretch as part of their design, In order
to eliminate the possibilities of distortion. In terms of any preparatory work, to ensure that a garment can
be displayed safely and well, the traditional techniques used by textile conservators will have to evolve as
stitched supports are often not appropriate. Individual objects will have to be treated on a case-by-case
basis and as new technologies become available, the conservator might find themselves being able to adapt
knowledge and skills accordingly. Alongside the potential changes in techniques there is a need to address
any personal prejudices about treating Items within living memory. It can be difficult to respect the everyday,
mass produced garment and recognize its worth for posterity. Recently, when asked to treat a yellowing,
previously white, mass produced nylon shirt of the late 1950s for display, the temptation could have been to
place a lower value on Its treatment as compared to the designer made, the fine, the unusual and those from
an earlier century. A non-prejudicial attitude to conservation needs to be considered in relation to the recent
and everyday.

Conclusions

General information about the deterioration of plastics and synthetic fibres is more widely available as a
result of the Increased awareness of this material In museum collections. This offers assistance for the textile
conservator in determining how to deal with twentieth-century items but it does not provide all the answers
needed. Research is vital in providing more informed strategies and gaining an understanding of how these
modem materials can survive Into the Mure.
The result of the HCCMAS audit provided an informative overview of the twentieth-century dress collection
and it was noticed that the majority of the collection is in a stable condition with notable exceptions as
outlined above. Current anxiety about the long-term survival of synthetic materials may therefore be
misplaced but there is very real concern and only experience will begin to provide better informed solutions
to collections care.
226 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Acknowledgements

The author would like to thank Dr Paul Wyeth, Dr Paul Garside and Dr Emma Richardson for their kind,
ongoing assistance with the identification of fabrics in the HCCMAS Dress and Textiles collection.

References
Black,. G. (2005). The engaging museum. Developing museums for visitor involvement. Oxford: Routledge.
Blank, S. (1990). An Introduction to plastics and rubbers In collections. Studies in Conservation, 35, 53-63.
Braddock, S. E., &: O'Mahony, M. (1998). Techno textiles. Revolutionary fabrics for fashion and design. London: Thames and
Hudson.
Garside. P., &: Wyeth, P. (2006). Identifying modern materials: Taking it to the collection. In C. Rogerson, &: P. Garside (Eds.),
The future of the 20th century: Collecting, Interpreting and conserving modem materials. AHRC RCTCTS Second Annual
Con"'rence, 2005 (pp. 55-00). London: Archetype.
Grattan, D. (Ed.). (1993). Saving the twentieth century; the conservation of modem materials. Ottawa: ca.
Howard, S. (2008). Snap happy - The use of photography In the ongoing maintenance of a new textile embroidery.
Museums and Heritage, 4, 25-26.
Lumley, R. (Ed.). (1988). The museum time machine. London: Routledge.
Mossman, S. (1992). The problems of synthetk fibres. Polymer Preprints, 33, 662-663.
Palmer, A. (2006). A bomb In the collection: researching and exhibiting early 20th century fashion. In C. Rogerson, &
P. Garside (Eds.), The future of the 20th century: Collecting, Interpreting and conserving modem materials. AHRC RCTCTS
Second Annual Conference, 2005 (pp. 41--47). London: Archetype.
Petzold, L (2006). Early elastic threads and fibres In clothing. In C. Rogerson, & P. Garside (Eds.), The future of the 20th
century: Collecting, interpreting and conserving modem materials. AHRC RCTCTS second Annual Conference, 2005
(pp. 48-52). London: Archetype.
Pye, E. (Ed.). (2007). The power of touch. California: Left Coast Press.
Quye, A., & Williamson, C. (1999). Plastics - Collecting and conserving. Edinburgh: National Museums of Scotland.
Rogerson, c., & G."'de, P. (Ed •.). (2006). The future of the 20th century. Collecting, Interpreting and comerv/ng modem
materials. AHRC RCTCTS Second Annual Conference, 2005. London: Archetype.
Skals, I., I. Shashoua, Y. R. (2006). Sticky oilskins and stiffened rubber: New challenges for textile conservation. In
C. Rogerson, & P. Garside (Eds.), The future of the 20th century: Collecti~ interpreting and conserving modem
materials. AHRC RCTCTS Second Annual Conference, 2005 (pp. 84-91). London: Archetype.
Tfmar-Balazsy, A., & Eastop, D. (1998). Chemical principles oftextJle conservation. Oxford: Butterworth-Heinemann.
Walsh, K. (1992). The representation of the past. London: Routledge.
 Scientific developments
Patricia Ewer, Frances Lennard

Whilst this book has set out to document the changing context in the field of conservation over the past
25 years, one constant is the upward advancement of the use of science within the field. The 1964 lIC
Delft conference in the Netherlands has been called the 'introduction of conservation methods devel-
oped on the basis of scientific research' (Hofenk de Graaff, 1998). From there research was developed
in the training programmes; other texts such as the Series on Science for Conservators (1982-1983) and TM
Organic Chemistry of Museum Objects (Mills & White, 1987) provided more information; Tfmar-Balazsy &
Eastop (1998) presented to our profession the very important and useful text titled Chemical Principles of
Textile Conseroation, an excellent example of collaboration between scientist and conservator.
Conference presentations within our professional organizations both in the UK and in the USA en-
deavour to highlight research and scientific approaches. The information ranges from providing basic
information such as literature reviews to reports relating on-going academic research projects (Williams
et al., 2009). We also cannot forget pure and simple observation (Orlofsky & Trupin, 1993). The field
has been established long enough that we can honestly evaluate our own work as demonstrated already
throughout this book (Hillyer, Kite, Giuntini, & Hughes).
Having evaluated our own practice, how can we make our research progressively more relevant? Do we
have enough concerned scientists, the academic context and the fimding to facilitate our inquiries? How
can we make it prosper? What are our future needs? In 2002,]udith H. Hofenk de Graaff, as the keynote
speaker for the NATCC Conference Strengthening tM Bond: Science and Textiles, reminded us of the neces-
sity of a 'continuous dialogue between the conservator and the scientist'. With our limited demographic
and resources, working in partnership may be our best recourse.

Who are our scientists?

A scientific approach is commonplace; it is integral to our thought processes; it is part of our vocabulary,
our documentation, our treatments and our continued interest. But there are limits. Are we a scientific
field dominated by arts graduates, or an arts field with scientific overtones? Predominately we are an arts
field. Is this necessarily a bad thing? Whilst there is interest in the day-to-day use of science, there are
conflicting trends. On the one hand, there is fimding for new scientist positions (AlC News, 2009). On
the other hand, the current economic factors are leading to an overall decrease in the number of conser-
vator positions. There may be a greater interest in the development of science positions within the larger
institutions, but how many of these institutions have a textile conservator?
There are no concrete data at this time on the number of scientists working in US institutions. The
Metropolitan Museum of Art and the Smithsonian Institution Museum Conservation Institute each had
about nine positions in 2009. The UK also has scientific departments within the national and major

Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

227
228 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

museums. That person or persons must facilitate the entire museum's needs including curatorial requests
for authentication or for detailed materials analysis. The needs could be for preventive advice including
all environmental aspects of storage and display; they could be for individual conservation queries for
the different disciplines such as paintings, objects, paper, photographic, new media and textiles. On top
of this the scientist's own research interest must be encouraged and pursued. In one institution a single
scientist may need to address all these areas and highlight interesting projects that will procure funding
for his own position. How does one position prioritize and address all scientific inquiries?
A 2009 e-mail survey of textile conservators in the USA produced interesting responses; usually there was
no scientist in the conservation department at all; but one department had scientific equipment the con-
servators themselves were to use. Few textile laboratories and workrooms in the UK and USA have had the
luxury of a dedicated conservation scientist position. Historic Royal Palaces has had one in post since 1981.
The Metropolitan Museum of Art Antonio Ratti Textile Center has had one since 1999, although this post
has now moved to the Department of Scientific Research.' Many large museums, small museum conserva-
tion laboratories, regional centres, government-run institutions (historical societies) and freelance conser-
vators have little or no access to science expertise. How do we lobby for more attention to our discipline
within our institutions and the field in general in the econontic climate prevailing in 2009--2010?
Many conservation scientists come from a science background, often chemistry. Sometimes a conserva-
tor with an interest in scientific questions and research takes on this role (Bede, 1993). This individual
may have access to one or other experts within their institution. Many of us have been known to call upon
help from av.tilable acadentic institutions or specific industry specialists. In the late 1980s North Carolina
was considered to be the heart of the US textile industry. This allowed the staff of the textile conserva-
tion department at Biltmore House to develop relationships with many textile industry professors, scien-
tists, microscopists and dye experts within companies such as BASF (who had a research facility), Sayles
Bleachery (a textile finishing plant), Coats-American Dye House and the North Carolina State UItiversity
College of Textiles (Ewer & Boring, 1993). Before the textile industry moved overseas it was much easier
to find relevant information and assistance (Ballard, 2008).
We have several institutions that can provide the necessary traiIting in the USA and UK It is not that
there is a lack of interest by many individuals, but it is a particular problem in the USA that once trained
at the Masters or PhD level many forgo conservation for a more lucrative position in the textile-related in-
dustries such as the company Guess? Jeans (McCaffrey, 1992). Searching through the AlCTSGpostprints
demonstrates that students present one research study before they exit our field. Each article concludes
that more research is needed. But we never hear from these individuals again. How can we keep formally
educated individuals in the field as well as encourage more scientists to move into our arena?
In 2006 the UK House of Lords investigated the situation within the heritage sector; the report argued
that 'Under the current governance and funding structure the maintenance of the science base for conser-
vation, thus the long-term preservation of the UItited Kingdom's cultural heritage are severely under threat'
(House of Lords, 27). The report was ground-breaking in that it invited a broad spectrum of participants
from many aspects of the heritage sector. It proposed the appointment of a permanent Chief Scientific
Advisor for the Department of Culture, Media and Sport, thus putting conservation on a par with the other
18 scientific sections. The report ultimately raised the same questions as at the beginning of this chapter:
Do we have enough concerned scientists, the academic context and the funding to facilitate our inquiries?
The report also stressed the need for collaborations between museums, universities, professional organi-
zations, government bodies and individuals. Textile Conservation Centre collaborative research projects
and funded PhD studentships with bodies such as English Heritage and the Victoria and Albert Museum

1 Personal communication, F10Iica Zaharia to Patricia Ewer, May 11, 2009.

 SCIENTIFIC DEVELOPMENTS 229

were examples of such. It also concluded that these endeavours should involve the public for educational
purposes. The re.mJ.ting prqject to produce a national heritage science strategy is being created by a series
of reports due in successive stages (House of Lords, 2006). In the United States there is no such lobbying
effort. Feller wrote in 1989, and republished in 2002 (Feller, 2002: 625), that 'In the areas of preservation
and restoration, we find ourselves still weak in R&D (research and development) ...we must be cognizant of
the magnitude of the undertaking (R&D) and the need for coordination and long-tenn support.' Currently
the new Obama administration is very favourable to science (The Economist, 2009).

The progression of the analytical work

A lot of scientific information has been published about environmental or preventive problems includ-
ing natural fibres' analysis and their degradation, wet and dry cleaning systems, adhesives and dye analy-
sis including fastness and fading. The majority of this work was chemistry based (Tfmar-BalcWy & Eastop,
1998). Newly designed pr~ecb are addreSlling physics problems including the effects of stitching, mount-
ing stress/strain relationships, gravity and friction (Asari et ai., 2008; Lennard et ai., 2008) (Figure 6.1).
What are our base line questions? Are they materials based as in historical manufacturing techniques
or modem-day artists' mediums? Do we need to know more about the mechanics of degradation with
modem materials? Or what information do we need to provide good treatments? What are the conse-
quences of our treatments? This text is not a how to book. but a book about why conservators do what
they do. 'The conservator uses his scientific methodology to identifY possible defects and problems'
(Hofenk de G.-aaff, 2002).

What is the analytical work? Better grounding in

science and analysis - better understanding
Much conservation science time is preoccupied with det.ennining safe and achievable parameters for
environmental control (.see Chapter 5). And much research helps curators and conservators to find
out more about the objects to help with dating, for example. Whilst this may indirectly aid conservation

Figure 6.1 A sixteenth-century Flemish tapestry, one of a set depicting the story of Abraham, in the Green Velvet
bedroom at Hardwick Hall, National 'Ihlst. An interdisciplinary research team at the University of Southampton is
investigating the use of digital image correlation to monitor strain in historic tapestries. The technique was tested in
situ at Hardwick Hall.
230 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

decision making. it appears to be less common for conserv.ttors to work with scientists in identifYing
factors which would directly inform treatments. The use of science in the field of intenrentive conserv.t-
tion covers four distinct areas: (1) materials analysis of the object, (2) mechanics of degradation includ-
ing the effects of the environment, (3) analysis of new materials for their preservation considerations and
as treatment aids and (4) analysis that informs the treatment processes.

Materials analysis
Telrtile conservators have always been interested in the minutiae of the fibres of textile o~ects. Such
was the inspiration for the 1992 Silk topic for the eleventh symposium sponsored by the Harpers Ferry
Regional Textile Group (HFRTG. 1992). This symposium combined conserv.ttors. scientists. curators.
textile industry professionals and students to discuss every aspect of silk. from fibre history. proper-
ties. degradation studies (including prevention and retardation) and weave analysis to conservation
techniques. Early textile conserva.tion queries involved the analysis of fibres. weave structures and dyes.
In essence, as many conserva.tors in the USA were working within or in conjunction with curatorial
departments, detailed examination of the objects for cataloguing purposes was a priority (Filippini Be
Schuchardt, 2003). Fibre and or dye identification per se may not always impact on conservation treat-
ment. The condition of fibres and dyes will inform conservation treatment. Understanding fibre types
and weave structures is of great importance for cleaning and support purposes. The same is true of dye
stuffs - not to replicate as may be the purpose in painting conservation, but to understand their stabil-
ity during cleaning and display. Not only has the analysis of the materials become more sophisticated.
it has also become more sympathetic to fibre and textile objects (Figure 6.2). We are now able to glean
important information from non-destructive testing and minimal sampling methods as demonstrated
in the first case study in this chapter by Haldane et aI.
Still today these are viable and on-going endeavours in textile conserva.tion departments for similar
if not more sophisticated reasons. Gilberg, Preusser and McLean describe authenticating an Anatolian
carpet that was examined using advanced scientific methods. The result was that the carpet 'was heavily
restored and dated to 1460 CE-I650 CE (common era)' (Gilberg et aI., 2007: 27). This collaboration
between textile conservators and scientists provided the much needed information for the authentica-
tion of the museum o~ect.

Figure 6.2 Using a portable UV/visible reflectance spectrophotometer for the investigation of dyes. The spectrum
oflight reflected indicates the chemical nature of the dye present.
 SCIENTIFIC DEVELOPMENTS 231

Degradation properties
Understanding the degradation properties of the materials we work with allows us to a&'Iist in establishing
better preventive parameters and enables us to propose applicable treatments. This is a vast topic to study
in the textile field. Degradation can be from original usage, environmental factors and/or the effects of
a conservation treatment. Detennining where the textile is located on the deterioration time-line of the
HIe of the piece allows us to be informed and provide a more thorough condition a&'Iessm.ent. Knowledge
of fibre degradation or dye degradation from all sources is imperative to allow us to tailor the treatment
to the object's specific needs for long-term preservation (FUlcher, 1999: 53).
A very commendable initiative was put forth in 2003 in a conference sponsored by the National Park Service
titledDev<lDpmmt'faW"'A=mbkIlBfomoaIAlmzry'flJdmomfBiRbenU,;"gn;g;tallmag;ngandI"'"Il'A~
TIris conference brought together conservators, scientists and computer experts to discuss the viability of
forming one library that could house a collection of digital images of deteriorated fibres. Unforttmately this
endeavour has not become a reality. But the individual conference papers outlined the number of conserva-
tion labs that have well established in-house textile collections in major US museums and introduced three
invaluable references: the CAMEO project (MFA, 2009), Infrared and Raman Users Group (IRUG) and the
National Park Service's Reference Library of Deteriorated FIbers (NPS Harpers Ferry Center, 2(03).
Future needs - modem materials

In the previous chapter Howard discusses how modern materials are entering our collections and impacting
on storage and display needs: from couture garment collections now found in the Victoria and Albert Muse-
um,l.ondon or The Costume Institute in New York, to furnishing textiles in historic house properties such as
The Homewood, a modernist National TIust property. or a theatre curtain on display at Thliesin East. a studio
of Frank lloyd Wright (Figure 6.3). The National TIust had tD rethink its preventive conservation policies to
accommodate the modem materials of the twentieth-centwy house, whilst the Thliesin East curtain posed
new conservation cleaning challenges in order not tD harm the mix of natural and synthetic fibres. 2

Figure 6.S The Frank lloyd Wright, Taliesin Hi1lside Theatre Curtain, after treatment on display at the Guggenheim
Museum. New York.

2 Personal communication, Harold Mailand to Patricia Ewer, August 10, 2009.

232 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

There has been a growing interest in the interventive treattnent and preventive care of synthetic mate-
rials from the late 1980s onwards. Meetings on the topic included Modem Organic Materials, held by the
Scottish Society for Conservation and Restoration (SSCR) in 1988 (Meredith & Eaton, 1988), Twentieth
Century Materials, Testing, and Textile Conservation, presented by Harper's Ferry Regional Textile Group
also in 1988, and Symposium' 91: Saving the Twentieth Century: the Conservation of Modem Materials at CCI in
1991 (CCI, 1991). The focus of the ICOM-CC Textiles Working Group from 1993 to 1996 was synthetic
materials. At the Interim Meeting of the group in 1994 van Oosten reported on a survey of objects con-
taining early synthetic materials recently conducted at the Central Research Laboratory for Objects of
Art and Science in Amsterdam. The colloquium Care and Preservation of Modem Materials in Costume Col-
lections was presented at the Metropolitan Museum of Art in 1998. In 1999 Ferreira surveyed a number
of textile and costume curators and conservators' ... to ascertain conservation research priorities related
to the conservation of objects composed of manufactured fibers .. .' (Ferreira, 1999: 11). She provided a
comprehensive statistical analysis of data and concluded again that more research was required in this
area 'in order to truly understand the degradative processes of manufactured fibers, and the impact these
processes have on composite systems within individual o1!jects' (Ferreira, 1999: 17). Some of the degrada-
tion properties of these modern materials are startling and the long-term implications for conservation
treattnent, storage and display are astounding. Work continues in this area as seen by subsequent confer-
ences such as the Arts and Humanities Research Council (AHRC) Research Centre for Textile Conserva-
tion and Textile Studies second annual conference The Fu.t.ure of the 2(1A Century: Collecting, Interpreting and
Conserving Modem Materials (Rogerson & Garside, 2006).
Included in any discussion of modern materials are the modern materials we use in treattnent. What
are their properties, how will they degrade, how well will they perform in treattnent and in display situa-
tions? How do we analyze modern materials for use in conservation treattnent or materials that may come
in contact within display systems? A number of authors have published on materials for use in conserva-
tion including basic backing fabrics and dimensional change (Collins, Mecklenberg & Ballard, 1998),
threads (Textile Conservation Group, 1993), dyes (Smith, Marshall et al., 2006), dye techniques, water
(Bede, 1995), cleaning agents (Rhee & Ballard, 1993; Timar-Balazsy, 2000), adhesives (Down et al., 1992;
Pretzel, 1993) and new barrier chemicals (Scharff & Nielsen, 2003).

Informing treatment
Of the areas where science informs conservation, perhaps the least developed are the analyses that in-
form the treattnent processes. The editors found it difficult to find many new case studies for this book
where conservators had worked with scientists to develop treattnents. Some very good examples have
been published, particularly by institutions such as the Canadian Conservation Institute (CCI) and the
TCC where scientists were working alongside conservators (Garside & Wyeth, 2005; Vuori & Tse, 2005).
CCI has many interesting on-going related textile projects that will be reported on in the future.' A few
examples of projects that demonstrate the role of science in informing treatment are highlighted here.
These papers also demonstrate the conservators' thought processes, research and experience they bring
to these treatments. Equally important is their ability to articulate their conservation problems to inform
the collaboration with their scientist colleagues to produce effective treatments and vice versa. The scien-
tists need to collaborate with conservators to ensure effective research products (Figure 6.4). Kataoka'.
case study is an example of a research project which set out to inform treatment, and was a successful
example of conservator-scientist collaboration.

3 Personal communication,Jan Vuori to Patricia Ewer, March 25, 2009.

 SCIENTIFIC DEVELOPMENTS 233

Figure 6A A textile conservator and iKientist at the 'Thxt:ile Conservation Centre diKUllsing the treatment of
ganncnb worn by Freddie Mercury. 'The treatment of modern materials often poae.s chaIlcnges to CODSCrvatorll.

A number of papers presented at the 2002 NATCC meeting, which focused on Science & Textiles, were
able to demonstrate how treatments were infonned by science. Included was Barker's research, which al-
lowed her to provide a pertinent treatment related to information on iron gall ink (Barker, 2002). Marsh-
Letts and Ad.elqju researched effective washing processes for ancient linen textiles with salts (Marsh-Letts
& Adeloju, 2002). Vuori et aL amassed a team of painting, textile, paper conservators, curators and con-
servation scientists to successfully reduce the stains on Matisse's Odanu, laMB (Vuori et al., 20(0). Other
articles to note are first by Bechthold, who used analysis and research to create criteria to follow when
consenring modern textiles (2006); next, in 1996 Cooke, Babakhani and Hillyer published two articles
outlining their research programme into the study of different cleaning systems for degraded linen and
the negative outcomes (Cooke et al., 1996); and last, Daniels' study of the stabilliation of New Zealand
flax (Daniels, 1999).

Summary
Finch stated in 2000 'No scientific test on its own can recognise whether an o~ect merits keeping and
further study' (Finch, 2000: 7). Whilst scientific examinations are useful we must recognize that we
can only make effective use of them in detennining conservation interventions in collaboration with
others. We are a small field professionally. We have limited resources and experimental models. It is dif-
ficult to set up experimental models with historic artefacts, thus the need for non-destructive analytical
techniques that will still provide high-quality repeatable experiments in an o~ective fonn (Gardiner
et al., 2000; Hallett & Howell, 2005). We do the majority of our own experimentation which would be
unacceptable in any other field such as medicine. This requires our analysis to be even more o~ective.
thorough, detailed and complex to mitigate our bias; we need to be extremely self-critical. We need to
strengthen the collaborations we have developed; together scientists, curators and conservators can
provide the preservation needs of all our o~ects. Textile conservators are up to this challenge as has
been seen by prqjects such as the European Union-funded Monitoring of Damage to Historic Tapestries
234 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

project (MODHT) and the University of Southampton tapestry engineering project (Lennard et al.,
2008; Quye et al., 2009). Both were large projects and very costly, but initially viable enough to procure
funding. The two following case studies by Haldane et al. and Kataoka illustrate a range of issues and
expertise; they demonstrate the type of team work required for effective problem solving in both inter-
ventive and preventive conservation.

Acknowledgements
The Talliesin Hillside Theatre Curtain in Figure 6.3 was conserved by Harold F. Mailand; Figure 6.4,
conservation by Anne Kvitvang.

References
AlC. Positions, internships, and fellowships. (2009). MC News, 24(3), 23.
Asari, K., Biggs, E., Hallett, K., & Ewer, P. (2008). Tapestry conservation traditions - an analysis of support techniques
for large hanging textiles. Inj. Bridgland (Ed.), !'reprints, ICDM-CC, 2008, NewDe/hi (pp. 967-975). Allied, New
Delhi.
Ballard, M. (2008). Textile conservation: A new world. MC News, 33(3), S-11, l.
Barker, K. (2002). Iron gall and the textile conservator. In V. Whelan (Ed.), SlmIgthening tl!. Bond: Scimce & Textiles.
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 SCIENTIFIC DEVELOPMENTS 237

Case study 6A

Integrated multi-spectral
imaging. analysis and treatment
of an Egyptian tunic
Elizabeth-Anne Haldane. Sara Gillies. Sonia O'Connol;
Cathy Batt. Ben Stern

Introduction
The tunic (Figure 6A.1. museum number 291-1891) discussed in this case study is from the collections of the
Victoria and Albert Museum (VAA). London. It is of red wool with appliqued tapestry woven decorations and
would have belonged to a man. This rare survival is thought to have come from an Egyptian burial ground
and has been dated by stylistic comparison with other textiles of known provenance to the seventh to eighth
century, placing it in the period of Arab rule in Egypt (AD 641-969). The tunic was investigated and conserved
in preparation for display in the Medieval and Renaissance Galleries at the V&A, which opened in 2009.
Examination of the tunic prior to treatment indicated that an unusual pattern of staining found on the
object was worthy of further in-depth investigation. To carry out. a comprehensive programme of scientific
analysis on the tunic. the V&A formed a collaborative partnenhip with the University of Bradford. A case
study of the tunic was the focus of an MSc dissertation investigating the potential of several instrumental
techniques to expand our understanding of an object's biography. whilst answering specific research
questions (Gillies, 2008). This paper focuses on the project methodology, the range and usefulness of the
analytical techniques applied and the practicalities of carrying out. the work in a museum context.
The detailed results of the research project and the conselVation treatment are discussed elsewhere
(Haldane et al.. 2009).

Figure &AI Thnic front (291-1891) before treatment.

238 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The tunic - historical context and condition

Although Coptic textiles have been extensively studied from a stylistic perspective, little is known about burial
practices at this time or their impact on the survival and condition of textile remains. A brief survey of Coptic
burials demonstrates a variety of possible traditions around the dressing and cofflnlng of the dead (Dalton,
1961: 577; Castel, 1979; Prominska, 1986; Rut5chowscaya, 1990: 14; Dunand & Lichtenberg, 2006: 124ffJ.
This tunic is unusual for its very large size and construction from three separate pieces of cloth. It is also of
particular interest not only for its beautiful design and rich colouring but because it includes the Coptic ankh,
Greek symbols and patterning that resembles Arabic script woven into the tapestry ornaments. Throughout
the analytical phase of the project the tunic was approached as a Coptic object; however, as 'Coptic' generally
refers to Christian imagery and the motifs are not exclusively Coptic in origin it is now being referred to
as 'Egyptian', During this period the weavers were still predominantly Christian, although their work was
often for Muslim rulers (Pritchard, 2006: 37). It Is possible that this tunic Is the result of such an arrangement,
explaining the presence of the different symbols woven into the design.
The V&A purchased the tunic from a dealer in the late nineteenth century; however, there are no records
of Its Initial recovery In Egypt or of Its subsequent treatment by the dealer or the museum. Fortunately, It was
photographed for a 1922 V&A publication (Kendrick, 1922). The front view, re-printed from the negatives still
held by the Museum, provided an invaluable record of the tunic's construction and condition at that time and
also allowed changes to the tunic to be dated to pre or post 1922.
The tunic was structurally weak, with many losses. Silts up the side seams and through the middle of the
tunic front suggested it was cut either to place on the body or for removal. It was heavily stained. presumably
from burial, particularly on the back where the staining Is roughly In the shape of a body. On the Inner
back surface the dark 'body' stain is inter-cut in places by a series of narrow, even, horizontal stripes. These
striations form an unusual and unidentified staining pattern. There are examples of tunics with a lattice
pattern of staining caused by tight bandages wrapped around the body to keep textiles in place; however,
the stripes on the V&A tunic seemed most likely to have been caused by something below the body and the
tunic, perhaps relating to the burial method.
The substantial fading on the tunic front suggests that it has been on display. Visual examination of
original stitching holes and interruptions to staining patterns indicated that the construction of the tunic
had been altered, principally by letting the large waist tuck out to lengthen It. This Is apparent on the 1922
photograph, suggesting that it had been done by the dealer prior to sale. It also shows that the condition
of the tunic had deteriorated since then, and by 2007 the front had been repaired with a variety of patches
Including many pieces of original tunic fabric.

Project team

It was the desire to understand the nature and significance of the staining of the tunic that prompted textile
conservation staff at the V&A to seek the advice of external specialists. Marlon Kite, Head of Furniture,
Textiles and Fashion Conservation and Elizabeth-Anne Haldane contacted Dr Sonia O'Connor, who had
worked on the development of radiography as an investigative technique for textiles (O'Connor & Brooks,
2007), about the possibility of using this and other techniques for the tunic. Dr O'Connor suggested that
a multi-spectral approach might be productive and that the study would make an excellent project for
a Bradford student undertaking an MSc In Scientific Methods In Archaeology. As the preparation of the
Medieval and Renaissance Galleries had a long lead time, it was possible to complete the research project,
which took approximately four months, before conservation started in late 2008.
The project was undertaken by Sara Gillies; her lead supervisor was Dr Cathy Batt. O'Connor helped
develop the protocols for multi-<;pectral imaging and Dr Ben Stern oversaw the chemical analysis.
At the V&A, Gillies worked closely with Haldane on the practicalities of the proposed analysis and
 SCIENTIFIC DEVELOPMENTS 239

to ensure that key conservation and research questions were addressed. This liaison was crucial to the success
of the project.

Research project design

The project brief was written by Haldane and Curator Helen Persson, with the aim of expanding the
object's biography from burial to conservation. They Identified four key topics of enquiry: (1) the burial
arrangements, (2) the identification of the staines), (3) the chronology of the alterations and (4) the
provenance of the tunic. From this Gillies produced a feasibility study followed by a detailed research
proposal.
To address the first three topics, the investigation was designed around the mapping and analysis of the
staining using non-destructlve to minimally destructive techniques. It was originally proposed to use soli
analysis to address the question of provenance but this did not prove feasible due to a lack of reference
samples. However, isotopic analysis of the fibres was proposed as a possible alternative. Due to the fragility
and large size of the tunic (2090 mm high x 2620 mm wide, opened to full extent), It could not be moved from
the V&A. This meant that the project had to be designed around the use of portable equipment or facilities
already available at the V&A, although the removal of small samples for chemical analysis was permitted.
Other considerations Included the need to minimize object handling, the time and funding constraints of an
MSc project and the availability of V&A resources.
The mapping of the stains was undertaken at the V&A using X-radiography and visible light, infrared and
ultraviolet photography. The results of these studies also Informed the sampling strategy for the Raman
spectroscopy, gas chromatography-mass spectrometry (GC-MS), scanning electron microscopy (SEM) and
stable light isotope analysis undertaken at the Archaeological Sciences laboratories.

Raman spectroscopy

In principle Raman spectroscopy 15 seen as non-destructive, Involving the laser excitation of chemical bonds
within a material, to produce a spectrum which ideally would be unique to that material (Long, 2002: 39ff).
It was proposed to use Raman spectroscopy in two ways: firstly, using portable equipment to attempt to
refine the sampling strategy, by distinguishing between the staining compounds, and secondly, to provide
compositional information to help select the most appropriate techniques for further analysis (Smith &
Clark, 2001: 96). To test the feasibility of the technique several visually distinct stained fibre fragments, of
approximately 10 mm In length, were removed for analysis by laboratory equipment, which Is more sensitive
than the portable instrument. Unfortunately the spectra produced were indistinguishable from each other
probably due to the laser light causing the degraded fibres to fluoresce, a phenomenon noted particularly
with woollen textiles (Edwards & Wyeth, 2005). The poor results suggested that It was unlikely to be a useful
technique in identifying or characterizing areas of interest on the tunic.

Multi-spectral imaging

A more successful, non-destructive approach to distinguishing the different stains was multi-spectral imaging.
Different materials absorb or reflect electromagnetic radiation to different extents depending on the
wavelength of the radiation. Some materials exposed to particular wavelengths will absorb the radiation
and then emit it at a different wavelength. If this emission is within the visible part of the electromagnetic
spectrum, It Is termed fluorescence. These techniques are used In the study of paintings, but are rarely
integrated into the study of textiles.
The patterns of the different stains were recorded using X-radiography, and photographically using visible
light, ultraviolet (UV) fluorescence and Infrared (IR) reflectance techniques. Ideally all the techniques needed to
run sequentially without handling and distortion of the textile so that resulting images could be superimposed.
240 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

. '
: , ," '"
"

Figure 6A.2 Sketch map of tunic _bowing ltaining: (red) _taining-vilible light; (green) 'water'ltain 1 - X-ray;
(purple) 'water' min 2 - UV abaorbent; (blue) body/'Itriation' _lain - UV fluoreacent. Front of tunic at top of
image, proper left of tunic to right ofimage.

As the fadlitles for each teclY!lqLM w.e in different arMS of the mlMUm, this was impossible; Ilowwer, the
information from these Images was manUllliy Integrated to form a compr.t'1ensive Shllning map (FIgure 6A.2).

In"antd photogTaphy
At the time of the project the VIA did not hne fKilities for large-Kille IR photography. A Hamama'lsu 0400
video camera with N2606 IR vidicon tube was available from Paintings Conservation but required the tunic
to be supported In a nearly vertiCilI position (Figure SA3). In addition, the camera could only take AS size
images, preventing the taking of a complete IR survey; however, the pilot test on the tunic back revealed that
different stains exhibited different absorbance/reflectance properties. For example, under IR the horizontal
striations were not visible, but stains that on visual examination were associated with heavier deposits were
more IR absorbent and showed up as dark Indentations.

Ultraviolet photography
UV fluorescence has been used to distinguish between visually similar staining (Carter, 1984: 9.12). wtth the
tunic,. UV radiation stimulated some of the stains to fluoresce and the colour and Intensity of these emis&lons
of light were captured using a digital carnera modified with filters. As with the IR Imaging the un-mnserved
tunic had to be supported on a vertically angled board to accommodate a manageable Cllmera angle, this
meant that tt was Impractical to Image all areas. The iMer side of the tunic back was targeted as It was most
heavily stained, particularly with the striped staining pattern. Stains. such as the striations. which were not
visible under IR, fluoresced under UV, Indicating the presence of different materials.
 SCIENTIFIC DEVELOPMENTS 241

TJgUre GA.3 Preparation for examination under IR: the patched inner tunic front is folded up to expose the
stained back. From left: Sara Gillies, Dr Sonia O'Connor.

X-radiog,aphy

For the X-radiography it was possible to support the tunic horizontally and move the X-ray tube, suspended
from an overhead gantry, over all areas of the garment (Figure 6AA). This allowed a full radiographic survey to
be made. The high<ontrast;. low-energy radiographs record variations in the thickness, density and the materials
of the tunic. as these factors affected the amount of X-rays that passed through it during each exposure.

Figure 6A.4 X-radiography of the tunic at the V&A. From left: Elizabeth-Anne Haldane, Panl Robbins,
Dr Sonia O'Connor, Sara Gillies.
242 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The V&A has a FUJI Dynamix Series 4 computed radiography (CR) system that employs a re-usable image
plate and digital capture, making the survey cheaper and quicker to produce than traditional film imaging.
Thlrty-one X-rays were taken to cover the whole tunic; the only problem was that although care was taken to
overlap successive images, two small areas were missed. This could have been avoided if a grid had been laid
on the supporting board to locate the plate. Some stains showed up on the radiographs; in particular a tide
line was observed that corresponded with a faint IIght-coloured 'bloom' on the surface of the textile. It was
also possible to see through the extensive patches on the front face of the tunic to the damage beneath and
to record details in the weaving and features such as stitching and lines of empty stitch holes. The CR system
also has the facility to make accurate measurements, making this a very useful tool for documentation.

Minimally destructive analysis

All the laboratory analysis aimed to be minimally destructive, and only single threads were taken from
previously damaged areas. This meant that it was not possible to sample in the middle of stained areas, which
increased the possibility of missing the deposits of interest. Sampling occurred in two phases. First, to test
the proposed Instrumental techniques, three threads, of approximately 10mm length, were removed after
visual examination and photographic recording. The second set of samples was removed after the multi-
spectral imaging had enabled distinct staining groups to be identified. These targeted samples were larger.
Five samples were taken from three stains, each approximately 20 mm long. In the laboratory, each sample
was subdivided. One half was mounted on an aluminium stub, coated with carbon and examined using
SEM to study the fibre morphology and Identify Inorganic deposits on their surfaces. The other half of the
sample was solvent treated, to extract volatile components of interest, and analysed by GC-MS. This analysis
focused on the organic residues in an attempt to differentiate between the stains and look for traces of body
decomposition products or embalming products. The threads were not destroyed, and those treated for
GC-MS were retained for further isotopic analysis.

Isotopic analysis

Provenance Is a key part of an object's biography. In the case of the tunic It was hoped to address this to some
extent through isotopic analysis. Initial studies on isotope ratios in wool fibres suggest that provenancing is
feasible (Hedges et aI., 2005; Nosch et aI., 2007; Frei et aI., 2008). These ratios result from local environmental
conditions and the underlying geology, and are acquired through the sheep's diet. Theoretically, these ratios
vary between locations (as Hedges et al., 2005 demonstrated in Turkey), potentially providing a 'signature' for
the place of origin of the animal. Results are awaited.

Integration of results

With the exception of Raman spectroscopy, each imaging and analytical technique applied to the tunic
provided a new piece of Information, which taken together, furthered our understanding of the tunic's
biography. For instance, the stain along the lower edge of the tunic was more radio-opaque than the others
and had a fairly well-defined upper edge that resembled a water tide-line. SEM imaging of a fibre from this
area showed extensive deposits of crystalline particles, which elemental analysis Identified as sodium chloride
crystals. This particulate contamination explains the increased absorption of the X-rays. The pattern of the
stain and the presence of salt could Indicate that the tunic became wet with salty water through everyday
wear, or as salt has been found as a deliberate deposit in Coptic burials it is possible that the stain developed
due to a damp burial or excavation environment.
Initial examination under UV light revealed the same tide-line but a later W photographic survey of
the back revealed a second tide line within this stain. Unfortunately, in order to fit in with project deadlines
and instrument availability, sampling occurred before the fluorescence visible on the photographs was
 SCIENTIFIC DEVELOPMENTS 243

mapped out and the second tide-line was spotted. Consequently no sample was taken of the second stain.
This underlines the importance of sequential and complete analysis and highlights the value of detailed
mapping.

Dye analysis

Dye analysis was beyond the scope of the original research project but funding was found to send samples
to the Royal Institute for Cultural Heritage in Brussels. The identification of dyestuffs has proved useful in
dating Egyptian textiles. The colour red was primarily produced using madder, but cochineal, imported from
Armenia, was also used. Following the Arab Invasion of Egypt In AD 641, ties with Armenia were cut and
cochineal was replaced with lac imported from India (Rutschowscaya, 1990: 28). Samples of red yarn from
the tunic body and the appliqued decoration were analysed with high-performance liquid chromatography-
diode array detector (after acidic methanol extraction); both were found to contain a combination of lac
and madder (Vanden Berghe, 2009). These results indicate that both components are from the Arab period,
consistent with the stylistic dating.

Treatment

Although the V&A. which is the UK's National Museum of Design and Decorative Arts, has archaeological
objects within Its collections, these have been primarily acquired from a design and technology perspective
to inform, inspire and promote the practice of design. The conservation of the tunic had to reconcile the
demands of this design-focused display with preservation and continued access to archaeological evidence.
The aim was to limit Intervention whilst recognizing that the object required structural support to be
returned to its three-dimensional form as a recognizable garment.
Incorporating scientific analysis into the project plan from the outset helped expand our understanding of
the tunic's form, function, condition and history of use, and therefore Informed the conservation declslon-
making process. For example, identification of several dearly defined tide-lines on the tunic supported the
opinion of the conservator that the tunic had not been wet cleaned. When the patches on the reverse of the
tunic front were removed, further staining and particulate soiling was found. Small samples of sediment were
removed, but the majority was left and no further cleaning of the tunic was undertaken, allowing for the
possibility of future study.
For display the tunic was to be folded over a custom-made former in a recessed wall case; therefore, the
back would not be visible. This allowed a compromise to be reached whereby the tunic back was given
minimal treatment. by sandwiching It between two layers of fine nylon net stitched together around the
edges of losses with extra support provided from the display mount. The front 'display-side' was given a more
interventive stitched support (Haldane et al., 2009).
Objects such as this have the ability to capture the Imagination and connect with the public. The Education
Department featured the story of the tunic and research project on the V&A website and commissioned
replica tunics for gallery interpretation. Although the tunic is too fragile to be displayed in a realistic fashion
on a mannequin, these replicas provide visitors with an Insight Into how the garment would have been worn
in life.

Conclusion

In designing a programme of analysis for a rare textile object, non-destructive and minimally destructive
techniques are essential. Appropriate sequencing and the use of a range of complementary techniques all
help to build up the body of evidence. The Increasing sensitivity and thus decreasing sample sizes required for
modem analytical techniques coupled with multi..pectral imaging are allowing the field of textile studies to
expand, providing a new window on textile condition and textile interpretation.
244 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The project brief outlined four key areas of enquiry: the burial arrangements, the identification of the
stain(s), chronology of the alterations and the provenance of the tunic. The MSc research project primarily
addressed the Identification of the stains and the formation of the unusual patterning and how they might
relate to the burial method. The results confirm that the patterned staining had been caused by a decomposing
body in close contact with a ridged object. perhaps a woven reed matt. during burial. Detailed study of the
object and comparison with photographic archives has placed the majority of the alterations within a known
timeframe but we can still only speculate as to whether the tunic was cut for burial or removal. Although many
questions remain unanswered, some will be addressed by ongoing work; results from the isotopic analysis will
add to information on the tunic's provenance gained through dye analysis and the conservation treatment has
been designed to allow access to archaeological features of interest for future study.
This collaborative research has undoubtedly expanded our understanding of the tunic'S history and also
confirmed judgements based on visual examination of the object and curatorial and conservation expertise.
From the viewpoint of the V&A and the University of Bradford this was a very successful collaboration. For
the museum it enabled comprehensive research to be undertaken that would not otherwise have been
possible due to a lack of research time, facilities and expertise in archaeological sciences. From the university's
and student's perspectives the project provided an opportunity to work on a unique and interesting
archaeological object with complex methodological and Interpretive problems, and to experience the realities
of conducting research in a museum setting.

Acknowledgements

We thank V&A colleagues: Helen Persson, Marion Kite, Graham Martin, Ken Jackson, Paul Robbins, Rachel
Turnbull, Nicola Costaras and thank Sandra Smith for permission to publish. Thanks also to Monique Pullen,
Anna Harrison at the British Museum; Frances Pritchard, Ann French at The Whitworth Art Gallery. The
conservation of the tunic is supported by the Mercers' Company. Sara Gillies received funding from the
University of Bradford and the Pasold Research Fund to assist with the cost of the analytical work.

References
Carter, J. M. (1984). Iron stains on textiles: A study to determine their nature and to evaluate current treatments. In D. de
Froment{Ed.), Preprlnts.ICOM-CC 1984, Copenhagen (pp.11-14). Par~: ICOM-CC.
Castel, G. (1979). Etude d'une momle copte. In Hommagesa la Memolre de Serge Sauneron, Vol. 2 (pp. 121-143). Institut
Francais, Cairo. Blbllotheque d'Etude 82.
Dalton, O. M. (1961). Byzantine art and archaeology. New York: Dover Publications.
Dunand, F., I. Uchtenberg, R. (2006). Mummies and death In Egypt. Ithaca, New York: Cornell University Press.
Edwards, H. G. M., & Wyeth, P. (2005). Case study: ancient textile fibres. In H. G. M. Edwards & P. Wyeth (Eds.), Raman
Spectroscopy In Archaeology and Art History (pp. 304-324). Cambridge, UK: The Royal SocIety of Chemistry.
Frel, K., Frey, R., Gleba, M., Mannering, U., & Lyngstrom, H. (2008). Provenance of ancient textiles - A pilot study evaluating
the Sr isotope system in wool. Archaeome~ advanced online publication, 1-25.
Gillies, S. (2008). Scientific analysis of the condition and staIning on a 7th-8th century coptic tunic. Unpublished MSc
Dissertation, University of Bradford.
Haldane, E-A., Gillies, S., O'Connor, S., Batt, c., & Stem, B. (2009). What lies beneath: The biography of an Egyptian tunic. In
B. Szuhay (Ed.), Conservation of three-dimensional textiles. Preprints, NATCC 2009, Quebec City (pp. 239-257). Quebec
City: NATCC.
Hedges, R. E. M., Thompson, J. M. A., & Hull, B. D. (2005). Stable Isotope variation In wool as a means to establish Turkish
carpet provenance. Rapid Communications in Mass Spectrometry, 79,3187-3191.
Kendrick, A. F. (1922). Volume 111- Coptic period. In Catalogue of rextiles from Buryfng-Grounds In Egypt. HMSO. p.7, plate
IV (catalogue 620).
Long, D. A. (2002). The Raman effect: A unified treatment of the theory of Raman scattering by molecules. Chlcherter: John
Wiley.
 SCIENTIFIC DEVELOPMENTS 245

Nosch, M., von Camap-Bomhelm, c., Grupe, G., Mekota, A" & Schweissing, M. M. (2007). Stable strontium lsotopk ratios
from archaeological organic remains from the Thorsberg peat bog. Rapid Communications in Mass Spectrometry. 21,
1541-1545.
O'Connor. S.• & Brooks, M. M. (2007). X-radlography oftexti/~ dress and related objects. Oxford: Elsevier.
Pritchard, F. (2006). Clothing culture: Dress in Egypt In the first millen/urn AD. Manchester: Manchester University Press.
Prominska, E. (1985). Ancient Egyptian traditions of artifidal mummification In the Olristian period In Egypt. In A. R. David,
(Ed.) Science in Egyptology. Proceedings (pp. 113-121). Manchester: Manchester University Press.
Rutschowscaya, M. (1990). Coptic fabrics. Paris: Editions Adam Biro.
Smith, G. D., & Clark, R. J. H. (2001). Raman Microscopy in art history and conservation science. Reviews in Conservation, 2,
92-106.
Vanden Berghe. I. (2009). Dye analysis of tunic 291-1891. Unpublished technical study. Royal Institute for Cultural Heritage
(KIK-IRPA) Brussels.

Case study 68

A study of the microenvironment

within pressure mounts
Masumi Kataoka

Introduction

The value of employing science in the interpretation, conservation and preservation of historic artefacts has
been widely recognized. By Incorporating a scientific methodology It Is possible to obtain more objective.
comparable and detailed information about objects. through which conservation. presentation and
preservation strategies can be formulated.
This case study demonstrates how a scientific approach was adopted In an examination of
microenvironments within pressure mounts for historic textiles. Pressure mounting is a textile conservation
technique for mechanically stabilizing flat historic textiles. In most modern pressure mounts, a textile artefact
held between a glazing and a padded rigid board in direct contact with the object. In this case study the
author focuses on the confined space between these two surfaces (glazing and board) where a historic textile
Is housed. often on a long-term basis. The microclimate was studied In relation to the physical properties of
the materials it contained (both artefact and components). its air-tightness and the external environmental
conditions. In particular, the study concentrated on making a comparison between hydrophilic materials
(I.e. those with an affinity for water) and hydrophobic materials (those with little or no affinity for water)
in their interaction with the microclimate. The research was initiated by a preliminary investigation of the
microenvironment within a pressure mount carried out at the Victoria and Albert Museum. Windsor et al.
(2002) reported the apparently anomalous relationship between temperature and relative humidity (RH)
within the mount: the RH increased as temperature rose. and vice versa. which is not the normal relationship
in ambient conditions.
Active dialogue with textile conservators. conservation scientists and Industry representatives was
extremely valuable throughout the research. Their engagement enabled the author to overcome various
technical and practical constraints and obtain a more comprehensive perspective on pressure mounting
246 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

practice. Along with summaries of the methodologies and results of the experiments, this case study
highlights how such interdisciplinary collaboration helped the project.

Research rationale

Although pressure mounting historic textiles has been practised for many years, there has been little scientific
study Into the microenvironment. One of the objectives of this research was to evaluate whether the existing
scientific understanding about other forms of microenvironment for historic artefacts would be applicable
to that of pressure mounts. In-depth scientific examination into the performance of microenvironments has
been more actively conducted in other conservation fields. Such examples focused on display cases, storage
containers, glazed frames for painting and prints, sealed packages and cargos for transit (Hackney, 1987;
Lafontaine & Michalski, 1984; Padfield et al., 2002; Stolow, 1966; Thickett et al., 2005; Thomson, 1964). This
research has demonstrated that the factors affecting mlcrocllmatic conditions are the hygroscopic nature of
the materials inside a microenvironment, their moisture content, the temperature gradients and the level of
humidity ingress/egress.
It has been shown that when the ratio of the total volume of the hygroscopic materials is greater than
that of the air in a microenvironment, the moisture content of the materials becomes more influential in
determining the RH level than that of the air. Under such conditions, the moisture absorption/desorption by a
hygroscopic material is driven more by temperature gradients than by RH fluctuations.' A rise in temperature
induces moisture desorption by the material, causing an RH increase within the microenvironment, and vice
versa. Thomson (1994) discussed the importance of keeping the moisture content of a hygroscopic artefact
within microenvironment at a constant level, rather than just maintaining a constant RH; a microenvironment
artefact contains a greater amount of water than the surrounding air; any change in its moisture content
causes significant RH fluctuations.
Such microclimatic conditions are disrupted in the presence of humidity ingress/egress, since the moisture
content of both air and the hygroscopic materials are affected by the change (Thickett et al., 2005). Research
suggests that any gap larger than 0.1 mm would affect the air-tightness of an enclosure (Lafontaine &
Michalski, 1984).
By drawing on the existing understanding of microenvironments, the experiments for this research were
designed to study how the combinations of materials for constructing pressure mounts and the selection of
the assembly method of glazing and padded rigid board would affect the microclimatic conditions, under
various external temperature and RH conditions. Other issues concerning the microenvironment, such as the
level of pollutants or contaminations, microorganism growth and the amount of 'pressure' on the mounted
textiles, were beyond the scope of this investigation.
In the past, various synthetic and natural materials were used for constructing pressure mounts (Windsor
et al., 2002). Materials which have been used Include: glass or acrylic sheet (Perspexe or Plexiglass) as a
glazing; various fabrics woven with natural fibres (e.g. cotton, silk, linen) as a display fabric; cotton domettel
molton (napped plain-weave cotton fabric) or polyester waddinglpolyfelt (polyester felt) as padding layers;
and wooden panels, HexliteTMfi20 board (aluminium honeycomb board with woven glass fibre reinforced
epoxy skins) or archival boards as a rigid backing board. Many of these materials are made of natural sources
and have a hydrophilic nature and respond to climatic changes. In contrast. synthetic materials may be
less affected by climatic changes as they tend to have a hydrophobic nature. Therefore, assuming that the
moisture sorption property of the materials inside the mount influences the RH in the microenvironment, the
selection of materials should make a significant difference. And, more importantly, the moisture content of
pressure-mounted historic textiles themselves should also be a significant factor affecting the RH fluctuations.

4 In ambient conditions the moisture content of hygroscopic materials varies according to the surrounding RH level. As RH
Increases, the material absorbs moisture from the air to retain the equilibrium, and vice versa.
 SCIENTIFIC DEVELOPMENTS 247

The assembly method for pressure mounts also varies; the glazing and padded board are usually
secured by mirror clips, screwing or framing, often depending on the size of the mount and the
gallery design. Acrylic (Poly(methyl methacrylate) box mounts are also sometimes used. Unless they are
hermetically sealed these all have gaps around the edges. The selection of acrylic or glass as the glazing
sheet should also affect the climatic conditions as they have distinct moisture permeability and thermal
conductivity properties. These factors can all be expected to affect the mlcrocllmatlc condition Inside
pressure mounts.

Taking a scientific approach

Obtaining conclusive and definitive results was found to be very challenging in many aspects of this research,
especially as the practitioner had limited experience with scientific analysis. It was clear that it was necessary
to choose an appropriate approach and methodology and Instruments for the experiments and that the
ability to interpret and evaluate the data was essential to enhance the validity of the experiments. It was also
important to understand the performance of the analytical instruments involved in order to obtain accurate
readings of the data. It was obvious that quantitative study over a long period of time would have allowed
more objective comparison and evaluation of the obtained data to be made, and more solid conclusions to
be drawn.
Background research was carried out both to understand the theory of mlcroenvlronments In a
broader context and to obtain a clear view of pressure mounting practice. This helped to identify the key
factors that would affect the nature of a microenvironment, and to understand the factors affecting the
microenvironment within pressure mounts. At this stage, studio visits were also made to consult textile
conservators5 about pressure mounting practice.
Conservation scientists were then consulted in order to formulate the experiments for monitoring pressure
mounts. They explained how they would theoretically approach each element, and how they would reflect
these ideas in formulating the experiments. They also demonstrated the importance of considering all aspects
of the research question, rather than just monitoring the RH and temperature. Their suggestions were
invaluable, since they were very practical for the author who had limited time, budget and facilities, as well
as limited knowledge and experience of experimental design.
Conducting the experiments was a repeated process of preparation, Implementation, Interpretation of the
data and re-evaluation of the methodology. It was apparent that the accuracy of taking measurements from
the analytical instruments improved each time, as the author became more familiar with them. It was also
recognized that the analytical Instruments needed to be carefully calibrated. The results were also examined
with scientists,. which greatly helped in drawing out the conclusion.

Experiments

Five experiments were conducted. Pressure mounts were created for Experiments 2, 3 and 4, to the
dimensions 300 mm)( 300 mm )(25 mm using a variety of hydrophilic and hydrophobic materials.
The materials selected were plain-weave cotton cover fabric. cotton domette, plain-weave polyester fabric.
polyfelt, Hexlite'· board (13.70mm thick) and MDF panel with zero formaldehyde (MEDITE ECOLOGIQUE,
15mm thick).7 As a glazing, glass (4mm thick), acrylic sheet (4mm thick), and an acrylic box lid were prepared.

5 The following textile conservators generously hosted studio visits: Frances Hartog. Victoria and Albert Museum; Monique
Pullan and Anna Harrison, British Museum; Caroline Vog1 and Corinna Klenzler, Abegg-Stlftung, Switzerland; and Karen
Christie, Bern Historical Museum, Switzerland.
6 Naomi Luxford. PhD student, TCe, University of Southampton and English Heritage, and Dr Paul Wyeth, VlsIting Senior
Research Fellow. TCe, University of Southampton supported the Interpretation of the experiment results.
7 The board was generously supplied by MEDITE EUROPE UMITED, Ireland.
248 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Mirror clips,' screws, or metal foil tape (3M Scotch- Brand Tape) were used to secure the glazing to
the padded boards, depending on the requirements of the experiments. Where necessary. a mock-up
object (modem 100% unscoured plain-weave wool fabric, 160x 155 mm) was also Included.
All the samples were prepared at 52±3% RH at 21 ±2'C, and assumed to have been acclimatized
to such conditions.

Experiment 1: comparing the effect of hydrophilic materials and hydrophobic

materials on a microclimate
Methodology

Two airtight plastic containers were filled with cotton domette and polyfelt, respectively; a Humbug Hanwell
Part. No Z661 data-logger was installed in each. Preconditioned cotton domette was also prepared at 50%
and 70% RH at 21 'c, to compare how their different moisture contents would affect the RH level. The
temperature and RH within the containers, placed in an uncontrolled environment, were monitored for a
week.

Results

The RH in the containers with cotton domette increased as the temperature rose, and vice versa, indicating
that the material's moisture sorption following the temperature gradients affected the RH. The initial moisture
content of the cotton affected the resultant RH level: the container with the cotton preconditioned at RH 70%
maintained the PH in the region of 70%, whereas the RH 50% preconditioned cotton stayed in the 50% region.
In contrast, the RH in the container with polyster followed the normal relationship between RH and
temperature in ambient conditions: the RH decreased as the temperature rose, and vice versa. This indicated
that the presence of the hydrophobic material had little impact on the moisture content of the air within the
microenvironment, and hence on the RH.
The experiment demonstrated a fundamental principle: that the hydrophilic or hydrophobic nature of
the material is a predominant factor affecting the RH within a microenvironment, when the volume of the
material is greater than that of the air.

Experiment 2: monitoring the RH within pressure mounts under

different temperature conditions - part 1
Methodology

Six pressure mounts were prepared (2.1, 2.2, 2.3, 2.4, 2.5 and 2.6) as listed In Table 6B.1. Each contained
a maximum humidity indicator card (Humitecto"', Maximum Humidity Indicator, PIN MX-567B9, range
5G-90%),' a temperature strip (0-7 Level Reversible Temperature Indicating Strip, range 0-30 'C) and a piece
of the mock-up object. The object was weighed before and after monitoring to examine the effect of the
microclimatic changes on its moisture content.
To avoid the humidity ingress/egress affecting the RH, the mounts were sealed with metal foil tape around
the edges, and a backing sheet of Molstop Barrier Foil (adhesive free polyester, aluminium, polyethylene
foil) was applied. The tape also helped to secure the glazing. The mounts were placed in an uncontrolled
environment for four days and inspected periodically. The external RH and temperature data were collected
by a Humbug data-logger.

8 The mirror clips (aluminium mirror clips. lined with cotton domette) were generously provided by the Abegg-Stiftung.
Switzerland.
9 A maximum humidity indicator card has five dots of blue crystal. Indicating RH levels at SO, 60, 70, 80, and 90%. Monitoring
is irreversible as the blue crystal forms a large blue stain at the RH level reached.
 SCIENTIFIC DEVELOPMENTS 249

Table6B.1 The different materials used In the pressure mounu

5Mnpl_ Mat_rials

GlaI"lI Cover fabric Pacldl"ll Board

GI_ Acrylic Cotton PoIy_ Cotton Po~ MDF lItIullW™
Domette wood

_ I box
Experiment 2

2.1 x x x x

2.2 x x x x

2.3 x x x x

2.4 x x x x

2.5 x x x x

2.6 x x x x
Experiment 3

3.1 x x x x

3.2 x x x x

3.3 x x x x

Experiment 4

4.1 x x x x

4.2 x x x x

4.3 x x x x

4.4 x x x x

4.5 x x x x

Results
In all six mounu, the blue crystal at 50% and 60% RH on the maximum humidity indicator card had dissolved
when subjected to higher temperatures. However, the size of the resulting stains varied. The mounts with
the hydrophilic padding material had the largest stains at 50% and 60% RH. Those with the MDF board had
a smaller stain at 60% but a larger one at 50% RH. Whereas, those with only hydrophobic materials had the
smallest stains both at 50% and 60% RH. This may indicate that the presence of the hydrophilic materials
generated a great vapour pressure,'. and hence raised the RH. In the presence of the MDF board, the wood

10 Personal communication (by e-mail) with Robert Beasley, Technical sales Manager, Brownell ltd. on July 28,2008. According
to their experience, the salts require a certain vapour pressure, for a certain time, to deliquesce. Greater vapour pressure
produces increased deliquescence, hence the greater spread of blue dyed material.
250 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

appeared to have had the predominant buffering effect on the RH changes compared with the fibrous
materials.
The mock-up objects were found to have lost weight after monitoring (by 1-2%). The weight loss was
greater in the pressure mounts made with hydrophobic materials.
The use of the acrylic sheet or glass did not make any detectable difference to these results.
The experiment indicated that the presence of hydrophilic materials within pressure mounts can raise the
RH level as the external temperature increases. confirming the resulbi of Experiment 1.

Experiment 3: monitoring the RH within pressure mounts under

different temperature conditions - part 2
Methodology
This experiment was a revised version of Experiment 2. Three pressure mounts were assembled (3.1, 3.2 and
3.3) as listed in Table 68.1. In addition to a maximum humidity indicator card and temperature strips (range
0-30-030-60·0, a current humidity indicator card (Humitectore, CUlTent Humidity Indicator, range
10-100%) was included within each mount so that the fluctuation pattern could be examined. They were
again sealed with the metal foil tape, and the barrier was applied to the backboard.
The mounts were left in an uncontrolled environment for five days; the indicator cards were read
periodically. The data from the current humidity indicator cards was plotted against a graph showing data
from the extemal climate, collected by a Humbug data-logger.

Results
On the whole. the RH fluctuations within all the mounts appeared to have been more moderate than the
external fluctuations. In general. the RH within the mounts containing hydrophilic materials increased as the
temperature rose. According to the maximum humidity indicator card. the maximum RH level reached within
these mounts was in the range of 60% when the temperature reached above 40·C (Figure 68.1). The level of
the increase appeared to be directly proportional to the total volume of the hydrophilic materials: the larger
the volume, the higher the RH level. This was possibly because the higher volume of materials could hold a
greater volume of the desorbed moisture.
It was also noticeable that the RH within the mount constructed with hydrophobic materials was around
30-40% under higher temperature conditions (above 35 ·0. which appeared to be slightly higher than the

HU M!TECTOR ••
MA X I MUM HUMIDITY IN DICATO ..
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Figure 6B.l The salt cryatala of the 50% and 60% markers on the maximum hwnidity indicator card are
lurrounded by large blue ltains, and the 70% marker has a alight loon.
 SCIENTIFIC DEVELOPMENTS 251

extemallevel. The maximum humidity indicator card had very small stains at SO% and 60% RH, after it had
been subjected to the highest temperature level.
The experiment may indicate that the moisture sorption of the hydrophilic materials was the most
influential factor in determining the RH within the sealed mounts against temperature gradients.

Experiment 4: monitoring the RH within pressure mounts under

_.doIogy
different RH conditions

Five pressure mounts were prepared (4.1, 4.2, 4.3, 4A and 4.5) as listed in Table 68.1. Maximum and current
humidity indicator cards, a temperature strip (range 0-30-0 and a piece of the mockup object were included
in each mount. The acrylic box mount was used in one case (sample 4.3), secured to the padded board by
screwing at the sides; the rest were secured with mirror clips (Figure 68.2). Another piece of the mock-up
object was placed ouuide the mounts as a reference. The mounts were weighed before, during and after
monitoring to see the changes in their moisture content. The objects were also weighed before and after
monitoring. The data from tne indicator cards was again plotted against a graph snowing the extemal
climate, collected by the data-logger.
Tne samples were monitored in tne ambient RH range (21 :l:2-C. 55:1:5% RH) fortne first six days; in a
humidity cnamber,11 conditioned at 70:1:2% RH, at 21 :l:2-C for the next 8 days (Figure 68.3); and finally
under ambient conditions. Tne monitoring was stopped wnen the internal RH level within all the mounts
had reached equilibrium with the external level. As an exception, Sample 4.2 was opened soon after taking it
out from tne humidity chamber, and tne mock-up object was weighed to determine its moisture regain. The
reference wool fabric was also weigned soon after taking it out from the cnamber.

Figure &B.2 Preuure mounts wed in Experiment 4, made with a variety of hydrophilic and hydrophobic
materiab; each contains a mock-up o~ect, a maximum humidity indicator card, a current humidity indicator
card and a temperature strip.

" The humidity chamber, made of polythene shHting, contained several beakers of saturated Sodium Chloride solution to
maintain the higher RH.
252 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure &B.S Pressure mounts inside the humidity chamber.

Results
The RH level within all the mounts took a longer time to reach equilibrium with the newly established
external conditions than in Experiment 3, and showed more moderate fluctuations (Figure 68.4). The factors
affecting the fluctuation pattern were likely to be the moisture sorption of the contained hydrophilic
materials and mock-up object. and the level of airflow, attributed to the assembly method for securing the
glazing.
All the pressure mounts had gained some weight (Sample 4. 1-4.4: 0.15-0.2%; Sample 4.5: over 0.4%); i.e.
they had absorbed moisture with humidity ingress. AI expected, the sample with the greatest volume of
hydrophilic materials (board as well as fabrics) gained the most weight. The object in Sample 4.2 had gained

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Figure 68.4 Graph showing the results ofExperim.ent 4.

 SCIENTIFIC DEVELOPMENTS 253

Figure 0.5 The pressure mount used for Experiment 5 with monitoring senson inside the frame, connected
to a data-logger.

1.69% of its weight after being subjected to an RH of 70%, whereas the reference object had gained 2.55%.
This indicates that both the hydrophilic materials and the object had buffered the RH fluctuations.
The experiment indicates that the RH inside the mount and the moisture content of the hydrophilic
materials inside it are affected by humidity ingress and egress. The level of airflow and the total volume of
the hydrophilic materials are likely to vary the rate of these changes.

Experiment 5: monitoring the RH and temperature within a pressure mount.

using capacitance-based sensors (Shinea) connected to a Smart Reader 2
temperature and RH Logger
The microclimate within the pressure mounts was monitored using capacitance-based temperature and
humidity sensors, Shinea (less than 2 mm thick), connected to a Smart Reader 2, temperature and RH Logger12
(Figure 68.5). Unfortunately the RH sensor was found not to have been working due to a technical fault, and
the data were not obtained. The temperature within the mounts indicated a slightly higher level (1-0 than
the external, whether using the acrylic sheet or glass.
However, the instrument showed great potential for use in a long-term microenvironmental monitoring of
pressure mounts.

Conclusion

The interdisciplinary approach and communication with conservation scientists and other colleagues enriched
the experimental design and helped to overcome the technical and practical constraints faced by the author.
Existing undemanding of microclimates in other conservation fields was found to be applicable to pressure
mounting for textiles.
The experiments indicated that the moisture content of the hydrophilic materials and of the object
itself inside a pressure mount, and their moisture sorption properties. are the major factors influencing RH

12 The monitoring instrument used for this experiment,. courtesy of David Thickett. conservation Kientist,. English Heritage,
had been used for monitoring the microenvironment within glazed frames for prints at English Heritage (Thickett,. 2005). It
was 1ft to record both Internal and external temperature and RH every 20mlnutes.
254 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

fluctuations within the mount. When exposed to an increase in temperature with no humidity ingress or
egress, the hydrophilic materials and the object release moisture to reach equilibrium with the new condition,
raising the humidity level within the mount, and vice versa. When there Is Ingress or egress of humidity under
a constant temperature, the moisture content of the hydrophilic materials, the object and the air reflects the
humidity fluctuation patterns is affected by the change, and the moisture sorption of the materials. Whilst
monitoring the RH can show that the microclimate changes, these facts highlight the Importance of focusing
on assessing the changes in the moisture content of the object, rather than just reading the RH values.
Although the RH fluctuations in the mounts due to humidity ingress or egress appeared to be a much
slower process than those caused by temperature gradients, the simultaneous effect of both on the RH
conditions was not assessed during this study.
The selection of hydrophilic materials versus hydrophobic materials for constructing a pressure mount Is stili
debatable from a microenvironmental point of view, and a recommendation cannot be made on the basis
of this research. Above all, the importance of ensuring the stability of the external climate around pressure
mounts was highlighted.
Now that suitable monitoring instrumentation is available, it is hoped that a further interdisciplinary study
will be carried out to conduct long-term monitoring of pressure mounts. Such investigation should associate
the assessment of the physical, chemical and mechanical conditions of the mounted historic textiles.

Acknowledgements

This study was the author's MA dissertation research at the Textile Conservation Centre, University of
Southampton in 2008. The author is grateful to Dinah Eastop, Senior Lecturer, who suggested the topic of
this research and was her dissertation supervisor, and to Frances Lennard, Senior Lecturer, Programme Leader
MA Textile Conservation, both formerly of the TCC, University of Southampton, for their encouragement to
write this contribution. The author also thanks Naomi Luxford, PhD student, TCC, University of Southampton
and English Heritage, who gave tremendous support during the research; Stephen Hackney, Head of
Conservation Science, Tate Gallery, London, who gave Invaluable advice on formulating the experiments; and
TIm Padfield, conservation scientist, the National Museum of Denmark.

References
Hackney, S. (1987). The dimensional stability of paintings In transit In K. Grimstad (Ed.), Preprinu.ICOM-CC. 1987, Sydney
(pp. 597-600). Los Angeles: Ga.
lafontaine, R. H., & Michalski, S. (1984). The control of relative humidity - recent developments. In D. de Froment (Ed.),
Preprints, ICOM-CC. 1984, Copenhagen (pp. 17.33-37). Paris: ICOM.
Padfield, T., Berg, H., Oahlstrem, N., & Rlschel, A. (2002). How to protect glazed pictures from dlmatlc Insult. In R. Vontobel
(Ed.), Preprinu. ICOM-CC. 2002, Rio de Janeiro (pp. 8tHI5). London: James & James.
5tolow, N. (1966). Controlled environment for works of art in Transit. London: Butterworths.
Thlckett. D. (2005). Print frame mlcroclimates. In J. Rayner, J. M. Kosek, & B. OIristensen (Eds.), Art on Papel; Mounting and
Housing (pp. 48-54). London: Archetype.
a Luxford, N. (2005). Air exchange rate - The dominant parameter for preventive conservation? The
Thlckett, D., David, F.,
Conservator, 29, 19-34.
Thomson, G. (1964). Relative humidity - Variation with temperature in a case containing wood. Studies in Conservation, 9,
153-169.
Thomson, G. (1994). The museum environment (2nd ed.). Oxford: Butterworth-Heinemann.
Windsor, D., Hillyer, L, I. Eastop, D. (2002). The role of pressure-mounting In textile conservation: recent applications of U.S.
techniques. In R. Vontobel (Ed.), Preprints, ICOM-CC. 2002, Rio de Janeiro (pp. 755-760). London: James & James.
Part three
The Future
This page intentionally left blank
 Future needs and
influences
Frances Lennard, Patricia Ewer

Significance assessment and collaboration

Several themes have recurred throughout this book: at the beginning of the twenty-first century treat-
ment tends to be less interventive; there is more focus on access and interpretation, and the views of
stakeholders influence treatments to a greater extent.
Textiles are a ubiquitous part of everyday life. Textile conservation developed out of household mend-
ing, and to many people the remedial conservation of textiles appears straightforward; this means that
textile conservators often spend a lot of time removing previous damaging repairs. As this book has dem-
onstrated, textile conservation is not just about repairing obvious damage. We now think about the whole
textile, with an understanding of both its physical and social attributes. Physically, we have a greater under-
standing of the o1!iect's construction, its deterioration pathways and appropriate treatments. We plan sup-
port treatments to avoid causing new damage in adjacent areas (further damage has often been the result
of well-intentioned but unskilled repairs). In social terms, we are also able to contribute to the process of
drawing out and preserving the information contained in the object and understanding its significance, at
a given point in time. Today textile conservators do not automatically take out previous repairs; the history
of the object, 'stories of production, use, ownership and survival' (Tonkin, 2009), may be as important as
its original construction. To make decisions about treatments, a textile conservator needs the knowledge,
understanding, judgement and technical skill to include all these factors in the decision-making process.
Today funding for conservation is squeezed and conservators have to be able to establish priorities. It
is now recognized that objects are not all of equal value and that choices have to be made as to which ob-
jects should be treated, and how. To help prioritize treatments of individual objects, strategies have been
evolved to combine the condition assessment of collections with an assessment of their significance. At
the National Museum of Wales, condition assessment was combined with curatorial assessment of objects'
value in terms of research and display potential, to help prioritize resources for storage and treatment
(Dollery, 1994). In the Netherlands' Delta Plan, a large..cale assessment of museum collections was un-
dertaken on this basis. A Guide to Assessing the Significance of Cultural Heritage Objects and Collections has been
developed by Collections Australia Network (www.collectionsaustralia.net).
Although the preservation of objects for the future is often the goal of conservation, we no longer be-
lieve that it is the sole aim. In 2009 an innovative display concept was used at Hampton Court Palace. The
carefully researched original colours of one of the set of sixteenth<entury History of Abraham tapestries
were projected onto the tapestry periodically, to demonstrate how glorious it would have looked when
Copyright@ 2010 Frances Lennard & Patricia Ewer. Published by Elsevier Ltd. All rights rea;erved.

257
258 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

brand new, before suffering the ravages of five hundred years of light damage. Although a carefully man-
aged process, it was necessary to balance the additional light exposure against the gain in value of showing
the object to the public in this manner. In this case the display was judged to be worth the additional ex-
posure and it was extremely successful in revealing the former significance of the tapestries to visitors. The
show was visually stunning and a real crowd-pleaser - it enabled visitors to appreciate the true nature of the
tapestries, rather than overlook them as rather sad, faded backdrops to the room displays. Such innovative
approaches rely on the conservator's judgement, but conservators cannot make these decisions alone.
Conservators today work as part of a team. To fully appreciate the significance of objects to their stake-
holders, communication and collaboration are key. Both Heald's and Jordan's case studies in Chapter 3,
among others in this book, demonstrate the success of this approach. In institutions where conservation
is increasingly outsourced, it can be harder to build good relationships. As Kite's case study suggested,
there is a danger that knowledge of the collections and vital in-house skills may be lost Silence's case study
discusses an excellent model of collaboration between staff at the Colonial Williamsburg Foundation; this
leads to real gains in the interpretation and preservation of the collections as well as being a more cost-
effective approach. But this does not always happen; conservators are still often left out of the decision-
making process. The involvement of conservators in management structures is also vital; conservators
need to be represented at a higher level in institutions to be able to act as advocates for conservation.

Educating textile conservators

Training has to accommodate all of these developments; the many themes discussed in this book illus-
trate the wide-ranging syllabus that needs to be covered to give textile conservators a solid foundation
on which to build.
This book was written as career-entry textile conservation programmes in the UK were closing; UK
conservation education is squeezed by a lack of funding in both the higher education and the heri-
tage sectors. The teaching of conservation in the university structure is clearly vulnerable as higher
education institutions are forced to take on larger numbers of students, while conservation is not an
area recognized by the UK government for special funding. Conservation programmes are organized
and funded differently around the world (Gardiner, 2000); US conservation programmes currently
benefit from the higher level of philanthropic giving in the USA while European programmes are
largely state-funded, but in all countries the high stalf-student ratio of conservation programmes
and the high proportion of taught components make them expensive to run. Educational institu-
tions around the world are affected by current financial cutbacks; after 23 years, Sanford University
Libraries in the USA was no longer able to host Conservation Online (Stanford News Service, 2009),
although fortunately AlC has taken on the management of this valuable resource.! The sector needs
relatively few graduates, so economies of scale are difficult to achieve. Conservation education is ex-
pensive - if there is a demand for textile conservators, the training must be funded by the museums
and other institutions who will employ them, by governments, or as currently happens in the UK, by
the students themselves or, more frequently, the charitable trusts and foundations who give bursary
funding. Salaries are so low that students cannot recoup the financial investment they make in high
course fees.
The future of textile conservation training in the UK is likely to include a range of different provision.
It is likely that apprenticeship training, designed to meet local conditions, will be developed in different

1 Letter from Walter Henry, June 10, 2009 ' ... as of this day, the Conservation Dist List comprises 9696 people from
at least 91 countries.'
 FUTURE NEEDS AND INFLUENCES 259

institutions. Apprenticeships are a good way of passing on practical skills, but ways of teaching the theory
and context of conservation also need to be developed. A UK national centre for conservation education
has been debated in the past but may only be a solution in the long term, although there are perhaps
possibilities for a virtual centre, exploiting technological developments to share teaching between insti-
tutions. Combining students together into larger groups allows some economies of scale. Northumbria
University's distance-learning Preventive Conservation MA is a good example of what can be achieved
(Brown, 2008).
In the UK there have been calls for different entry points to conservation, in order to increase diversity in
the field and meet the range of needs of the sector. The UK Institute of Conservation (Icon) has introduced a
Conservation Technician Qualification for conservation support staff. While increasing diversity in training is
welcomed to meet the different needs of both individuals and employers, the low sal.aries in conservation will
make this difficult to achieve. With Senior Conservator positions being advertised with salaries in the range
of £23,000 in the UK in 2009, conservators at lower levels would earn very meagre sal.aries. Similarly, 'the US
median average compensation is $39,000 for a conservation in private practice or $59,000 for one employed
in an institution' (AIC/FAIC, 2009). However, conservators trained to think at MA level will still be needed
to manage conservation departments which may include apprentices, interns, technicians and volunteers.
Leonard's case study describes one model of MA level training, although future programmes may use the
more common model of developing practical skills through internships. In addition, the future needs of the
profession must be considered. The continuous professional development (cpd) needs of existing conser-
vators must be met The professional bodies have a continuing role in providing training, in management
skills, for example. The training of future generations of conservation teachers should not be forgotten.
Kite's case study in Chapter 1 illustrates the type of skills needed by textile conservators working in
the treatment-focused environment of a national museum. Uthgow, Head Conservator of the National
Trust, looking ahead at the Trust's future needs, said that conservators with an enonnous variety of skills
at different levels would be needed. She assumed that trained conservators would have the technical
skills required but said that they will also need to have 'thinking skills'. They will need to take on key roles
in engaging supporters using the 'stories of conservation' J and in improving conservation and environ-
mental performance in National Trust properties. They will need to be numerate and business-like so
they can make the case for conservation against competing priorities; they need to be flexible to be able
to adapt to society's changing needs and views; in short, they should be 'technicall)'""killed, diplomatic
pragmatists'.2 Roberts' case study shows how such skills are used in practice in the wider field; she draws
on the type of project management skills discussed by Marko and Golbourn, and the business sense de-
scribed by Ewer, in Chapter 1.
Education also needs to be considered in a broader sense, as Brennan's case study, and also Takami's
in Chapter 3, illustrate. These case studies show how training can be taken out to communities in dif-
ferent parts of the world, but it is important to make such training applicable to different cultures and
also to different climates, not to impose solutions and materials more applicable to the west. Such col-
laboration demands an understanding of the different physical and cultural environments to be found
in different countries. The Getty Conservation Institute's (GCI) education programmes emphasize
conservation management in the wider world;3 as Dardes, Head of Gel Education, stated, 'In short,
conservation's knowledge base is not just increasing - it is changing' (Dardes, 2009).

2 Presentation at the meeting 2020 Vision - The Conservation Wori<f<m:l! of the Future, organized by Icon, at the Tate
Modem, January 9, 2008.
3 The Getty Foundation assisted in fundingJulia Brennan's work in Bhutan.
260 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The future of textile conservation

Textile conservation is an innovative, fast-developing and research-based field. This book is a snapshot
in time, which captures some recent advances, but the field will continue to develop. Textile conserva-
ton need to be reflective practitioners; we need to continually evaluate our practice and keep up to date
with recent developments, not just technical developments but new ways of thinking (Rogerson, 2007).
Evidence of continuous professional development is a requirement of the UK accreditation system and
the Ale fellowship system, but is necessary for all conservators. It is important to network., to go to confer-
ences, to read the professional literature and to really engage with it A greater emphasis on evaluating
past treatments would be helpful to the profession in determining their effectiveness in the medium and
long terms, but this is difficult to fit into already crowded work programmes; additional research funding
would be welcomed. As reflective practitioners we should be able to learn from our past actions and use
this knowledge to improve future interventions although we should always acknowledge that we did the
best we could at the time.
Future developments will continue to impact on the work of the textile conservator. French'. cue
stwiy illustrates how the acquisition of modern artworks in museums requires new understanding and
skills to meet the technical challenges involved in their conservation; it also illustrates a changing under-
standing of what conservation means (Figure 7.1 ). As Howard's case study in Chapter 5 demonstrated,
these challenges will need continuing collaboration with scientists to help determine appropriate preven-
tive and interventive treatments. Future developments will also include moves towards making heritage

Figure 7.1 Harriet Thbman Quilt, made by the Negro History Club of Marin City and Sausaltio, California, 1951,
120 x 96 inches, cottou applique, designed by Ben Irvin. 'Ihld.itioual quilting techniques are combined with morden
design and materials to create a work of art celebrating black heros.
 FUTURE NEEDS AND INFLUENCES 261

institutions more sustainable and reducing their environmental impact; increasing energy efficiency and
reducing the use of solvents will be part of this new development. In 2008 AlC established a Green Tuk
Force to implement environmentally friendly initiative for AlC and the consenration field (AlC, 2008).
This book has demonstrated how important it is for conservators to engage with the outside world;
Chapter 3 argued that textile conservators need to engage with the wider community both to give
validity to the treatments we carry out and also to validate our own place in the sector. Textile con-
servation only has a future if the wider community thinks it is important. The closure of conservation
training programmes perhaps shows that conservators have failed to make the case that the work they
do is important. Conservators need to convince the general public that conservation matters. As the
Demos report states, 'All conservators must accept that communicating with the public is part of their
role' Gones & Holden, 2008: 99). Public engagement will be the way forward. in building a strong pro-
fession. Advocacy is an increasing part of the remit ofboth AlC and Icon.
The man's rare, early seventeenth century, slashed silk doublet (Figure 7.2, and illustrated on the
front cover of this book) demonstrates the public impact of conservation; this project was so successful
that the treatment won the Icon Award for Conservation in 2007.~ The conservation treatment of the
doublet allowed it to be displayed at Perth Museum and Art Gallery in Scotland. The award recognized
both the skilled remedial conservation treatment and also the way the doublet was used to engage the
public. As the Icon website explained (www.icon.org.uk/conservationawards), 'whilst it would have been
impossible to have the doublet displayed or even handled for recording and research in the museum
without the treatment, its remedial treatment formed only one stage ofmanyin the project. The prqject's
end-product is the 2007 exhibition about the doublet - that product that a museum uniquely offers to
its audience.'

Figure 7.2 A man's early seventeenth century, slashed silk doublet in the Stitch in Ti_exhibition at Perth Museum
& Art Gallery.

" The doublet is aMOciated with families in the area ofKilliecrankie, Perthshlre. It is in the permanent collection of
Perth Museum & Art Gallery, Scotland. The conservation treatment was carried out by Thula Pardoe of the Scottish
Con&ervation Studio.
262 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

References
AlC/FAlC. (2009). Conservation compensation research: overview..part, October 2009. Washington DC: AlC.
AlC. (2008). Green TaskForce. AlCNews,July, 3.
Brown, J. E. (2008). The creation of the virtual classroom for the online delivery of the Preventive Conservation
MA at Northumbria University. In T. Ruuben (Ed.), Postprints, interim meeting ICOM-CC Woriting Group Educa-
tion and Training in Conservation, 2007, V"",na (pp. 7-10). EVTEK University of Applied Sciences, Finland.
http://www.collectionsaustralia.net/sector_info_item/5 Accessed 7 September 2009.
Dardes, K. (2009). Conservation education at the Gel: past, present, and future. Newsletter, 24 (I), Gel.
http://www.getty.edu/conservation/publications/newsletters/24_I/feature.html.
Dollery, D. (1994). A methodology of preventive conservation for a large, expanding and mixed archaeological col-
lection. In A Roy & P. Smith (Eds.), Preu.ntive conservation, frracIic~ theury and research. Pmprints, lIC, 1994, Ottawa
(pp. 69-72). London: IIC.
Gardiner,]. (2000). Recent evolution in textile conservation. Postprints, AlC TSG, 2000, Philadelphia PA, 10,
101-107.
Jones, S., & Holden,]. (2008). It's a material world. Caringfor the puhlic ,."Im. London: Demos.
Rogerson, C. (2007). Understanding the full story: Acknowledging intimate interactions of textiles and text as both
help and hindrance for preservation. In M. Hayward & E. Kramer (Eds.), Textiles and text J?6.establishing the linlts
between an;hival and object-based research. Postprints, AHRC RCTCIS Third Annual Confrrence, 2006 (pp. 21~220).
London: Archetype.
Stanford News Service. (2009). Budget cutbacks announced in Libraries, Center for Professions Development. Stan-
ford News Service, June 10, 2009. Stanford University. http://news.stanford.edu/news/2009/juneI7/layoff&.
061709.html.
Tonkin, L. (2009). A Development in the conservation of ecclesiastical te:ailes: The Whau.ry Abbey OrJ>h"ys c. 1390-1600.
Unpublished MA dissertation, Textile Conservation Centre, University of Southampton.
 FUTURE NEEDS AND INFLUENCES 263

Case study 7A

Defining features of the TCC's

MA Textile Conservation
programme 1999-2009
Frances Lennard

Background

Between 1975 and 2009 the UK's Textile Conservation Centre (TCO educated almost 300 students from
almost 40 countries. In addition, Karen Finch remembered training 'about 80 people of 19 nationalities
before the TCC even came Into existence' (Finch, 2000: 13). The majority of students went on to become
textile conservators in museums and other institutions around the world, although the programmes aimed
to allow a variety of destinations; some went on to PhD study. while others moved into broader preventive
conservation or curatorial posts. The majority of these former students graduated from the three-year
Postgraduate Diploma in Textile Conservation, taught by the TCC at Hampton Court Palace and awarded
by the Courtauld Institute of Art. or from the two-year MA Textile Conservation awarded following the
TCC's move to the University of Southampton in 19911-1999. A number of students also followed a two-year
postgraduate certificate course or a one-year preventive conservation course at Hampton Court, while others
trained as apprentices specializing In the treatment of tapestries or upholstery. Very few of these graduates
have left textile conservation, to take temporary career breaks or to look after their families, while some
have retired. A few have re-trained, mainly because of the low salaries paid to textile conservators and
limited job mobility.
Since 2009, with the closure of the TCC by the University of Southampton and the ending of the
Conservation MA offered by the Royal College of Art in conjunction with the Victoria and Albert Museum,
there Is no specialist textile conservation programme at postgraduate level, taught In English, anywhere In
the world. This case study focuses on the MA Textile Conservation, the final stage of teaching at the TCe,
which developed from more than two decades of successful teaching on the postgraduate programmes.
There are many valid models for career-entry conservation education but this case study sets out to identify
factors which made the TCC MA Textile Conservation successful in giving students a good knowledge and skill
base. It Is a personal view aiming to capture some of the distinctive features and the underlying philosophy
of textile conservation education at the TCe. The hope is that it may inform future provision.

Decision making

The fundamental aim of the MA Textile Conservation was to train textile conservators by providing students
with a foundation, equipping them for career entry as well as for a lifetime's professional development.
An important objective was, therefore, to hone judgement and decision-making skills. Textile conservators
need to leam, develop and practise a varied range of practical skills such as carrying out commonly used
stitching techniques and methods of applying adhesive supports. The judgement to gauge whether a
stitching or an adhesive technique is appropriate in any given case is equally important yet more difficult to
leam. The textile conservator has to be able to assess an object: to understand Its materials and construction
264 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 7A.I Students trying out spinning. An understanding oftcxtile construction is important for recogniz-
ing the tccluriqucs DIed to create tcxti1cs, docwnenting them accurately, gaining an understanding of how they
are likely to break down and employing appropriate treatments.

(Figure 7A.1 ), aHess its state of degradation and the likely causes and effects, understand its role and
significance and the client's needs, then have an understanding of appropriate treatments and how they
can be implemented or adapted to fit the brief, as well as the manual skills to carry them out.. Successful
conservation treatmenh do not begin with recipes.
The ability to adapt treatments to fit previously un-met problems, to develop new treatments and to
reflect on the success of a treatment in progreH or after it has been completed are MA-Ievel cognitive skills
(Lister, 2000). Reflection is a key professional skill in conservation, encouraged throughout the programme,
and formally assessed through reflective repom on the development of practical skills and the placement.

Integrating theory and practice

Many conservation programmes follow an internship model where theory is taught and practical skills are
introduced at the academic institution, with a one-year internship to develop practical skills in the middle
or at the end of the programme. While this can be a useful model, the TCe's programme was founded
on the integration of theory and practice, which allowed students to develop skills and understanding
simultaneously. For example, when learning about wet cleaning, the students first watched a demonstration,
then wet cleaned objects themselves, while also having lectures and seminars on, for example, aqueous
cleaning theory, detergency and water purification and also on the practice of wet cleaning (Figure 7A.2).
They were introduced to the literature and to case studies of previous treatments. This type of model is
recognized as an excellent approach for teaching practical skillS; the 'See one, do one, teach one' model is
commonly used in medical training. The input of a conservation scientist as part of the teaching team was
vital. It is important to understand what is happening at the molecular level when wet cleaning, for example,
or to understand the properties of different adhesives when selecting an adhesive technique.
Practical work was planned to ensure that all students had experience of a wide range of treatmenh in a
logical and stl'\Jctured manner (Figure 7A.3). In the case of wet cleaning, for example, each student would
gain experience of treating white and coloured, flat and three-dimensional objects. Object treatment took
up 50% of the programme, with each student working on carefully selected objects. The aim was to ensure
that each encountered a broad range of object types and treatments, as well as to accommodate students'
 FUTURE NEEDS AND INFLUENCES 265

FJgUl'e 7A.2 The demonstrator working with a student. drying a sampler on a vacuum suction table after wet
cleaning.

individual interests. to work on costume or shoes. for example, or on non-Western textiles or an object
from their own country. Students gained a good range of experience within the field of textiles,. working
on embroideries, costume and costume accessories,. ethnographic textiles and painted textiles. It was less
common to be able to work on upholstered furniture, or particularly on tapestry, but the broad principles of
these specialisms were introduced.
This type of teaching is intensive and expensive in staff time, but ensures that students have a
comprehensive introduction to techniques and develop knowledge and skills in a structured manner. This
allows for more intensive training compared with an apprenticeship, for example, where practical skills
are accumulated as the opportunity arises depending on the work being carried out. The support role of
Conservation Demonstrator was vital. Often a recent graduate, she carried out demonstrations of techniques
and also treated objects, working alongside the students and acting as a model of good practice (Figure 7A.2).
She prepared materials for teaching sessions,. helped to oversee students' practical work and carried out object
management duties. This post was also a useful training role in textile conservation teaching.
Another critical requirement for this type of teaching is access to a supply of suitable objects for students
to work on. The TCC had its own Reference Collection of textiles used for teaching or on which to trial
techniques. However, this collection could not supply all teaching needs and good contacts with museums

I1gure 7A.3 Students compiling dye samples after a ono-week dye course.
266 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

were fundamental to being able to access the right objects for individual students, and to give them a
broad range of objects needing different types of treatments. The TCC was very grateful to museums which
provided significant numbers of objects for student work, as well as to private clients who were happy for
their objects to be treated by students. One very significant aspect of this object-focused work, however, is
the amount of time it takes to manage a large number of client-owned objects.

Putting textile conservation in context

One area which the TCC pioneered was the joint teaching of textile conservation students with students on the
MA Museums and Galleries programme (formerly MA Museum Studies). The Integrated Studies and Research
team was responsible for teaching both programmes, with valuable input from visiting lecturelll from the
conservation and museum sectors. Several units of the programme, such as Working in the Cultural Sector,
encompassed both student groups, aiming to give them a common foundation In the heritage sector, and an
undemanding of each othelll' points of view when they came to work in museums and other institutions. A
survey of both groups of graduates carried out by the author and Mary Brooks, the MA Museums and Galleries
Programme Leader, found that this approach had been successful in meeting these aims (Lennard & Brooks, 2008).
From the beginning the Tee programmes were 'created to treat textiles of historic and artistic worth as
documents of history' (Finch, 2000: 9). In a development of this theme another very successful joint unit-
Interpreting and Representing Objects (formerly called Meaning and Matter of Cultural Material) aimed to
help students undemand why objects matter. As explained in Eastop and Morris' case study in Chapter 2,
the unit encouraged students to think about why objects are collected and exhibited, what it Is that makes
them important and which aspect is being conserved. At one point this unit also included MA Textile Design
students from Winchester School of Art, involving makelll of textiles in the student mix. Although these units
took a relatively small amount of the total time, the benefits of this approach were evident In students'
thinking throughout the programme.
The first principles of preventive conservation were also shared by students on both the textile
conservation and museum studies programmes. Student groups carried out environmental monitoring In the
TCC and other campus buildings, giving a real-life undemanding of the practicalities of monitoring, and an
opportunity to evaluate the conditions they found (Figure 5.2 in Chapter 5).

It was considered vital that textile conservation education did not take place in a vacuum; the Tec was a
tripartite organization rooted equally In textile conservation practice, teaching and research. Teaching was
research-led, with staff research informing teaching, and both MA- and PhD-level investigation contributing
to the research environment. The dissertation unit gave students the opportunity to develop, carry out and
report on an extended piece of research; students chose a wide range of topics for their dissertations, from
science-based investigations to the theory of conservation or object-based studies. Notable examples include
Kataoka's case study in Chapter 6 of this volume, Lovett's investigation of the deterioration factors affecting
polyurethane foams (Lovett & Eastop, 2004) and Wickens' work on a hearse cloth made In 1505 for Henry VII
(Wickens & Hayward, 2003).

Teaching and practice also enhanced each other; students gained enormously from working alongside
conservatolll in the commercial Conservation Services department at the TCe, which carried out conservation
treatments and offered a consultancy seNice for a variety of clients. Students benefited from seeing work
on large and complex projects which they could not have treated themselves, as well from the Input of
trained textile conseNators. Students were also sometimes able to take advantage of paid vacation work: as
a way of gaining additional experience, or even to undertake their work placements in the department. The
conservatolll also benefited from the students' work, in developing new treatments (Lennard et al., 2008) or
investigating particular issues.
 FUTURE NEEDS AND INFLUENCES 267

The MA included a six-week-Iong work placement which was another way for students to put their work
in context; this was an integral, assessed unit, and a very valuable part of the MA programme. It was a very
short period of experience, compared with the one-year Internships which are an Integral part of many
conservation programmes, but it had different aims. It was not intended to be the main way of gaining
practical experience, but to be an introduction to working in a textile conservation department and a means
of broadening students' experience of different methods and approaches to textile conservation. The timing,
between the first and second years, allowed students to test out their skills but also to understand more
about how the local context affects the type of work carried out. Although the placement was very short.
students always gained a great deal from it; a real gain in confidence was evident as they realized they
already had something to offer to the profession.

Communication and professional skills

The programme also aimed to develop a range of key professional skills such as project management,
time management, estimating and team working (Figure 7A.4). Students were encouraged to become
more articulate In explaining their work In Informal and formal sessions. The development of
communication skills is particularly important for textile conservators so that they can write succinct
and informative conservation reports, discuss treatment options with curators or owners, present their
work at conferences or act as advocates for conservation. Public engagement Is becoming an Increasingly
important part of conservation. A related activity would form a more prominent part of any future
programme, using the model developed in some programmes in the USA (Hess Norris, 2008) and also
drawing on the Communicating with Collections unit of the MA Museums and Galleries programme
in which students carried out a practical activity in a museum, such as developing a small exhibition or
teacher's pack.
A range of assessment methods was used on the programme, to assess the full range of knowledge
and skills being developed by the students and also different learning styles. Written and verbal feedback
was forward looking, to help students develop their skills (Uster, 2005). Assignments were designed to be
relevant and to reflect real-life needs. One of the most valuable was the open examination, which continued
from the postgraduate diploma course to the MA programme (Singer & Eastop, 1990). Each student was
presented with an unseen object with accompanying client brief and asked for a report and treatment
proposal compiled over two days, followed by a viva voce in which the report and treatment options could
be discussed in more detail. This presented an entirely real-life scenario, drawing on observation sldlls,
knowledge of conservation treatments, judgement In devising appropriate treatment proposals and verbal
communication and report writing skills, not to mention an element of common sense, all of which would be
essential in students' future careers.

Conclusion

A challenge in planning and developing any conservation programme is how to accommodate the
huge range of knowledge and skills needed by a conservator. Pye and Sully's excellent paper (2007) has
demonstrated how this range of skills has expanded in recent years, and the skills base will continue to
develop as the heritage sector and the conservation field evolve. This book demonstrates how much material
has to be covered In a career-entry training programme for textile conservators.
Two years is a short period of time in which to qualify as a conservator, particularly in comparison with
state-funded European programmes which increasingly conform to the ECCO (European Confederation
of Conservator-Restorers Associations) professional profile which conforms to the EU Bologna model and
stipulates that it is necessary to study for five years, three at undergraduate level and two at postgraduate
level, to qualify as a conservator. However, the UK accreditation system for conservators (the Professional
268 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure'TA.t Preparing a mannequin for the safe display of a ninctccnth-ccntury bodice.

Accreditation of Conservator-Restorers (PAeR) run by the Institute of Conservation) acknowledges that recent
graduates continue developing their skills for several years after graduation, whereas in some European
countries conservators are regarded as professionally qualified upon graduation. To become accredited a
conservator must demonstrate that they meet a full range of professional standards. The UK system focuses
on outputs, i.e. what it is that conservators can do, rather than inputs, or what they have been taught.
The structured and focused nature of the MA Textile Conservation and the careful integration of theory
and practice detailed above meant that students made huge progress in the course of two years. carefully
considered learning outcomes meant that there was a very clear understanding of the knowledge and skills
studenu would gain from each unit of the programme. A one-year post-training internship was the ideal way
of developing the existing skill-set, allowing graduates to develop their decision-making and practical skills
and to build up speed and confidence. It is more difficult to fill gaps in theory at a later stage if an initial
training focuses mainly on practical skills. Although the Tce will no longer educate textile conservators. the
legacy of its textile conservation programmes lives on in its many graduates around the world who work as
textile conservators and in other parts of the heritage sector. They will help to continue the work of training
new generations of textile conservators.

Acknowledgements
As a Programme Leader of the MATC for eight years, I am pleased to acknowledge the work of my
predecessor Alison Lister who convened the MA from 1999-2001. The postgraduate programmes at the Tee
were created and developed over a long period by teams consisting of many individuals. I will not name
and thank each one individually as this is bound to result in unwitting omissions. but each has made a truly
significant contribution to textile conservation education.
 FUTURE NEEDS AND INFLUENCES 269

References
a.
Brooks, M. M., Cronyn, J., Uster, A. (1999). Interdisciplinary education In action: The context and concepts defining the
development of three interlinked conservation and curatorial Masters programmes. In J. Bridgland (Ed.), Preprints,
ICOM-CC, 1999, Lyon (pp. 129--134). London: James & James.
Finch, K. (2000). Textiles as documents of history and those who care for them. In M. M. Brooks (Ed.), Texti/~ Revealed.
Object Lessons in Historic Textile and Costume Research (pp. 7-16). London: Archetype.
Hess Norris, D. (2008). Promoting civic engagement In conservation education and training. In T. Ruuben (Ed.), Proceedings
of the Interim Meeting ICOM-CC Working Group Education and Training in Conservation 2()()7 Vienna (pp. 41-42).
Finland: EVrEK University of Applied Sciences.
Lennard. F., I: Brooks. M. M. (2008). Looking forward. looking back: Revisiting the development of Interlinked conservation
and curatorial Masters programmes - A further perspective. In J. Bridgland (Ed.), Preprints ICOM-CC, 2008, New Delhi
(pp. 109-115). Allied: New Deihl.
Lister, A. (2000). Indeterminate problems: Exploring the potential of problem-based learning in conservation education.
In A. Roy & P. Smith (Eds.), Tradition and innovation. Advances in conservation. Preprin'tsr IIC, 2000, Melbourne
(pp.114-117). London: lie.
Lister, A. (2005). Minding the gaps: Recognizing and responding to learning failure In professional education and
development. In I. Verger (Ed.), Preprint>. ICOM-CC. The Hague, 2005 (pp. 7~). London: James 110 Jarnes/Earthscan.
Lovett, D., & Eastop, D. (2004). The degradation of polyester polyurethane: A preliminary study of 1960s foam-laminated
dresses. In Modem art. new museums. Postprlnts, IIC, 2004, Bilbao (pp.100-104). London: lie.
Pye, E., & Sully, D. (2007). Evolving challenges, developing skills. The Conservator, 30,19-38.
a
Singer, P., Eastop, D. (1990). Developing student assessment techniques In conservation training. In K. Grimstad (Ed.),
Preprints ICOM-CC. 1990, Dresden (pp. 700-703). Paris: ICOM.
Wickens, D. J. J., &. Hayward, M. (2003). Contract for eternity: Preserving a hearse cloth made In 1505 for Henry VII
(b.1455-d.1509). In J. Vuori (Ed.), The Conservation of Flags and other Symbolic Textiles. Preprint>. NATCC. 2003,
AlbanyNY(pp. 196-197). Albany: NATCe.

Case study 78

Decision making and the

broadening of conservation
boundaries: a personal
perspective
Zoe Roberts

Introduction

A career in textile conservation usually begins at the bench where the student conservator is encouraged to
build a relationship with 'their' object; to scrutinize its make-up, analyse and diagnose its problems, and carry
out Its treatment needs. We are taught a way of seeing and of behaving that Influences the declslon-maklng
process throughout our careers.
270 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

As experience develops, the complexity of the conservator's role grows and we become involved in the
management of the objects' or the collections' life cyde of care, including negotiating its future against the
myriad demands faced by heritage organizations today. For this role, the acquisition of additional skills such
as financial planning, project and personnel management and communication are essential.
As someone who trained as a textile conseNator but now commissions external conservators to carry out
treatment work to a non-textile collection, this paper will reflect my personal perspective on the decision-
making context in which I operate professionally, institutionally and within the wider world.

The personal context of my conservation decision making

Since 2006, I have worked in the Commissioned Treatment stream of the Conservation and Collection Care
(Ccq section of Historic Royal Palaces (HRP). HRP Is a charitable trust responsible for the preservation and
interpretation of five unoccupied palaces in and around London: Hampton Court Palace, KenSington Palace,
the Tower of London, Kew Palace and the Banqueting House, Whitehall. These palaces contain hundreds
of historic rooms, open to the public all year round, featuring thousands of Items on open display Including
paintings, state beds, mirrors, sculpture, arms and armour, wall and ceiling paintings.' Although textile
conservation treatments have historically been undertaken by an in-house team, the treatment of all other
objects In the collection Is contracted to external specialists. This commissioning programme was established
in 1998 by conservators. As part of the wider strategy for the care of HRP's collections, my current role
consists of delivering a prioritized programme of commissioned treatments for the non-textile objects within
the palaces and the decorative architectural features on the exteriors.'
The move from textile treatment conservation into the Commissioned Treatment team arose from a desire
to broaden my role and be involved in the integrated process of decision making about collection care. The
work of the team encompasses commissioning surveys to identify treatment needs and priorities; organizing
interventive treatments and rolling maintenance programmes, as well as working with CCC's preventive
conservators to ensure post-treatment care. It Includes researching the history of objects and previous
conservation treatments, selecting specialists, writing conservation treatment briefs and tender documents
and project managing all aspects of contracted onsite work. to ensure high standards of conservation. Some
projects are small and straightforward with tested methodologies, while others require unique treatment
solutions based on years of research and investigation, and require the input of a multi-disciplinary team of
professionals.
Commissioning conservation to non-textile artefacts has required the acquisition of new technical
knowledge in terms of materials, their properties, deterioration mechanisms and treatment options. This is
a continuing learning process drawing upon the substantial knowledge of the specialists I work with, our in-
house conservation team and through Individual research.
Although delivering conservation treatments indirectly draws on skills gained through conservation
training and bench experience, it also demands greater use of key personal skills including communication,
organization, and ability to multi-task and process large quantities of information. Moreover, it requires the
acquisition of business skills in financial planning, contract, project and people management.

Knowledge and skills acquired from textile conservation

Coming into conservation through a BA degree in history gave me an appreciation of heritage, research and
analytical skills. This, In conjunction with work experience at my local museum and enjoyment of practical
textile crafts, led me to apply for the new MA degree course in Textile Conservation at the TCC in 1999.

5 The moveable Items predominantly belong to the Royal Collection.

6 This excludes paintings which are directly treated by the Royal Collection Painting Conservation Studio.
 FUTURE NEEDS AND INFLUENCES 271

I was attracted to an MA that offered a combination of theoretical and practical units designed to develop
the hands-on practical skills and knowledge essential in textile conservation. It introduced other materials
often found with textiles. for example, metals, gla55 and wood, giving basic information about deterioration
mechanisms and treatment principles that has subsequently proved very useful. In addition, the course
incorporated units in museology, preventive conservation and the heritage business. It aimed to provide the
broader context in which conservation operates and an understanding of the historical, cultural and social
significance of artefacts. thus equipping the student conservator with potentially a wide range of skills and
career options.
On reflection, I left the TCC armed with the practical skills of textile conservation, alongside the ability to
analyse and re5Nrch objects and identify and evaluate conservation options within a clear framework of
ethics. I .. 110 gained an understanding of the paramount importance of documentation. The wider aspects
of the course gave me a keen interest in the context of the object:.. its meaning .. nd cultural value and the
role conservation plays in this process. This made me aware of the benefits of r.. ising public awareness of
conservation work. This training provided the foundation that infonns my everyday decision-making process.
Studying at the TCC inspired a high standard of practice. Collections care work at my local museum and
a Historic Scotland7 internship at Glasgow Museums opened my eyes to the challenges of conservation
in organizations with resource limitations. Four years of post-qualification bench experience as a textile
conservator for Historic Royal Palaces honed pr..ctical skills and expanded my knowledge particularly about
the issues of working on objects within an open display setting (Figure 7B.1). It allO gave me insight into the
role of conservation within a large heritage charity and enabled me to start putting into practice my interest
in public engagement (Frame, 2008).

The professional context: conservation skills

Although my conservation skills were acquired through the specialism of textiles. the way of examining
objects, analysing their problems and contexts and knowing when and where to apply research is now
utilized more broadly, as demonstrated in the two project profiles {Table 7B.1 and Table 7B.2}. In my current
role, I use the language, basic principles and methodologies common within conservation to discuss and

Figure 78.1 Working on a piece from one of the state beds in the collection.

7 Historic. Sc.otIand Is the government agency In Scotland charged with safeguarding the nation's hlstortc. environment and
promoting Its undem.ndlng and enjoyment.
272 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Table 7B.1 Praj.a Profi..: Con.rvation of QUHn CharlotWs Stata BIId

Figure 'lB.! Queen Charlotte'. State Bed on diaplay after conaervat:i.on.

Duration of the project: May 2005 - August 2008.

Wl..-t is the object? Commissioned for Queen Charlotte'S bedroom at Windsor Castle and made between 1772
and 1778, it is neo-dassical in style (Edwards, 200B).lt was brought to Hampton Court Palace in the first quarter
of the nineteenth century (Royal Collection 1140). The bed's 64 components include a wide variety of materials
from wood and metal to paper and silk. The wooden bed stock is gilded and the textile hangings are silk and
embroidered with flowers.

Tnlatment history: The bed stock is believed to be in its original form. During the nineteenth century the
original water gilding finish was over gilded in oil except on the inner canopy. In the nineteenth century the
embroidery wes cut from ell the exterior textile hangings plus the headcloth and counterpene (originally
e gold-ribbed silk) end reett8ched to e purple silk fabric end new trimmings epplied. In the mid-twentieth
century, when the purple silk began to degrade, the embroidery was again cut off and attached to a gold silk.
Each reattachment Involved heavy reworking of the embroidery.

Why wu conservation nllCHSllry1 The bed stock was generelly sound. HOI/\fI!!Vef, the epplied composition and
carved limewood gilded ornament was very vulnerable and significant loss had occurred. The gilding was dusty and
dirty. The original textiles and those restored In the nineteenth centuryW'l!re fragile. The Impetus for conservation
came from a planned State Beds exhibition. The aim was to stabilize the object ready for long-tenn open display.

WI..-t did the conservation work Involve? The treatment decisions W'l!re made by a team of In-house
and external specialists including curators (HRP and Royal Collection), conservators (in-house textile and
commissioned treatment and external carving and gilding specialists and furniture conservators) and an
externel textile historian. On the exterior of the bed the oil gilding was cleened and stebilized. and missing
pieces of decoration were repleced in cerving or composition. On the interior of the bed, where the original
gilding scheme remained the carved decoration was cleaned and stabilized but there was no carving
replacement. This approach was echoed in textile treatment. All previous interventions were respected, not
reversed. The nineteenth-century purple ground was kept and the work of the earlier twentieth century was
continued Uordan • Takami, 2006). The majority of the work took place in the conservation studio but two
phases of the treatment were undertaken in public view in the Stete Apartments.
Key declslon-maldng factors'

• Not to take the bed beck to its eighteenth-century form but to respect the interventions of previous restorers
end where originel meteriels remeined to do as little es possible.
• To balance what could be achieved with the treatment of the giltwood with that to the textiles in order to
harmonize the overall appearance of the object.
• A desire to recapture the beauty and splendour of the object.
• Funding limitations meant that full restoration of the giltwood was not possible, including the removal of
the oil gilding.

, For a more detailed explanation of the treatment decilions lee Jordan and Tyrrell (forthcoming).
 FUTURE NEEDS AND INFLUENCES 273

Table 7B.2 Project ProfIle: Queen's Stalruse Ceiling, Hampton Court Palace

Figure 7B.S The Queen's Stairs with painted ceiling at Hampton Court Palace.
Dur.tion of the pro;ect 2001 - present

What is the ob;ect? A 'trompe l'oeil' ceiling painted by Wilhm Kent between 1734 and 1736, in oil paint on
lath and plaster, for King George II and Queen caroline to decorate the entrance to the Queen's Apartments.
Its significance lies in its value as part of the overall decorative scheme for the staircase, which still exists and
includes painted walls, also by Kent,. a Jean Tijou balustrade and a large easel painting by van Honthorn that
Kent chose to display in the space.
Treatment history: The earliest documented treatment campaigns were in the 19505 and 1970s, although
the ceiling is likely to have been restored at other times in its history. Photographic documentation of the
twentieth<entury work shows flaking and paint loss.
Why Will conserv.tion nKe:lsery7 A 2001 inspection revealed widespread flaking paint acl'OH the entire
surface of the ceiling in the fonn of delamination of the paint layers from the plaster substrate. The cause
of the flaking appears to be faulty original technique. Kent's paint seems to have been applied onto weakly
bound chalk layer that probably represents the original finish of the staircase following the initial building of
the Queen's Apartments in 1689-1694. Environmental monitoring in the staircase has shown heavily fluctuating
RH, which appears to be exacerbating paint lou.
Wh.t h_ the COIIlervation work involved to date? The project team comprises internal staff - the
commissioned treatment team, preventive conservaton, conservation scientists and curaton, plus external
specialists - wall-paintings conservaton, environmental experts and conservation scientists specializing in paint
analysis. In 2001 a full-scale treatment campaign was undertaken using Plextol B500. When, within two years,
this was found to be failing, research and investigation was undertaken in four key areas: paint analysis, historic
research, environmental monitoring and investigative treatment trials. Since 2005 emergency stabilization
has been carried out using Beva 371. The emphasis of the project is currently moving to the management of
the deterioration via improved environmental control of the space. This may mean alteration to the visitor
route, historic fabric or both, and the project will require input from environmental engineers and architects.
Information about the project is briefed to palace staff, visitors and English Heritage via the intranet, website,
penonal presentations and stakeholder meetings.

• Despite extensive treatment trials we are unable to find a satisfactory solution that can overcome the fault in
original technique.
• The staircase is situated on a main visitor access route through Hampton Court Palace. Modification or closure
of any of the access points leading off the staircase will impact on people flow and other commercial activities.
• Hampton Court Palace is classed as a Scheduled Ancient Monument; therefore, any changes to the building to
improve the environment in the staircase are subject to agreement by English Heritage.
• Financial resources and remit of the organization - as a conservation charity, HRP must carefully balance the
cost-benefit relationship of research.
274 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 78.4 Inspecting a piece of mteenth-century sculpture at Hampton Court Palace.

debate treatment decisions with specilliists in other llreas. It is no longer my role to be the specialist; I am
now lin informed client using professional judgement and IIwareness of ethical standards to decide on the
best treatment approllch for the collections in my care.
This IIpprollch is recognized within the context of the UK Institute of Conservation's (Icon) PACR scheme.
PACR identifies II single set of competencies and standllrds of work that govern our decision-milking process
and treatment work (Icon, 2008).
My training gives me the advantage of not only understanding the framework of conservation prllctices
and procedures but IIlso an appreciation of its limitations and complexities. AI a conservator commissioning
conservators I am aware that the decision-making process is often complicated by factors such as lack of
information at the start of treatment (thus the need for re-evaluation during the process), constraints of the
environment (historic,. financial, etc.) and limitations of treatment ethics on practice, and that treatment is
seldom an end in itself but that follow-up monitoring and maintenance will often be required.
AI conservators, PACR urges us to be aware of and practise within the limits of our own understanding
and abilities. Within this context, the case for interdisciplinary collaboration amongst professionals in
decision making has been comprehensively made. From the perspective of my own role within HRP, the
approach is encouraged by the display of the objects within their often original setting, which requires clOH!
collaboration between a multi-disciplinary team of experts (both building and object) to ensure a fuller
understanding of historic and physical context, and treatment options (Figure 7B.4).

The Institutional context - taking conservation decisions to the decision makers

'It is essential for conservators to be pragmatic and supportive in order to influence strategic decisions
recognising that the protection of the asset is best guaranteed by the financial stability of its sheltering body,
otherwise their protests will be ignored as those of hysterical reactionaries' (Lithgow et .. I., 2008: 178).
In the first two sections of this paper I have considered how my personal and professional background
influences my decision m.. king. However, this process does not rest solely in my hands. My current role has
brought greater awareness that successful decisions require responsiveness to the institutional context
in which we operate. Within many organizations, decision making is complicated and constrained by the
need for agreement, based on shared perspective, cooperation and support. Decisions will be influenced by
corporate culture including organizational structure, performance qualities and ethical values. They will not
be a one-way process but will need to be 'sold' to stakeholders through discussion and negotiation.
Within the institutional context in which I work, conservation decision making is influenced by the mission
of the organization, its resources and the constraints of working within historically significant buildings.
 FUTURE NEEDS AND INFLUENCES 275

HRP was established as a Royal Charter Body with charitable status in 1998. It is contracted by the Secretary
of State for Culture, Media and Sport to manage the palaces. The organization receives no money from
the government or the crown. Its work relies on funds gained predominantly from visitor revenue. For
organizations such as HRP, balancing responsibility for the care of its buildings and collections alongside the
need to generate the money to make conservation and education possible is a continual juggling act.
I am very fortunate to work within a context where the argument for conservation has largely been won.
Guardianship is one of the organization's key operating principles. Trustees and staff at all levels understand
its importance. However, in order to make successful conservation decisions we need to align our work to the
cause of the organization, in order to show that it supports the strategic aims, and identify and communicate
with key stakeholders. In this respect, I act as a broker, mediating between the wishes and requirements
of the external conservation specialists I employ and the objectives and constraints of the organization. As
a heritage charity, conservation decisions have to be weighed against the needs of the entire collection of
HRP's objects and buildings and its other work.
As part of this process, a vital element of my present role Is to act as an ambassador for 'my' projects,
feeding information to internal and external stakeholders and campaigning to raise awareness of
conservation issues and 'capture' resources. This involves continuous negotiation and communication with
many stakeholders Including English Heritage, the Royal Collection, the palaces' Operations Department,
trustees, external funders, fellow conservation professionals and visitors crable 7B.2). Communication skills
are paramount.

The wider context

As part of my continuing professional development, I was fortunate to be given the chance to participate in
ICCROM's Sharing Conservation Decisions course In 2008. This proved to be an Ideal opportunity to reflect
on the wider context of decision-making processes alongside students and teachers from every continent.
We comprised a wide variety of heritage professionals (including archaeologists, architects, art historians,
conservators, educators, scientists) working In very different contexts. The course content was wide ranging
and examined the process of conservation from material analysis and risk assessment to political, economic
and legal frameworks (Varoli-Piazza, 2007). In particular, I came away reflecting on two inter-related themes,
which I hope to carry forward in my future practice.
The first addresses that of cultural value. As has been recently highlighted, a 'paradigm shift' has occurred
In conservation thinking within the last two decades (Meul, 2008). Whereas previously codes of ethics and
training emphasized the material-centred nature of conservation (UKI(, 1983), practitioners now openly
acknowledge that it is the value and significance of the collections and sites in our care that must lie at the
heart of formulating conservation strategies.
The second theme is that of sharing. Recognition of conservation as a value-based process leads to a
questioning of who should determine the significance of cultural heritage? The diversity of meanings
associated with objects and sites requires consultation that goes beyond evaluation of heritage experts to
wider consultation that encourages participation and sharing of the decision-making process. If we are to
ensure a sustainable future for cultural heritage, its values must be understood and debated by a much wider
group, which must Include the public at large.
There is no doubt that these inter-twined concepts represent the spirit of the age. A key theme of the
International Council of Museums Conservation Committee's (lCOM-CC) 2008 conference in New Delhi was
'participation' (Brldgland, 2008), the International Institute for Conservation's (110 Congress of 2008 looked at
'access' (Saunders et al., 2008) while Demos' pamphlet (born out of the threat to textile conservation training)
makes explicit the link between the future of the conservation profession and its need to connect more
effectively with the wider world (Jones & Holden, 2008). Presenting conservation information to the public is
not enough; decision making within the sector needs to take into account the views of stakeholders beyond
276 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

the heritage sector. At the level of everyday practice this means that our conservation work must always be
informed by the requirements of its end users.

Conclusion

Regardless of the number of specialists consulted, the quantity of research and documentation carried out
and the amount of scientific analysis undertaken, the conseNation decisions that we make will remain
subjective - a product of the personal, professional, Institutional and wider contexts In which they were
made. An awareness of this individual context can only make for more informed and effective decision
making. Starting at a very human level we need to recognize our power to influence others' preferences and
choices in the way we frame our arguments (Bonini, 2007).
Moving from textile conservation into commissioning has given me a chance to develop other skills and
broaden my knowledge. Although no longer a practicing bench conservator, at the heart of both roles
remains a love and fascination for historic objects and places as well as the privileged access that conservation
affords, and a reverence for the art of the skilled conservation practitioner. These are exciting times for
conservation - a chance to get more people Interested and Involved. Striving towards the Utopia of a shared
heritage does not threaten the role of the specialist. in textiles or any other field, as their core knowledge
and skills will be crucial to educate, engage and facilitate decision making, but it does mean that, for those
who choose to accept this next challenge, a further significant development of role will be required.

Acknowledgements

The author wishes to express thanks to the colleagues who have contributed comments to this article: Holly
Dawes, Kate Frame and Kate Orfeur (Historic Royal Palaces); to the participants and tutors on ICCROM's
Sharing Conservation Decisions 2008 course and in particular to Dinah Eastop.

References

Bonini, N. (2007). Decision anomalies and the psychology of decision making. In R. Varoll-Plazza (Ed.), Sharing conservation
decisions: Lessons leamt from an ICCROM course (pp. 34-3n. Rome: ICCROM.
Brldgland, J. (Ed.) (2008). !'reprints, ICOM-CC, 2008, New Delhi. New Deihl: Allied.
Edwards, S. (2008). 'Such costly furniture, such Beds of State': Reflections on the conservation and re-display of Queen
Charlotte's State Bed. The Fumiture History Soc/etyNewsletter, 171, 1-5.
Frame, K. (2008). Communicating conservation at the Historic Royal Palaces. In J. Brldgland (Ed.), Preprints, ICOM-CC. 2008,
New Deihl (pp. 1147-1153). New Deihl: Allied.
kon. (2008). PACR Professional Standards. www.lcon.org.uk.
Jones, S., & Holden, J. (2008). It's a material world: Caring for the public realm. London: Demos.
Jordan, M., & Taleaml, M. (2007). Dye analysis, textiles and text: Unravelling the puzzle of Queen Charlotte's state bed. In
M. Hayward & E. Kramer (Eds.), Textiles and text Re-establishing the links between archival and object-based research.
Postprints, AHRC Rcrcrs Third Annual Conference. 2006 (pp. 197-203). London: Archetype.
Jordan, M., & Tyrrell, A. (Forthcoming). A balancing act: Developing a coherent conservation treatment for an 18th century
gilded state bed. Postprints, ICOM-CC Leather Working Group, Textile Working Group, and the Wood, Fumiture, and
Lacquer Working Group, 2007, Krakow. ICOM.
lithgow, Ie., Staniforth. 5., 80 Etheridge. p. (2008). Prior~izing """" in the conservation of National Trust ooIlections. In
D. Saunders, J. H. Townsend. 80 S. Woodcad< (Eds.), Comerva_ and aaess. Prepri~ IIC, 2OO!t London (pp. 178-185). London: IIC.
Meul, v. (2008). Safeguarding the significance of ensembles: Value assessments in risk management of cultural heritage. In
J. Brldgland (Ed.), !'reprints, ICOM·CC, 2008, New Deihl (pp. 1048-1055). New Deihl: Allied.
Saunders, D., Townsend, J. H., & Woodcock. S. (2008). Conservation and access: Contributions to the London Congress 1~19
September 2008. London: IIC.
United Kingdom Institute for Conservation. (1983). Guidance for conservatIon practice. London: UKIC.
Varoli-Piazza, R. (Ed.) (2007). Sharing conservation decisions: Lessons leamt from an ICCROM course. Rome: ICCROM.
 FUTURE NEEDS AND INFLUENCES 277

Case study 7C

Teaching preventive
conservation and textile
treatments in Asia and Africa
Julia M. Brennan

Introduction

The training of fledgling museum staffs in the basics of preventive conservation and textile treatments is
a new effort in the field and an important part of our expanding international role. Teaching collections
care to non-conservators gives us. the conservators, the chance to positively Influence the stewards
of cultural heritage for years to come. Throughout the world, from capital cities to villages, there are
treasured collections which have received little or no conservation. Professional staff, village leaders. monks
or caretakers, charged as the responsible stewards of their cultural patrimony, are longing for practical
guidance. While the cultures, climates, languages, material artefacts and institutions vary, the goals and
needs are the same - to train a first generation of conservators or conservation technicians In the basics
of preventive care practices, build staff infrastructure and sustainability and improve the methods and
conditions for protecting cultural heritage.
This case study covers an approach for teaching preventive conservation theories and practices In countries
for the first time. It outlines the training methods and topics, and how they are implemented in developing
cultural institutions. It broadly covers preventive conservation and focuses more specifically on the treatment
and care of textiles. The experience Is guided from field-based workshops conducted In Bhutan, Thailand,
Madagascar and Algeria from 2000 to 2008. The case study chronicles the difficulties and rewards inherent
in teaching in the field. Included are the challenges of local religious and cultural mores, coordination with
local ministries, patrons and funders, the adaptation of local products to solve conservation problems, the
implementation of upgraded storage and display methods using local materials, as well as the successes of
sustained training to produce a first generation of professional conservators.

Philosophical approach

How does an outside teacher influence the political, cultural or religious authorities for the goal of
conservation, while respecting centuries-old traditions and deep-rooted power structures? In short. slowly,
through discussions and listening to the prescribed rules of use and channels of authority. The key to success
Is collaborating to find a middle ground of action.
The first step to ensure success in training and treatment is to accept that as teachers, we are visitors
and strangers. The views expressed in the American Institute for Conservation or International Institute for
Conservation Codes of Ethics are all subject to philosophical debate and compromise. A guiding principle Is
NOT to mandate westem views of conservation. Conservation in other countries is often about people and
living beliefs. Religious and tribal art is not art 'for art's sake', but objects that are alive, even when housed
In museums. Many are Imbued with powers of protection and blessings. So conservation of these textiles and
sacred objects is not about conservation of material culture as we know it, but about the maintenance of the
religion and how conservation fits within its philosophy (Brennan, 2ooBa) (Figure 7C.1 ).
278 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 7C.l Rolling a large devotional scroll in a mOnal!ltery in Bhutan.

Experience informs that as guest teachers we can inspire and advise, but that the ultimate say and decision
lies with the cultural owner. It is important to provide people with the tools and responsibility to take care
of their own cultural patrimony. This is the core of sustainable training, as it empowers the shareholders
from top to bottom. It is essential to work in an environment of seeking the agreement and decisions of
colleagues, from royal and religious patrons. the Minister of Culture, down to the local caretakers. The
resulting work and treatments are a compromise between east and west. The dialogue that ensues is what
drives the course of the project. Small changes should be heralded as triumphs, such as not removing the old
brocade mounts on the thangkas, but instead stabilizing them, the washing of hands or wearing of gloves.
installing curtains to block sunlight or saving a historic column for placement in a tourist hotel. These are the
manifestations of basic conservation theories.

Preparation
Thoroughly prepare before the project starts. Correspond with hosts and funders to determine the scope
of work and their requests. Obtain feedback on the working space, collections, staff and goals of the
institution or representative. Honouring the work requests of the hosts provides mutual respect and helps
ensure a successful project. Email has greatly expedited correspondence, and is a vital tool for advance
communications. Photos of objects that are a priority for conservation can be exchanged, and assist with pre-
selection of needed materials. Photos of storage rooms and galleries. staff and work rooms will help inform
plans and purchases. Consider the time frame (often short) and achievable goals (always huge), and prepare
to be flexible in the scope of work. goals. tasks and staffing.
Evaluate if the budget affords large shipments. and the transport time, costs and duties. Work with your
local conservation supply companies on discount shipments. pro bono services and promotional incentives.
Most western conservation supplies are not available in developing countries. Consider the climate and select
the appropriate materials. For example, acid-free boxes will not survive or serve their purpose in a non-
climate controlled tropical environment. On a more modest scale, secure a budget for basic supplies which
will facilitate immediate implementation of the scope of work. Bring the basics for conservation treatments
and climate and pest monitoring. Compile printed teaching materials, tailoring the syllabus to the specific
project. Take conservation supply catalogues, .IS they serve as valuable visual teaching tools .nd help to
identify future needs of the institution. They become f.vourite .nd dog-eared tomes.
Consider the local dress code .nd pack appropriately. T.ke small presents for the staff and hosts of the
project. These .Ire greatly appreciated, .nd often the culture dichltes the return of farewell presents. Take
 FUTURE NEEDS AND INFLUENCES 279

a dossier of printed photos of your family. home. garden. urban infrastructure. studio. pebi. lab. museum.
exhibits and treatment work. Everyone loves seeing the teacher's heartland.

Theory and hand skills go hand In hand with tools

The most effective and practical approach to teaching preventive conservation is object based. Museums,
monasteries and villages are packed with artefacts in need of basic remedial care, improved storage, as well
as intensive treatment. Utilizing these collections as teaching tools will empower the trainees and benefit
the objects. Lectures and review of theories should tie directly to the tasks. Demonstrate through theory and
practice the importance of preventive conservation and collections care, and how it ultimately saves artefam.
It is important to impart this to all staff and shareholders,. so that everyone is empowered to take individual
responsibility. Generally, advance surveys and assessments cannot precede treatment and intervention.
Fieldwork including triage, techniques of care and rescue are taught on the actual artefacts, alongside the
""If.
Try to divide collections into workable categories, so that within the given time there is measurable
success. Identify a group of objects that can be treated, a group of objects that can be re-housed and a
group of objects to mount for display. Use the collections to teach documentation and condition report
writing. Teaching this topic is particularly important for the security and long-tenn maintenance of national
collections. Proper labelling is another important preventive care measure, and can be coordinated with
documentation. Use the collection to address complex subjects such as cleaning. Demonstrate simple cleaning
techniques. both wet and vacuuming, with warnings about the pitfalls and irreversibility. Build a common
understanding about the effects of treatment and cleaning, so that trainees can make informed decisions
in the future. Use current storerooms and display areas to critique and teach about the environmental
conditions. humidity, light and pest management. Address these agents of deterioration on site, building a
consensus of how to improve or augment conditions (Figure 7C.2).
Long-term training tools can include textile conservation kits and conservation-stitching samplers. For
textile work, provide each participant with a sturdy tool pouch containing scissors,. tape measure, gloves,
magnifying glass, scalpels. spatulas. tweezers, needles, pins. threads,. humidity indicating cards and
sticky traps. For basic training, have each participant stitch a sampler chronicling the 12 essential stitches
used in conservation. Name the stitdles in English and the local language and write on the samplers. In
addition, provide each trainee with a large file book for condition and treatment reports, before and
after photographs. checklists for cleaning storage and lists of suppliers and emergency contacts. All these

Figure 7C.~ A traditional scroll storage box is buffered with Marvel Seal, Bhutan.
280 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

documents should be translated as templates into the local language for future use. Assign conservation
topics, such as integrated pest management, climate monitoring, methods of storage and display, care and
handling of artefacts, and assign groups to research and give short presentations. Continually review basic
preventive conservation theories and administer quizzes to gauge the trainees' comprehension. Finally,
award the participants graduation certificates containing the signatures and official insignia of museum
directors, funders, Minister of Culture or other appropriate government officials. In most countries, proof of
participation in a training workshop is critical for continued study and advancement.

Teaching conservation topics

The actual tasks and scope of work adjust with each project. When conducting the first conservation training
workshop in a location, focus on preventive conservation and collections care (Gillies & Putt, 1999). This broad
approach covering fundamental principles will have greater long-term Impact than focusing specifically on
treatments. For repeat workshops, augment the level of conservation theory, skills and treatments, advancing
the most suitable candidates. Employ previously trained staff to co-teach and facilitate the workshop.
The following Is a general list of topics and tasks covered In a first time preventive conservation training
workshop, with a focus on texti Ie collections.
Environmental evaluations and monitoring - Cover the standards for acceptable humidity and temperature
levels, teach how to use hygrothermographs and humidity indicator cards and keep written records. Utilize
locally available products such as fans or dehumidifiers to modify conditions. Address issues of airborne
pollutants and methods for blocking them. Discuss the pitfalls of food and plants within collection spaces.
Lighting - Cover the basic principles of safe lighting, take readings in the galleries, storage and work spaces
and advise on methods to adjust and reduce harmful light.
Pest management - Use sticky traps and maintenance charts to train In the Identification and monitoring
of insect and rodent infestations. Advise on mitigation of infestations. Isolate or move vulnerable objects to
metal cabinets to prevent rodent destruction.
Care and handling - This Is one of the most Important topics, and needs to be repeatedly reinforced. Supply
gloves, practise moving objects and stress the importance of teamwork.
Documentation and labelling - This is another important preventive conservation measure. Repeatedly
teach how to write clear condition reports In order to establish a baseline for the collections. Stress the
importance of careful observation, simple language and accuracy. Teach methods of labelling objects.
Cyclic maintenance and routine cleaning - Establish simple routines to ensure the stability of the collections
and mitigate the need for extensive treatments. Address the advantages and disadvantages of cleaning, and
train in safe methods of cleaning artefacts on display. Train in safe methods of vacuuming textiles. using a
protective screen and working In pairs.
Display - Review existing methods of display and use this as a teaching tool for alternative and safer
methods of display. Cover the different textile display techniques and underlying principles, such as free
hanging with Velcro, full support stitch mounts, roller mounts, three-dImensional supports and mannequins,
case and flat display. Use pieces in the collection to make examples of these methods (Figure 7C.3). Review
safe methods for display and protection while objects are in use such as on an altar or in a public location.
Storage - Critique existing storage environments and devise a plan to Improve current methods. Stress the
importance of safe long-term storage, and regular monitoring. Teach how to roll textiles, construct padded
hangers, and make support mats and padded supports for three-dimensional objects. Source local materials
such as cabinetry, neutral pH mulberry paper, muslin, pvc pipes and polyethylene boxes for storage purposes.
Treatment - Stress the importance of long-term preventive care of collections in order to mitigate the need
for treatments. It is important to address the complex subject of treatment. its fundamental principles and
applications. Identify a group of objects that can be treated In the workshop time frame, and demonstrate
methods of cleaning, stabilization and repair. Teach trainees how to write treatment reports and document
specific damages. Discuss reversibility. documentation and exacting practices. Implement treatments that can
 FUTURE NEEDS AND INFLUENCES 281

Figure 7C.S Introducing the method of hanging carpeta using Velcro at the Bardo National Museum, Algeria.

be utilized in future work independently by trainees. Involve museum directors and high-level shareholders in
the oversight process.

Successes and compromises

Are these conservation projects executed with lower standards than in the USA? Are different treatment
principles and the use of imperfect materials compromising conservation standards? Should conservation
guidelines be adjusted to suit the particular culture and artefact? Yes to all of these. Most conservation work
conducted in developing countries is done within the limits of locally available materials. and with respect
for the people who use and care for it. Often people are being trained for the first time in strange, radically
new ide.1I5 of conservation. To change centuries-old habits and traditions takes years. The best approach is
collaborative compromises, respecting the needs of both hosts and outside teachers. Success will be evident in
the sustainability of the practices, the continued application of what has been taught and the desire to leam
more and protect more (Figure 7C.4).

Figure 7C.4 Washing a nineteenth-century silk loin cloth, Andafi awratra Museum., Madagascar.
282 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

The conservation of living 'relics' poses multiple challenges with regard to the selection of appropriate
conservation treatments for the continued use of the objects. Treatment has to be in accord with the
theological guidelines which dictate use, as well as the political and educational chain of command. Gaining
peoples' confidence is the most important foundation, and truly the reason why conservators are invited back
to continue to train and have access to extremely revered and protected objects. When working on relic and
living objects, It Is vital to secure permission from the highest level of stakeholder. Part of the challenge Is
to convince and assure the authorities that conservation will enhance and extend the life of the artefact. In
tum, it is wise to gracefully accept the limits imposed by culture, such as purification of the conservator and
work space, blessing of insects in a Buddhist monastery before extermination, the saving of washing water
from a relic to water living plants and restrictions from entering certain spaces or touching certain artefacts.
Measurable successes from training are evident In small ways and should be commended. These can Include
the continued practice of hand washing, placing protective muslin over exposed textiles, limiting the number
of butter lamps on each altar, placing curtains over frescoes and wall paintings and the removal of food
materials from storage rooms. Over time these practices become second nature, and trained stewards teach
others.
Sometimes a landmark innovation is introduced and embraced by the shareholders. The implementation of
anoxic micro environments for long-term textile storage In Bhutan Is such a case. It Is a highly sophisticated,
yet low-tech solution for the storage of protein-based textiles, protecting them from insects, mould and
airborne pollutants in a country where dimate control is impossible to achieve. Ten trainees were coached
In the methods of executing the system, and over the course of four years, more than three hundred
textiles have been safely stored. Important national treasures and relics residing in rural repositories have
been placed in anoxic environments for long-term safety. Small museums in other countries have observed
this system and are adapting it for their own collections. This storage innovation has not only protected
many artefacts for the long term, but boosted Bhutan's international conservation profile and forged
collaborations between Bhutan and other neighbouring countries (Brennan, 2008b).

The future

More and more countries are taking an active role in protecting their cultural property. The protection
and promotion of culture Is a source of national pride, and builds alliances with Intematlonal
organizations such as ICOM (International Council of Museums), as well as with visiting tourists. Repeated
trainings have fostered a first generation of conservators in countries where the concept of preservation
was little known 10 years ago. Increased professionalism and confidence of the trainees can be attributed
to their personal commitment to support the preservation of cultural heritage. They continue to work
on collections. treatment and preventive work with a focused dedication. utilizing their skills and
knowledge. Some have established themselves as recognized specialists and divisions within the museums
and ministries. Their successful conservation contributions are recognized throughout the cultural
community.
These are small steps towards national policies of cultural preservation. Conservation labs need to be
established. and advanced training in various disciplines and materials needs to be coupled with continued
education and internships. Textile conservators can serve as ambassadors in the field. to impart basic
principles of conservation and forge alliances with colleagues around the world.

Acknowledgements

Thank you to the Getty Foundation and The Friends of Bhutan's Culture for funding three training projects
in Bhutan. Sincere gratitude goes to The US Ambassador's Grant for Cultural Preservation for supporting
workshops in Madagascar and Algeria. I give big cheers to all my colleagues in Bhutan, Madagascar, Algeria
and Thailand who continue their efforts In preserving cultural heritage.
 FUTURE NEEDS AND INFLUENCES 283

References
Brennan, J. M. (2008a). Handbook for care of sacred objects in monasteries. Bhutan: The Getty Foundation and The Friends
of Bhutan's Culture.
Brennan, J. M. (2008b). Simple anoxic storage for textile collections in Bhutan. In J. Bridgland (Ed.), Preprin"tsr ICOM-CC,
2008, New Deihl (pp. 976-981). New Deihl: Allied.
Gillies. T., & Putt. N. (1999). The A 8 Cs of collections care. Manitoba Heritage Conservation Service. Winnipeg. Manitoba:
Museum of Man and Nature.

Case study 70

Modern and contemporary

textile art: Issues for textile
conservators
Ann French

Introduction

'Textile art' can be defined as work in which the approach, intent and content is seen by the artist or
maker to be as important as the process. In most cases, the choice of the medium of textile is integral
to the work and Its conceptual base. The result Is a work of art to be exhibited as such, and not as a
piece of applied art that may have had or was intended to have a functional use. Whether collected and
acquired by museums and art galleries or as part of loan exhibitions, these works present conservators
with challenges largely exciuded from other textiles or related works. The Whitworth Art Gallery (WAG)
has always collected contemporary textiles; the Morris tapestries, Flora and Pomona, were contemporary
when acquired in 1889. Since the 1980s the gallery has taken a lead amongst British art galleries and
museums In acquiring textile art, now having the country's foremost collection. The experiences of
WAG in displaying, storing and caring for Its collection, together with loan exhibitions of similar work,
will inform and provide examples (French, 2004). The conservation and care of textile art is a cautiously
developing one, and Is possibly at the stage of Identifying Issues and approaches rather than having
clearly defined methodologies.

Issues
The issues presented by contemporary textile art are common to much modern and contemporary art
and can be simply listed as: the materials and techniques used, the methods of display and storage,
packing and transport and last the role of the artist and associated copyright control. However, a list
cannot convey the complex interrelationships of these issues, and while each issue can be examined and
exemplified, the interrelationships remain key to understanding overall approaches to conservation and
care.
284 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Materials and techniques used

The choice of materials used by contemporary artists nas extended from tne familiar fibres of silk, wool,
cotton and linen tnrougn modern syntnetic textile fibres to new and radical materials that would not
normally be tnought of as textile at all, such as plastic bags, rubber and video. Understanding, predicting and
preventing deterioration of tnese materials involves acquiring knowledge, often crossing over traditional
conservation disciplines. This is exemplified by Blue Pewter (T.2005.29) by Sally Freshwater made of blue
Iycra., heat-laminated with a layer of pewter foil, stretched over a base witn protruding aluminium tubes, all
held in position witn stitched wires (Figure 7D.1 ), or Retread 1 (T.1999.162) by Michele Walker, a quilt made
from plastic snopping bags (Figure 7D.2).
Likewise, tne techniques of construction nave expanded beyond traditional textile techniques sucn as
stitcning, weaving, printing and dyeing. In some cases, traditional techniques have been adapted and re-
interpreted or not used at all. As witn materials, this expansion of techniques used creates new or different
problems, particularly as the resulting work is often more an 'installation' or a 'soft sculpture' placing
different tensions and unexpected stresses on botn traditional and non-traditional techniques. Using the
examples already cited, the Iycra in Blue Pewter is held togetner witn wire (no traditional stitching) and
is under constant stress, resulting in delaminating pewter foil in some areas. Yet Retread 1 uses entirely
traditional techniques of hand and machine stitching.
Knowledge of the materials and techniques used can be obtained througn conversations and discussions
with tne artist(s) and is recommended as part of acquisition procedure or protocol. Such conversations and
discussions are helpful for conservators to gain understanding of an artist's intent wnen making the work and
can tnen act as guides if questions regarding display mechanisms or conservation treatments are necessary.
For example, with Blue Pewter cited above, tne delaminating process is deliberate, as the artist is working
with tne fact that the Iycra stretches and the foil does not.. resulting in the random fracturing of the foil
surface to reveal the coloured substrate beneath. Tnis was an important development for Sally Fresnwater
in her work as the structure and form are extremely precise and controlled, and this breaking of the surface
introduces a random element that is more cnaotic. Most artists are nappy to provide samples of work in
progress or unused pieces. Tnese samples have multiple uses as handling pieces for tne public. explanatory

~1Iii-'" ,..

...
_!!P"IF

~---IV"'"
...........~- _........
......-.._.... "',..
......
....
.-.
,..,.,.~lV

'Y ....................... V

...... ,.............. "

". ..................... T

............... 'f .~

Figure 7D.l Blue Pswter (T.2005.29) by Sally Freshwater, a three-dimensional work. made from wire stitched
over pewter foil heat laminated onto a baIle of Iycra.
 FUTURE NEEDS AND INFLUENCES 285

Figure ID.! &tt.ad 1 (T.1999.162) by Michelc Walker, which takes as its lJU~cct matter thc threats to the COWl-
tryaidc posed by DlOtorway and other developmcnts. The patchwork. was inspired by a view offield patterns scen
from thc top of the Suaaex Downs, and the quilting pattern is derived from patterns of tyre t:reada: but is also
indebted to the wholecloth quilts produced in Wales and in the North, where the pattern is formed by lines of
stitching which 'sculpt' the surface. In spite of these references and the use of traditional sewing techniques.
Walker's work deliberately challengea the association! of the word 'quilt'.

access pieces or tests for conservation treatment. The handling sample provided by Alice Kettle for Three
Caryatids (T.1992.31.1-3) has been so used. The soiling released by wet cleaning revealed the amount of
public handling it had received, and that the works could be so cleaned, if required, in future.
In 2008, this type of approach has been applied to a project TAcnLE whim is a contemporary textile
handling resource, designed to enable post-16 students to creatively explore the diversity of processes,
materials and ideas that contemporary artists use. Eight leading textile artists and three artists from the
Whitworth's Creative Practitioner Team were commissioned to produce pieces of work generating a series
of samples that visually demonstrate the methods. processes and stages of creation. Fact files containing
contextual sources on each of the artists act as accompanying dynamic infonnation resources. The project
links to works in the Whitworth's collections and can be used in the creative learning environment of the
Gallery space. Conservators have been involved throughout the process, especially the consultative sessions
with teachers, to establish user-friendly yet conservation appropriate methods of presentation and storage.
Here the methods already used at the Whitworth (see case study 18 in Chapter 1) were applied, but with a
more deliberate feel of access through unveiling and more decorative secondary labelling.

Display
Textile art works are usually 'stand alone' works, being intended as art works and often cannot be easily
viewed within a traditional textile display environment using a case and placed among similar or related
items. The approach to their display resembles more that of fine art and, almost without exception, open
display is preferred or required by the artist with minimal protection from a plinth or barrier. The works can
thus be demanding of space and vista, providing challenges to traditional display techniques and methods.
Many works come with instructions. such as the distance to be hung away from the wall, or lighting angles
and these have to be accommodated and adapted if the display method is felt to be particularly damaging
286 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure 7D.S Shindigo spaa 07 (T.2009.1O) by Hiroyuk.i Shindo as displayed in the Whitworth Art Gallery exhi-
bition Indigo: ABIta toI>j,Ftw:. Made from 'Shindigo shibori'-dyed cotton and hemp and Shindigo halls (poly-
styrene wrapped with hemp and dipdyed). For the large hangings that form. part of this 'Indigo Space' series,
specially commislrioned for the exhibition, Shindo baa used his own method of'shihori' dyeing. It involves wrap-
ping and pleating the fabric around two tensioned cylinders. The tight wrapping and pleating resist the take-up
of the dye when the cylinders are lowered into the dye vat.

or not robust enough. More worrying for the displaying institution with a duty of care is the public reaction
to such pieces that is frequently less diffident and less hands-off than with more traditional (and cased or
framed) displays. The unusual choice of materials. often very everyday and domestic,. precludes a hands-off
approach.
An example of this was the display of the work Shindigo Space 07 (T.2009.10) by Hiroyuki Shindo, during
the Whitworth exhibition Indigo: A Blue to Dye For. The piece comprises eight bannen of shibori dyed cotton
and hemp, and 64 'Shindigo' balls (polystyrene wrapped with hemp and dip-dyed). This installation filled
most of the 275 square metres of the Whitworth's Sculpture Court, providing a challenge for the invigilating
staff (Figure 7D.3). The artist had demonstrated his preferred method and technique of arranging the balls
on the gallery floor, which was similar to playing bowls. and remained relaxed about the amount of handling
predicted, but none were prepared for the degree of public interaction that later appeared on YouTube
(ukyoLJtube.com) where a member of the public was seen to be encouraging a child to play football with the
exhibits.
Given these challenges, temporary loan exhibitions of such works demand careful preparation and
planning combined with total flexibility and adaptability during installation, and a certain degree of
predictability. While an institution such as the Whitworth can request precise measuremenh and display
requirements beforehand, the resutting work,. especially if specially commissioned, may be utterly different.
If an artist is present during installation, they may adapt the nature of their work as a reaction to the display
space. The layout of Shindigo Space 07, for example, was re-figured completely by Hiroyuki Shindo after
 FUTURE NEEDS AND INFLUENCES 287

viewing the Whitworth's Sculpture Court, while gallery staff in tum leamt much from Shindo's experience
in installing his own work. Inevitably, international exhibitions are more complex as language barriers
make misunderstandings more likely. However, many artists can be utterly unaware of gallery standard
display methods, and of the likely pressures caused by display in the form of handling and public attitudes.
Here better and more comprehensive communication beforehand and technical flexibility on the part of
the gallery helps. At the Whitworth, this flexibility and likely need to create display fixtures Is built Into an
exhibition installation schedule.

Packing and transport

Related to loan exhibitions is packing for transport. Here, the issue is not 50 much how to achieve careful and
conservation standard packing, but that the works will often have arrived direct from the artist who might
have minimal experience of packing for long-distance transport or no budget to do so. The question for the
lending institution is the degree to which one can adapt and/or improve the packing methods for onward
transport, frequently depending on whether the gallery Is the Initiating venue and on the budget available.
At the Whitworth, worKs have arrived damaged, and creative re-packing using basic packing materials is now
standard.
Creating accompanying Technical and Packing Files for a touring exhibition is crucial, as they enable easier
packing and installation at further venues. Noting any changes to or translations of artists' instructions
Is particularly Important. Condition reporting of textile art loans can be difficult as many works arrive
deliberately 'distressed' or are made of totally unfamiliar materials. The approach used at the Whitworth
to date depends upon plenty of photographs, and a condition report based on a risk assessment of what
might go wrong, rather than a detailed description of every flaw. A recent development devised during the
exhibition Cloth and Culture NOW (2008) was the keeping of a damage and housekeeping log. This not only
noted damage (and repairs) to be included in the final condition reports, but also enabled the cluster points
to be Identified and, where possible, addressed.

Storage

The storage of textile art works is more difficult and time-consuming in that as each piece is 50 individual, it
requires an Individual approach and will often not fit Into standard textile storage units. The process Is more
that of fine art, using shelving or painting racks and creating individual supports which take into account
both access (as the pieces can be frequently requested) and display requirements.
Two pieces from the Whitworth's collection Illustrate this approach: Rising Planes (T.1988.80) by Sally
Freshwater and Monsoon capital (T.2000.S2) by Shelly Goldsmith. The former had been stored hOrizontally
in the box provided by the artist, but during a routine inspection, it was noticed that this was putting such
pressure on the construction that the piece had collapsed under Its own weight. Both conservation treatment
and a revised method of storage were required. The former was carried out with permission and guidance
from the artist and a new support was built that combined an unobtrusive display mechanism with support.
The work is attached to a formaldehyde free multi-density fibre board (MOF) panel which houses brackets
to attach to the Whitworth's gallery hanging line and storage rack with hinged supports for a dust cover,
while the weight of the work Is taken up by a strip of cotton tape held In place to the work with safety pins.
A Tyvek made-to-measure cover protects the whole in store, and can be easily removed if required for access.
The piece hangs on a mesh wall in store (Figure 70.4).
Monsoon Capital was approached In a similar way, the work forming a student project (Baker, 2006). While
individual in execution, the materials used for storage are those used elsewhere in the Whitworth, but a
higher degree of support from technicians is often required than for the historic textile collection in making
bases or boxes.
288 TEXTILE CONSERVATION: ADVANCES IN PRACTICE

Figure '1D.4 Rising Plan& by Sa11y Freshwater prepared for storage and acccu: attached to a board that doubles
up as its display support. with dust cover and supporting tape. In front arc the polythenc OOxcs (on trolleys)
containing the TAGIU..E learning rcaourcc stored following conscrvation principles.

Role of artist

The acknowledged difference with contemporary textile art is that the artists who made or devised the work
are still alive and have certain rights,. especially that of copyright (Lennard, 2005). While the latter is a legal
pOint,. usually dealt with by specialists within an institution, a conservator will gain much from consulting and
from discussions with artists. Various artists whose work. is represented in the Whitworth have been asked for
their thoughts on aspects of conservation in relation to their work and their responses have been as variecl as
the personalities involved.
Preliminary conversations to date with textile artists represented in the Whitworth's collections have
involved discussion of conservation issues and whether greater knowledge of these would hinder creative
thinking and how much of conservation knowledge (if any) would be useful; whether an artist would want
to be consulted if their work was damaged, and required repairlconservation; and what feelings they had
about degradation and deterioration of their work. In addition, there were issues of whether consulting a
conservator would be useful if an artist were commissionecl to make a piece for a public collection such as the
Whitworth; and whether an artist would be prepared to provide a gallery with working materials, samples,
 FUTURE NEEDS AND INFLUENCES 289

suppliers' details and even handling pieces; and finally was there any kind of technical research that artists
themselves might find useful.
Asking such questions not only helps a conservator understand the limits Imposed on them by the will
of the living artist. but can act as a support for artists. While no artist consulted understandably wanted
conservation issues to limit their creativity in any way, practical matters such as packing for transport, display
and post-constructlon care all appealed, as did support for research covering Issues such as fire retardants and
how to comply with fire regulations.

Conservation

How then, if at all, can contemporary textile art be conserved or preserved? The first and foremost approach
should be one of imaginative preventive conservation, storage and display. Where possible an artist should be
consulted and their wishes Incorporated. This may mean that traditional protective measures cannot be used,
such as cases, frames and barriers, but rather label position, content and handling samples can be considered
instead. Interventive conservation may not necessarily be the obvious solution, whereas the replacement of
broken parts might.

Summary

While contemporary textile art raises many Issues that may Indeed repel some Institutions from acquiring
it and some conservators from treating it, these issues also can act as a pathway into new conservation
approaches. To preserve such art requires information gathering and consultation both within and beyond
the traditional boundaries of conservation. This may Involve Inter-dlsclpllnary discussions with conservators
of other media and with other stakeholders in the collection care process such as curators, house staff and
designers. At present it probably involves information gathering, consultation, documentation and an open
mind rather than treatment developments.

Acknowledgements

Jennifer Harris, Deputy-Director and Curator of Textiles, Whitworth Art Gallery; Dlonysla Chrlstoforou, Paper
Conservator, Rijksmuseum; Michele Walker; Alice Kettle; Caroline Bartlett; Maxine Bristow.

References

Baker, R. M. (2006). A storage solution for contemporary textile art. In C. Rogerson a P. Garside (Eds.), The future of the
twentieth century - collecting, interpreting and conserving modern materials. Postprinfs.. AHRC RCTCTS Second Annual
Conference, 2005 (pp. 134-136). London: Archetype.
French, A. (2004). Textile or art? The conservation, display and storage of modern textile art. In A. Roy & P. Smith (Eds.),
Modem art. new mu.reutru. Preprints.IIC 2004. Bilbao (pp. 34-38). London: lie.
Lennard, F. (2005). The impact of artists' moral rights legislation on conservation practice in the UK and beyond. In I. Verger
(Ed.), Preprints, ICOM-CC, 2005, The Hague (pp. 285--290). London: James & James.
http://uk.youtube.com/watch?v--BAqlgvtEZjQ
http://uk.youtube.com/watch?v-wGhjb3Z0FBY.
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 SELECT BIBLIOGRAPHY

This bibliography aims to include a representative selection of the textile conservation literature pub-
lished in English since 1990. So much has been published on the subject since that date that it is impos-
sible to provide a comprehensive bibliography. Hence in this selection only titles of volumes, such as
conference prints, are listed, rather than titles of individual contributions to them. Individual papers
from volumes of more general interest, such as The Conservatorand lAIC, are included, but not those from
specialist sections of publications, such as the postprints of the Textiles Working Group pages of ICOM-
CC conferences. Please see the lists of references at the end of each chapter and case study for further
sources and for references to specific individual contributions.

Abbreviations
AHRC Arts and Humanities Research Council
RCTCTS Research Centre for Textile Conservation and Textile Studies
AIC American Institute for the Conservation of Historic and Artistic Works
TSG Textile Specialty Group
CCI Canadian Conservation Institute
Gel Getty Conservation Institute
HFRTG Harpers Ferry Regional Textile Group (1978-1992)
ICOM-CC International Council of Museums, Committee for Conservation
TWG Textiles Working Group
Icon Institute of Conservation, UK
TG Textile Group
IIC International Institute for Conservation of Historic and Artistic Works
JAIC Journal of the American Institute for the Conservation of Historic and Artistic Works
NATCC North American Textile Conservation Conference
SSCR Scottish Society for Conservation and Restoration
UKIC United Kingdom Institute for Conservation of Historic and Artistic Works
TS Textile Section
V&A Victoria and Albert Museum

Serial publications
Ale
Anon, Textile Specialty Group (1992-2009). Pastprints of the AlC Textile Conservation Group, 1-19. (Since 2007 the
papers have been published in cd fonnat.)

291
292 SELECT BIBLIOGRAPHY

Harpers Ferry
Harpers Ferry Regional Textile Group (1990). Textiles on paratk: Exhibition successes and dismters. Washington DC:
National Museum of American History Smithsonian Institution.
Harpers Ferry Regional Textile Group (1992). Silk. Washington DC: National Musewn of American History Smith-
sonian Institution.

IIC
Roy, A, & Smith, P. (Eds.). (1994). Pr.ventive conservation: Practice, theory and ,.,,,,,,,,h. Pmprints, HC, 1994, Ottawa.
London: lIC.
Roy, A, & Smith, P. (Eds.). (1996). ArchfWJ/ogicoJ conservation and its consequetlC'S. Pmprints, HC, 1996, Capenhogen.
London: lIC.
Roy, A, & Smith, P. (Eds.). (2000). 'IYadition and innovation. Advances in conservation. Pmprints, HC, 2000, Melbourne.
London: lIC.
Roy, A, & Smith, P. (Eds.). (2004). Modern art, new museums. Pmprints, HC, 2004, Bilhao. London: lIC.
Saunders, D., Townsend, ].H., & Woodcock, S. (Eds.). (2006). The object in context: Crossing conservation boundaries.
Pmprints, HC, 2006, Munich. London: lIC.
Townsend, D., & Woodcock, S. (Eds.). (2008). Conservation and access. Pmprints, HC, 2008, Ltmdon. London: lIC.

NATCC
Cortes, E., & Thomassen-Kraus, S. (Eds.). (2005). Recovmng th£ pmt. The conservation of archa.o/ogicoJ and ethnographic
textiles. Pmprints, NATCC, 2005, Mexico City MX. Mexico City: NATCC.
NATCC. (1997). Symposium 97 - Fabric of an exhibition: An interdisciplinary approach. Pmprints, NATCC, 1997, Ottawa.
Ottawa: CCI.
NATCC. (2000). Ewes, P., McLaughlin, B., Read, S. & Rehkoph, K. (Eds.). Conservation combinations. Pmprints, NATCC,
2000, Ashevilk NG. Asheville: NATCC.
Thomassen-Krauss, S. (Ed.). (2007). Facing impermanence. Exploringjmroentive conservation fur textiles. Pmprints, NATCC,
2007, Wmhington DG. Washington DC: NATCC. Cd
Vuori,]. (Ed.). (2003). Tales in th£ textile. The conservation offlags and othtrsymbolic textiles. Pmprints, NATCC, 2003,
Alhany NY. Albany: NATCC.
Whelan, VJ. (Ed.). (2002). SlmIgthening th£ bond: Science and textiles. Pmprints, NATCC, 2002, PhiUuklphia PA Philadel-
phia: NATCC.

UKIC Textile SedionllCON Textile Group

Allan, v. (Ed.). (2002). Home and away. Approaches to textile conservation around th£ world. Postprints, UKIC TS, 2002
Forum. London: mac TS.
Cogram, A, & Jordan, M. (Eds.). (2004). Opening up open display. Joint Forum of UKIC Textile and Historic Interiors
Sections, 2004. London: mac TS.
Dawson, L., & Berkouwer, M. (Eds.). (2003). Dus~ sweat and tears: Recent advances in cleaning tuhniques. Postprints,
UKIC TS, 2003 Forum. London: mac TS.
Howard, S. (Ed.). (1999). Solutions - The influence of locations on treatments. Postprints, UKIC TS, 1999 Forum. London:
maCTS.
Leader, M. (Ed.). (2007). Tapestry conservation. Maintaining the woven picture. Postprints, Icon TG, 2007 Forum. London:
Icon Textile Group.
Lennard, F., & Tinker, Z. (Eds.). (1993). Compromising situations: Principles in everyday practiCli. Postprints, UKIC TS,
1993 Forum. London: mac TS.
Lennard, F. (Ed.). (1995). Coping with emergmcies. Postprints, UKIC TS, 1995 Forum. London: VKIC TS.
Lennard, F. (Ed.). (1996). Costume in context. Postprints, UKIC TS, 1995 Forum. London: VKIC TS.
 SELECT BIBLIOGRAPHY 293

Lewis,]. (Ed.). (1998). Adh<!iV<f t7Mtment""visited. Postprint, UKIC TS Thfrr!. Adh<!ives Forum, 1997. London: UKIC TS.
Lochhead, V. (Ed.). (1997). Painted t.xtiles. Postprints, UKIC TS, 1997 Forum. London: UKIC TS.
Nuttgens, F., &Jordan, M. (Eds.). (2006). Big issues. Postprints, Icon TG, 2006F"",m. London: Icon TG.
Phipps, D., & Langley, R. (2008). Tk .furnished room. Postprints, Icon TG, 2008 Forum. London: Icon Textile Group.

Individual publications
Decision making, context and ethics
Appelbaum, B. (2007). Conservation tmJtmmt methodology. Oxford: Elsevier.
Ashley-Smith,]. (1997). Risk analysis. In S. Bradley (Ed.), Tk interface between science and conservation. Occasional
Paper, No. 116 (pp. 123-132), London: British Museum.
Bell, D. (1997). Guide to international conservation charters. Edinburgb: Historic Scodand.
Bracker, A. & Richmond, A. (2009). Conservation: Principles, dilemmas and uncomfortable truths. Oxford: Elsevier.
Brooks, M. M. (Ed.). (2000). Thailes rnJealed. Object lessons in historic t.xtile and costume ,..earch. London: Archetype.
Caple, C. (2000). Conservation skills..fudgemmt, method and decision making. London: Routledge.
Hayward, M., & Kramer, E. (Eds.). (2007). Tmiles and text. _bUshing the links between archival and objecf,./Jased
research. AHRC RCTCTS third annual conference, 2006. London: Archetype.
Johnson,]. S., Heald, S. C., McHugh, K.., Brown, E., & Kaminitz, M. (2005). Practical aspects of consultation with
communities. ]AlC, 44(3), 203-215.
Tfmar-BaJazsy, A., & Eastop, D. (Eds.). (1998). International perspectives on t.xtile conservation. London: Archetype.
UKIC. (1998). Guidelines for the commissioning and undertaking of conservation work London: UKIC.

Conservation treatments
Balfour, D., Metcalf, S., & Collard, F. (1999). The first non-intrusive upholstery treatment at the Victoria & Albert
Museum. Tk Conservator, 23, 22-29.
Barton, G., & Weik, S. (1994). The conservation of tapa The Conservator, 18,28-40.
Bilson, T. (1992). The conservation of a Roman Egyptian painted shroud fragment. Tk Conservator, 16, 3-11.
Bott, G. (1990). Amylase for starch removal from a set of 17th century embroidered panels. The Conservator, 14, 23-29.
Brooks, M. M., & Eastop, D. (2006). Matter out of place: paradigms for analysing textile cleaning. ]AlC, 45, 171-181.
Brooks, M. M., & Eastop, D. (Eds.). (in press). Readings in t.xtiIe conservation (working title). Los Angeles: Gel.
Brunn, M., & White,]. (Eds.). (2002). Museum m.onnequins: A guide for creating the perfect fit Edmonton, Alberta: Alberta
Regional Group of Conservators (ARG).
Cooke, W. D., Babalthani, A., & Hillyer, L. (1996). The cleaning of degraded linen. The Conservator, 20, 3-14.
Cotte, S. (2007). An evaluation of the role of semi-transparent relining in the conservation ofThangka paintings. Studies
in Conservation, 52(1), 2-12.
Cruickshank, P., Delaunay, H., & Harrison, L. (2007). Painted textiles and canvas paintings: A collaborative approach
to lining and mounting. Tk Conservator, 30, 5-18.
Cruickshank, P., Pullan, M., & Potter,]. (1999). Recent treatments of painted shrouds: The influence of condition
and intended role. The Conservator, 23, 37-48.
Cruickshank, P., Morgan, H., & Shashoua, Y. (1999). The use of temporary facings in lining a fragmentary Egyptian
shroud. Studies in Conservation, 44(1),29-38.
Cruickshank, P., & Morgan, H. (1993). Lining a banana fibre belt A cool vacuum table technique. SSCRJouma~
4(2),101-114.
Da Silveira, L. 2002. A note on the poultice cleaning of feathers using Laponite RD gel. Studies in Conservation, 42
(1),11-16.
Dancause, R. (2002). Overlay with a difference: Strong support-thread edge finish for Tetex TR. ]AlC, 41 (1), 1-12.
Doyal, S. (1996). The treatment of the Wellington Museum Apsley House hall porter's chair: A case study of the
treatment of coated fabric. The Conservator, 20, 77-86.
294 SELECT BIBLIOGRAPHY

Eri, 1. (2009). Conserving textiles. Studies in honour ofAgnes Timar-BalOzsy (English ed.). Rome: ICCROM.
Fields,]. A., Wmgham, A., Hartog, F., & Daniels, V. (2004). Finding substitute surfactants for Synperonic N.JAIC,
43(1),5!>-73.
Fields,]., Wingham, A., Hartog, F., & Daniels, V. (2001). Surfactant investigations into alternatives for Synperonic
N®. ConservatWn News, 76, 57-59.
Becker, L. (2007). A practical guide to costu,.. mounting. Oxford: Elsevier.
Foskett, S. (1994). An investigation into the properties ofisinglass. SScRJournal, 5(4), 11-14.
Gende, N. (1993). The examination and conservation of two Indian textiles. The Conservator, 17, 19-25.
Gill, K. (2004). The development of upholstery conservation as a practice of investigation, interpretation and pre..
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Gill, K., & Eastop, D. (2001). Upholstery conservation: Principles and practia. Oxford: Butterworth-Heinemann.
Gill, K., & Boersma, F. (1997). Solvent reactivation of hydropropyl cellulose (Klucel G) in textile conservation:
Recent developments. The Conservator, 21, 12-20.
Goldberg, L. (1996). A history afpest control measures in the anthropology collections, National Museum of Natural
History, Smithsonian Institution.JAIC, 35(1), 23-44.
Guppy, A, Singer, P., & Wylie, A (1997). A seventeenth-century suit ofJapanese armour with original textile compo-
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Hayward, M. (1992). Napthalene. ConseruatWn News, 49, 40-43.
Hillyer, L., Gentle, N., & Balfour, D. (2000). The reassembly of a seventeenth-century state bed. The Conservatur, 24, ~14.
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Kite, M., & Thomson, R. (2005). The conslJTlJatWn of leather and related materials. Oxford: Elsevier.
Kite, M., & Cogram, A. (2006). Re-evaluation and retreatment: The reconservation and remounting of an English
court mantua. Studies in Conservation, 51(2), 111-122.
Kite, M., & Webber, P. (1995). The conservation of an 18th Century English embroidery using an Oriental paper
method. TM Conservator, 19,29-35.
Kite, M. (1991). The conservation of three straw hats. The Conservator, 15,7-12.
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Lennard, F., & Hayward, M. (Eds.). (2006). Tapestry conservatWn: Principles and practice. Oxford: Elsevier.
Lennard, F. (2006). Preserving image and structure: Thpestry conservation in Europe and the United States. &views
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Lennard, F. Behaving badly. The conservation of modem textile art. &staum, 5, 328-334.
Lord, A., & Sutcliffe, H. (2000). Combining cold lining and solvent reactivation for the treatment of an embroidered
silk picture: A case study. The Conservatm, 24, 89-95.
Lord, A. (1996). The conservation of sixteen Masonic aprons: Treating multi-media, ritual artefacts. 1'1u Conservator,
20,9!>-103.
Marko, K. (Ed.). (1997). Textiles in trust. Proceedings of the symposium held at Blickling Hall, Norfolk, September
1995. London: Archetype & the National Trust.
McClean, L. (1996). The conservation ofa bicom hat. SSCRJouma~ 7(4),20-21.
Nuttgens, F., & Tinker, Z. (2000). The conservation of rubberised textiles: Two case histories. The Conservator, 24,
24--40.
O'Connor, S. A., & Brooks, M. M. (Eds.). (1990). Archaeological textiles. Proceedings of the confennce, Te:<tilesforthean;/weQ-
logical conservator. Occasional Paper Number 10. London: UKIC.
Pretzel, B. (1997). Evaluating the use of adhesives in textile conservation. Part 2: Tests and evaluation matrix. 1'1u
Conseroator, 21, 48-58.
Rogerson, C., & Garside, P. (Eds.). (2006). Thefoture of the 20th century. CoUecting, interjmting and conseroing modern
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Schmalz, S. (1999). When patching is impractical: Non-traditional compensation for loss in a quilt. fAIC, 38(3),
38!>--393.
Shashoua, y., & Skals, I. (2004). Development of a conservation strategy for a collection of waterproofed military
uniforms. The Conservator, 28, 57-65.
Shibayama, N., & Eastop, D. (1996). Removal of flour paste residues from a Painted banner with a1pha-amylase. The
Conservator, 20, 53-64.
Singer, A, & Wylie, A. (1995). The conservation of a fourth-century painted Egyptian mummy shroud. The Conserva-
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Thompson, K. Sepiolite poulticing - An alternative for the cleaning of textiles. Conservation News, 53, 49-5l.
Timar-Ba!azsy, A (2000). Wet cleaning of historical textiles: Surfactants and other wash bath additives. &views in
Conservation, 1,46-64.
Todd, V. (1988). (Ed.). Pmprints, UKIC 3(Jh anniversary conferenc~ London: UKIC.
TSG Catalogue. (2008). III. Environmental concerns for textiles. Washington DC: AlC.
TSG Catalogue. (1995). N. Examination of textiles prior to treatment. Documentation. Washington DC: Ale.
TSG Catalogue. (1995). V. Research and testing methods. II; Determining pH. Washington DC: AlC.
TSG Catalogue. (1994). V. Research and testing methods. B: Dye-related conditions. Spot tests for colorfastness.
Washington DC: AlC.
TSG Catalogue. (1993). Vl. Treatment of textiles. II; Humidification. Washington DC: AlC.
TSG Catalogue. (1995). Vl. Treatment of textiles. G: Drying of wet-cleaned textiles. Washington DC: AlC.
TSG Catalogue. (2002). Vl. Treatment of textiles. H. Stabilization by non-adhesive methods. Washington DC: AlC.
TSG Catalogue. (1998). VlII. Storage of textiles. A institutional concerns for textile storage areas; B Storage furni-
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Uden,]. (1997). The conservation of fragments of Coptic textile. SSCRfournal, 8(3), 16-19.
Vuori,]., & Hanson. R (2000). Conservation of a military tlmic including the use of guide threads for positioning
repairs.fAIC, 39(2), 215-228.
Wood,]. (2001). A guide to accurat. measuring. Prom figure to fashion. London: Historic Royal Palaces.
Wright, M. (Ed.). (2002). The conservation offur, feather and skin. London: Archetype.
Wright, M. (Ed.). (2001). Bariccloth (Tapa): Mpect5 ofprepamtion, use, conseroation and display. London: Archetype.
Wright, M. (Ed.). (2001). Ethographic b<adwurk. London: Archetype.

Preventive conservation
Berkouwer, M. (1994). Freezing to eradicate insect pests in textiles at Brodsworth Hall. The Conservator, 18, 15-22.
Blyth, V., & Hillyer, L. (1992). Carpet beetle -A pilot study in detection and control. TIuJ Conservator, 16, 6!>--77.
Boersma, F. (2007). Unravelling textiks. A hondbooJr. for the preservation of textile co[/ections. London: Archetype.
Chester, A, & Tate,]. (2000). Please touch! Taking the stick out of fingers .... SSCRfournal, 11(2), 10-12.
Elert, K, & Maekawa (1997). Rentokil bubble in nitrogen anoxia treatment of museum pests. Studies in Conservation,
42(4),247-252.
Green, L. R, & Thickett, D. (1995). Testing materials for use in the storage and display of antiquities - A revised
methodology. Studies in Conservation, 40(3), 14!>--152.
Grieve, S. (2008). The excavation, conservation, storage and display of rubber artifacts recovered from the USS
Monitor (1862).JAIC, 47(3), 139-148.
Lloyd, H., Brimblecombe, P., & Lithgow, K. (2007). Economics of dust. Studies in Conservation, 52(2), 135-146.
Museums and Galleries Commission (1998). Standards in the museum CfJ;J1! of costume and uxtile colltctions. London:
Museums & Galleries Commission.
The National Trust (2006). Manual of housekeeping. Oxford: Elsevier.
Nightingale, C. (2005/6). Desiguing an exhibition to minimise risks to costume on open display. The Conservator, 29,
3!>--49.
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Old,]. (2009). Dust protection in the Bowes Museum. Icon News, 21, 22-24.
Peacock, E. E., & Griffin, E. (1998). Rehousing a collection of archaeological textiles. The Conservator, 22, 68--80.
Pinniger, D. (2001). Pest management in museums, archiv<s and historic houses. London: Archetype.
Robinson,]., & Pardoe, T. (2000). An illustrated guide to the care of costume and textile coUections. Museums & Galleries
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Staniforth, S. (in press). Readings in conservation: Issues in jlmJentive conservation (working tide). Los Angeles: Gel.
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Science and analysis

Andrew, S., & Eastop, D. (1994). Using ultra-violet and infra-red techniques in the examination and documentation
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Ballard, M. (2008). Textile conservation: A new world. AICNews, 33(3), 1, 8-11.
Becker, M. A, Willman, P., & Tuross, N. C. (1995). The US first ladies gowns: A biochemical study of silk preservation.
fAIC, 34(2), 141-152.
Bergstrand, M., & Hedhanunar, E. (2006). European metal threads in Swedish churches 1600--1751: Construction
and conservation. Studies in Conservation, 51(1), 11-28.
Carr, D., Cruthers, N., Girvan, E., & Scheele, S. (2008). Approaches for conservators to the identification of plant
material used in Maori artefacts. Studies in Conservation, 53(4), 252-263.
Daniels, V. (1996). Maori black mud dyeing of Phormium tenax fibre. In P.W. Rogers (Ed.), Dyes in history and ar-
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Evenson, J., & Cox Crews, P. (2005). The effects of light exposure and heat-ageing on selected quilting products
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Ford, B. L. (1992). Monitoring colour change in textiles on display. Studies in Conservation, 37(1), 1-11.
Garside, P., & Wyeth, P. (2006). Identification of cellulosic fibres by FTIR spectroscopy: Differentiation of flax and
hemp by polarized ATR FI1R. Studies in Conseroation, 51(3), 20!>--211.
Hacke, M. (2008). Weighted silk: History, analysis and conservation. Reviews in Conservation, 9,3-16.
Ishii, M., Moriyama, T., Toda, M., & et aI. (2008). Color degradation oftex.tiles with natural dyes and of blue wool
standards exposed to white LED lamps: Evaluation of white LED lamps for effectiveness as museum lighting. Jour-
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intnpretation, AHR£ R£TCTS first annual conferencJ!, 2004. London: Archetype.
Moncrieif, A, & Weaver, G. (1983). Science for conservators, Book 2, Cleaning. London: Crafts Council.
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O'Connor, S., & Brooks, M. M. (2007). X-radiography of _iles, dress and related objects. Oxford: Elsevier.
Quye, A, Hallett, R, & Herrero Carretero, C. (2009). 'Wrought. in gold and silk. ' fuseroing the art of historic tapestries.
Edinburgh: National Museums of Scodand.
Ragauskiene, D., Niaura, G., Matulionis, E., & Makuska, R (2006). Long-term and accelerated ageing of an acrylic
adhesive used as a support for museum textiles. Studies in Conservation, 51 (1), 57-68.
Richardson, E., Martin, G. Wyeth, P., & Zhang, X. (2007). State of the art: Non-invasive interrogation of textiles in
museum collections. Microchimica Acta, no pagination. Springer-Verlag.
Rogerson, C., & Eastop, D. (1999). The application of cross-sections in the analysis of historic textiles. The Conserva-
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Electronic resources
American Institute for Conservation of Historic and Artistic Works
http://www.conservation-us.org

Art and Architecture Technical Abstracts (AATA)

http://www.aata.getty.edu

Art Conservation Science

http://www.matsci.northwestern.edu/aic/news.htm

Bibliographic Database of the Canadian Heritage Information Network (BCIN)

http://www.bcin.ca

Campbell Center for Historic Preservation Studies

http://www.campbellcenter.org

Canadian Conservation Institute

http://www.cci-icc.gc.ca/

Collections Link
http://www.collectionslink.org.uk

Connecting to Collections
http://www.imls.gov/collections/about

Conservation Distlist
http:// cool.conservation-us.org
Conservation OnLine (CoOL)
http://www.conservation-us.org

Conserve 0 Grants
http://www.nps.gov/history/museum/publications/conserveogram/cons_toc.html

English Heritage Research and Conservation

http://www.english-heritage.org.uk/server/show/nav.1043

The Getty Conservation Institute (GCI)

http://www/getty.edu/conservation/

Green Thsk Force

http://www.conservation-us.org/green

Heritage Preservation, The National Institute for Conservation

http://www.heritagepreservation.org

Institute of Museum and Library Services

http://www.imls.gov

The Institute of Conservation (Icon)

http://www.icon.org.uk

International Council of Museums Committee for Conservation (ICOM-CC)

http://www.icom-cc.org

International Institute for Conservation of Historic and Artistic Works

http://www.iiconservation.org
298 SELECT BIBLIOGRAPHY

J. Paul Getty Trust Object ID

http://www.object-id.com

]STOR (Trusted Archives for Scholarship)

http://wwwJstor.org
The Library of Congress Preservation
http://www.loc.gov/preserv/

Museum afFine Arts, Boston, Conservation & Material Encyclopedia Online (CAMEO)
http://cameo.mfa.org

National Park Service, Cultural Resources, US Department of the Interior, National Center for Preservation.
Technology & Training
http://www.ncptt.nps.gov
President's Committee on the Arts and the Humanities (PCAH)
http://www.pcha.gov
Recollections Caring for Collections Across Australia
http://www.collectionsaustralia.net

Regional Alliance for Preservation (RAP)

http://www.rap-arcc.org
United Nations Educational Scientific and Cultural Organization (UNESCO)
http://porta1.unesco.org
Victoria & Albert Museum, Research & Conservation
http://www.vam.ac.uk/res_cons/conservation
 INDEX

A physical forces, 199

AcceM, 6, 7, 10, 19, 20, 22-24, 25, 32, 33, 76, 81, 91, 93, pollutants, 199
103, 170, 215, 217, 222, 228, 243, 244, 265, 266, records management, 199
275, 276, 285, 287 teDnperature, 199
Accountability, 43 theft, 199
Accreditation, 8, 9, 34, 35, 260, 267, 268 vandalism, 199
Professional Accreditation of Conservator-Restorers water, 199
(PACR), 8 Aims, 6, 9, 16, 18, 44, 45, 57, 101, 129, 141, 172, 173, 263,
Acquisition, 27, 28, 30, 44, 152, 154, 156, 161, 189, 209, 264, 266, 267, 275
260, 270, 284 Air flow, 167
)udheMve, 46, 47, 55, 80, 81, 125, 128, l43, l45-146, 172, Altar frontal, 53
173, 175, 181, 183-187, 190, 191, 193-195, 229, Alteration, 59, 63, 64, 67, 113, 114, 239, 244
232, 263, 264 see Repairs
arro~ots~, 186 American Association of Museums (AAM), 6, 10, 44
BEVA®, 128 Center for the Future of Museums, 6
carboxymethyl cellulose, 186 American Indian Religious Freedom Act
film, 128, 186 (AlRFA), 109
hydroxypropylcellulose, 186, 191, 194 American Institute for Conservation of Historic & Artistic
Klucel G®, 145, 186, 191, 193 Works (AlC), 6, 198
Lascaux 498HV/Lascaux 360HV, 186 Code of Ethics and Guidelines for Practice, 42. 56, 57,
Mowilith DMC2®, 183, 191 99, 108, 275, 277, 278
polyvinyl acetate, 191 Conservators in Private Practice (CIPP), 6, 8, 42
pressure sensitive tape, 184, 186, 190 Specialty Group, 6, 199
removal, 46, 47 Analysis, 39, 53, 68, 72, 73, 83, 93, 101, 181, 189, 191, 222,
reversal, 143 223, 225, 228-233, 237-239, 242-244, 247
solvent activated, 55, 145, 186 cbentical, 238, 239
solvent reactivation, 191 computed tomography, 242
starch paste, 55, 186 dye, 68, 229, 243, 244
support, 185, 186, 263 gas cbromatography-mass spectrometry (GC-MS),
thennoprn.tic, 145, 181, 185, 186 239, 242
Vrnamul3252, 184, 186 high performance liquid chromatograph)'diode array
wheat starch, 186 detector, 243
su also treatments instrumental analysis, 53, 73
A.tvocate, 56, 57, 78, 103, 106, 108, 122, 142, 144, 258, 267 isotopic analyMs, 239, 242, 244
Aesthetic integration, 86 multi-<pecttal imaging, 238-243
AFRICA 2009, 101 Raman spectroscopy, 239, 242
Agents of deterioration scanning electron nticroscopy (SEM), 239, 242
dissociation, 199 wet chemical, 73
fire, 206 Annotated image, 141, 161
humidity, 279 Anoxic micro environment, 282
light, 279 Anthropology, 28, 101, 170
pests, 279 Anti-discrimination legislation, 6

299
300 INDEX

Apprenticeship, 31, 36, 258, 259, 265 Bed hangings, 46, 70-72, 74
see also Intern; Internship Bell Leadership institnte, 40
Archaeological, 34, 59, 70, 85, 101, 103, 117, 147, 165, Best Value Review, 93
181, 184-186, 205, 239, 243, 244 Bibliography, 170
Archaeology, 93, 95, 116, 170, 222, 238 , .. Syllabus
Architectural, 26, 72, 101, 205, 207, 270 Biological agents, 208, 209, 213
inventories, 27, 101 Bidding, 6, 35
Information Systems for Conservation (ARIS09), 101 see Fee for Service, Tendering
records, 101 Bill of quantities, 46
Archiv.U, 28, 29, 72, 77, 86-88, 246 Billable hours, 39, 41
Archive, 4, 6, 7, 42, 68, 70, 91, 173, 222, 224, 244 Biltmore House, 39-41, 197, 228
Armature, 88, 89, 91 Biltmore Company, 39, 40
Puts, 3, 7, 10, 14, 16, 19, 25, 26, 38, 68, 84, 93, 94, 170, Blenheim Palace, 66
201, 205, 208, 222, 227, 232, 243 Blood, 58
Puts and Humanities Research CoWlcil (AHRC), 68, 232 Blue wool dosimeter, 211 , 212, 216
Artist, 5, 6, 15, 19, 26, 38, 42, 70, 82, 99, 103, 113, 164, Braid, 54
194, 195, 198, 229, 266, 283-289 British Museum, 9, 57, 183, 186
intent, 103, 284 Brooklyn Museum of Art, 90
philosophy, 99 Budget, 6, 9, 10, 15, 24, 29, 33, 35, 40, 43-48, 50, 51 , 93,
iU1<fact, 47, 55, 58, 100, 146, 152-155, 157, 158, 163, 165, 212, 247, 278, 287
167, 233, 245, 246, 270, 271, 277, 279-282 Bullet, 59, 158, 161
Arti.fuct, 85, 87, 89 Burlington House, 13
Ask the conservator, 104, 130, 134, 136 Burrell Collection, 93
Assessment, 10, 14, 15, 20, 25, 44, 46, 79, 116, 132, 148, Busbrress, 5. 6. 8. 32. 34. 35. 38-43. 45. 122. 127. 259.
153, 172, 173, 176, 199, 201, 207, 231, 254, 257, 270, 271
267, 275, 287 business-like. 5. 6. 32. 259
condition, 14, 15, 79, 116, 153, 172, 173, 176, 201, competitors. 5. 8. 41
231, 257 issues. 6
curatorial, 257 plan, 39, 41
large-scale, 257 priuciples, 39
ris~ 10, 20, 25, 44, 46, 148, 199, 200, 275, 287 Busbrress specialists
significance, 257-258 accountant, 42
see Audit graphic artist, 42
Attribute, 53, 55, 77, 83, 109, 111, 145, 168, 252, lawyer, 42
257, 282 rnarketing, 6. 38, 39, 41 , 42
physical, 111 photographer, 42
social, 77, 257 website designer, 42
see Properties
Audit, 44, 69, 211, 223-225 C
see Assessment Campbell Center for Historic Preservation Studies, 198
The Australian Institute for the Conservation of Cultural Canadja n Conservation Institute (CCI). 109. 142, 146, 186,
Material (AlCCM), 99 195, 198, 199, 232
Authenticity, 54-55, 225 Canop~ 68, 74, 272
Capacity, 28, 43, 44, 50, 51, 168
Capillarity, 166, 167
B ~ee~ 7. 9, 34, 37, 38, 263, 267, 269
Banner, 55, 102, 103, 123-129, 131, 142, 143, 145, 146, Caretaker, 277, 278
188-195, 286 Ceremonial occasion. 99
Beadwork, 111 Chelating agent, 128, 143
Beamish North of England Open Air Museum, 124 Chicago Historical Society. 59
 INDEX 301

CleanEng, 15, 21, 51, 57-59, 66, 112, 116, 127, 128, 141-143, retail, 3
146, 163, 166-168, 170, 177, 184, 185, 192, 198, 214, see also Business; Business Specialists
215, 229-233, 284, 265, 279, 280, 285 Communication, 13, 18, 22. 44, 45, 47, 48, 51 , 59, 60, 99,
agents, 232 100, 116, 146, 155, 181, 186, 205, 258, 267, 270,
dry, I43, 229 275, 278, 287
localized stain removal, 163, 166, 167, 169 Communities, 99-103, 105, lOS-1 14, 123, 125, 259
micro-vacuum, 192 Jewish, 102
surface, 15, 59, 112, 127, 128, 142, 177, 198, 214, 215 non-western, 26, 101
systems, 229, 233 Communio/, 6, 26, 42, 85, 96, 100-103, 108-111, 113, 123,
tidelines, 166, 242, 243 126, 127, 129, 170, 261, 282
~g, 192, 222, 233, 281, 282 involvement, 102. 103
we4 46, 57, 58, 142, 143, 183-185, 243, 264, 265, 285 Compensating for loss, 176--177
vacuurn, 128, 135, 192, 214, 218 see Loss Compensation
Client, 6, 28, 38--42, 45--47, 59, 70, 105, 163, 169, 170, Comprontise, 13, 18, 20, 22, 35, 36, 105, 111, 116, 137,
284, 266, 267, 274 169, 207, 243, 277, 278, 281
Climate change, 201, 254 Condition, 6, 13-16, 18, 24, 28, 30, 33, 34, 38, 57, 70, 76,
Close nailing, 175, 179 79, 80, 82, 86, 101, 113, 114, 116, 120, 135, 136,
Clothes, 59, 91, 120, 182, 213 141, 152-159, 170, 173, 176, 179, 181-184, 190,
Code, 7, 42, 56, 57, 99, 108, 275, 277, 278 191, 201, 206, 207, 210, 214-216, 225, 230, 231,
of ethics, 42, 56, 57, 99, 108 238, 243, 245-248, 250-252, 254, 257, 266, 277,
see EthiC.!l 279, 280, 287
Cold-lining technique, 186 assessment, 14, 15, 79, 116, 153, 172, 173, 176, 201,
Collaboration, 20, 25, 31, 34, 53, 64, 91, 99, 101, 110, 111, 231, 257
158, 159, 173, 186, 192, 207, 227, 228, 230, 232, checking, 34
233, 244, 246, 257-260, 274, 282 Condition Assessment Tool, 201
Collaborative compromises, 281 monitoring, 18, 210
Collasia 2010, 101, 116 report, 155-158
Collections, 3-7, 13, 14, 19, 22, 24, 25, 27, 33, 34, 40, 41, Connoisseurship, 69, 70, 72, 74, 75, 163-165, 170
64, 66, 77, 93, 96, 97, 100-104, 110, III, 117-119, Conservation cart, 104, 135
197-202, 204-213, 215, 221-225, 231, 232, 243, The Conservation Centre, Liverpool, 103
257, 258, 270, 271, 274, 275, 277-280, 282, Conservation materials' properties, 15, 113
285, 288 Conservation
care, 3, 19, 41, 103, 108, 197, 198, 207, 211, 271, 277, accessible, 103
279, 280 departtnen~, 4, 5 , 26, 34, 56, 57, 85 , 87, 93 , 103 , 202 ,
manager, 64, 66, 197, 199 228, 230, 259, 267
management, 4, 24, 34, 97, 152, 199, 212, 224, 225 expertise, 101, 244
management database, 152, 153 education programme, 100, 259
specialist, 202 philosoph~ 100, 277
survey, 44, 201 practice, 6, 10, 32, 4O, 42, 247
see Preventive Conservation programrnes, 28, 105, 198, 258, 264, 267, 268
Colonial Williamsburg Foundation (CW), 197, 204, 258 remedial, 3, 141, 257, 261
Colour, 19, 21, 22, 47, 63, 64, 71-73, 75, 80, 85, 87, se~ces, 4, 40, 42 , 266
105, 122, 127, 142, 155, 178, 183, 190-193, tnrlrring, 29, 31, 101, 105, 207, 258, 261, 270,
211, 214, 216, 218, 224, 238, 240, 242, 243, 275, 280
257, 284, 284 Conservator
changing, 71 responsibilio/, 28, 34, 99, 152
reference, 142 see also Contract Conservator, Freelance Conservator,
COIDD1e~. 3, 266 Freelance Textile, Conservator, Ou~ide
enterprise, 3 Consultant, Private Conservator, Private Practice,
marketing, 3 Private Lab
302 INDEX

ConsDLcrinm, 6, 9, 20, 34, 36, 43, 45, 177, 189, 239, 245, D
253, 274, 275 DaEruage, 15, 16, 21, 48, 63, 120, 125, 135, 144, 146,
Construction, 54, 60, 64, 72-74, 78, 79, 81, 91, 119, 134, 152-154, 158, 160, 172, 173, 175, 184, 189,
136, 141, 170, 189, 207, 218, 222, 238, 257, 263, 199, 201, 202, 205-208, 211, 222, 223, 233,
264, 284, 287, 289 242, 257, 287
Context, 13, 33, 45, 55, 68-70, 108, 109, 111, 112, 114, Database, 19, 27, 72, 114, 126, 152, 153, 155, 170
163, 176, 187, 214, 221, 227, 238, 247, 259, 266, Data logger, 211, 248, 250, 251, 253
267, 270, 271, 274-276 De-accession, 152
Contingency, 45, 51 Deadlines, 31, 51, 242
Contract Degradation, 144, 168, 173, 199, 222, 229-232, 264, 288
conservator, 28, 41 su Deterioration
culuue, 4, 28, 34-35 Ilernands, 6, 10, 18, 19, 23, 24, 43, 44, 59, 141, 243, 259, 270
work, 34, 89 Demos, 103, 261 , 275
see also Freelance Conservators; Freelance Textile Department of Culture, Media and Sport (DCMS), 228
Conservators; Outside, Consultants; Private de Young Museum, 26
Conservators; Private Practice; Private Lab Deterioration, 21, 117, 119, 125, 143, 173, 183, 198-200,
Contrade, 188, 194 206, 210, 211, 214, 215, 221-225, 231, 257, 266,
Convention on International Trade in Endangered 270, 271, 273, 279, 284, 288
Species (CITES) legislation, 33 factors, 125, 226
Cooper-Hewitt National Design Museum, 11 timeline, 231
Cope, 53, 54 su Degradation
Coptic, 181-183, 238 Designated, 3, 19, 128
Copyright law, 103, 283, 288 designation, 22
Corset, 58 D~, 72 , 78, 80, 141 , 142 , 152 , 153 , 155 , 180
Corsham Court, 171, 177 Digital, 7, 18, 97, 142, 146, 153, 191, 193, 215, 229, 231
Cost-effective, 33, 34, 39, 258 irnage, 18, 97, 142, 146, 153, 191, 193, 215, 229, 231
Costume, 5, 7, 10, 13, 15, 19, 24, 27, 28, 30, 32-34, 36, photography, 7, 153
38, 45, 55, 72, 73, 76, 80, 84-86, 87, 90, 91, 93-96, prints, 146
134, 146, 152, 153, 155-159, 199, 204, 205, 231, replicas, 146
232, 265 technology, 146
mounting, 32, 33, 36, 199, 203 Disaster preparedness, 198, 206
Courier, 5, 13, 14, 16, 17, 34, 111 Display, 11, 14-16, 44, 45, 50, 51, 76, 132, 134, 146, 173,
Course schedule, 117, 119 176, 177, 195, 205, 211, 246, 270-272, 280, 285,
Crease, 15, 95, 160, 182 287
Culuue and Sport Glasgow, 93 case, 14, 44, 50, 51, 134, 146, 176, 195, 246, 280
Cultural design, 7, 22, 197
group, 99 method, 21, 22, 85, 86, 91, 277, 285, 287
heritage, 3, 6, 10, 78, 101, 108-110, 112, 209, 228, 243, open, 11, 15, 16, 45, 76, 132, 173, 177, 205, 211, 270-
275, 277, 282 272, 285
material, 99, 100, 109, 266 su Exhibit; Exhibition
patrirnon~ 109 , 199, 277, 278 Display materials, 13, 21, 85, 87--91, 147, 179, 246, 247
preservation, 100, 282 Corre~, 21, 147
property, 99, 101, 108, 109, 198, 200, 206, 282 Ethafoarn™, 88, 89, 91, 147
sector, 3, 10, 266 expanded polyethylene foam, 147
significance, 257 Perspex™/Plexiglaso"/poly(methyl methacrylate), 13,
~to~ 7. 9, 10, 26, 31, 64, 70, 72, 84, 87-89, 91, 95, 105, 85, 179, 246, 247
111, 113, 119, 126, 132, 134, 155, 173, 176, 195, Plastazote", 147
214, 239 Velcro"\ 16, 85, 87, 90
curatorial, 4, 16, 21-23, 25, 27, 38, 50, 51 , 79, 80, 85, Diversity, 8, 9, 33, 141, 259, 275, 285
93, 95, 96, 103, 112, 113, 116, 118, 230, 257, 263 DNA, 58
 INDEX 303

Documentation, 57, 63, 80, 141, 154 Enryme, 55, 143

exanrination, 141, 154 Esh Winning Colliery Banner Group, 123, 126, 127, 129
recording, 57 Ethics, 42, 56-57, 99, 108, 271, 274, 275, 277
~tten, 63, 80, 154 code, 7, 56, 99, 108
Document, 66, 74, 102, 154, 159, 177, 189-191, 197, checklist, 56
227, 280 duty, 54
Donor, 7, 38, 69, 102, 225 Etlrnographic, 84, 85, 87, 89, 91, 99, 100, 109, 111,
Doublet, 59, 60, 261 165, 265
Dress, 19, 21, 22, 31-33, 35, 36, 59, 60, 73, 76-83, 89, 99, collection, 100
221-225, 278 material, cultural preservation, 101, 109, 111
Dryrnng, 166-168, 206, 265 European collections, 100-101
Duke University Program for Non-Profit European Confederation of Conservator-Restorers
Management, 40 Associations (ECCO), 267
Durham Miners' Association, 123, 125 Evenm, 76, 81, 104, 124, 127, 132, 136, 202, 209
Dust, 15, 27, 33, 51, 75, 119, 120, 122, 128, 135, 143, 189, Evidence, 9, 10, 54, 57, 59, 64, 67, 79, 111, 120, 142, 173,
192, 199, 211, 213-214, 218, 287, 288 174, 184, 243, 260
Dye, 21, 68, 86, 141, 143, 147, 168, 226-232, 243, 244, EOounination, 22, 57, 116, 120, 141, 153-156, 174, 184,
265, 286 186, 187, 230, 237, 238, 240, 242, 244-246, 267
analysis, 68, 229, 243, 244 drawing, 247
black, 168 Exhibit, 23, 70, 82, 89, 91, 103, 108, 111, 112,
custom dyed, 16, 146, 178 207-209
dark brown, 63, 168 exhibition, 13-16, 84, 85, 87
iluling, 202 touring, 18, 21 , 34, 287
fastness, 229 traveling, 33, 34, 81, 152, 154
fugitive, 143 see also Display materials
Expectation, 18, 45, 50, 79, 116-118, 127
E Exposure, 7, 66, 79, 189, 202, 205, 207, 212,
Economic, 3, 4, 10, 39, 41 , 42, 101, 104, 163, 169, 170, 241, 258
189, 227, 228, 275
economic constrainm, 36, 274 F
Education, 6, 10, 16, 26, 27, 100, 101, 116, 131-133, 163, Fabric, 3, 15, 21, 22, 46, 47, 51, 54, 55, 63, 64, 70, 73, 86,
166, 198-199, 258, 259, 263 87, 90, 94, 95, 121, 124, 128, 142-144, 146, 147,
educational need, 116 163, 167, 168, 172, 179, 183, 187, 19()"'195, 201,
Egyptian, 7, 55, 57, 187, 237, 238, 243 202, 209, 221, 225, 238, 246, 247, 251, 286
Electoral system, 3 damask, 71, 171-180
Electronicjournal, 9, 112 gauze, 74, 78, 214
see On-line journal net, 74, 172, 174-175, 177-180, 186-186
Embroidery, 20, 31, 50, 54, 55, 64, 74, 75, 88, 143, 163, nylon net, 78, 79, 95, 128, 144, 177, 183, 185, 243
166, 168, 170, 186, 201, 272 polyester crepeline, 128, 144, 184
drawn work, 74 polyester felt, 86, 88, 91, 246
Emory University, 40, 101 silk crepeline, 54, 145, 186, 191, 193
Michael C. Carlos Museum, 40, 101 Stabiltex, 56, 128, 184
Parson Conservation Laboratory, 40 nUle, 64, 74, 77, 190
Energy, 199, 201, 207, 241, 261 tented, 146, 188-190
Entrepreneurship, 37 see also Fibres
Environmen..u controls, 199, 201, 212, 219, 229, 273 Fac.rnniles, 189, 193
Environment, 3, 5-7, 31 , 40, 42, 57, 77, 83, 85, 91 , 114, Fading, 66, 174, 202, 219, 229, 238
147, 195, 199, 201, 202, 207-210, 222, 224, 230, Fee for service, 118
242, 248, 250, 259, 266, 274, 278, 285 see Bidding; Tendering
physical and social, 56, 83, 257 Fibre optic lighting, 212
304 INDEX

Fibres. 221. 230 non-westem, 26, 85, 91 , 265

cellulose, 75, 168, 183, 186, 194 George Tutill and Company. 123
composite, 85 George Washington Univel1!io/. 197. 198
cotton. 90. 121. 128. 143. 246 The Geto/ Conservation Institute (GCI). 101. 198. 259
flax. 172. 174. 178. 233 Glasgow Museums. 92. 93. 96. 97. 101. 271
linen. 21. 55. 60. 63. 163. 167. 172. 182. 233 Government
nabwL.U, 34, 229, 246 Conservative, 3
polypropylene. 21. 22. 144. 147 Department for Culture. Media and Sport (DCMS). 3. 33
rayon, 91 federal. 3
silk. 124. 128. 142. 272 funding. 3
synthetic. 221-223. 225. 231 House of Lords. 9. 228. 229. 235
wool. 64. 95. 187. 201. 242. 248. 251 Labour, 6
see also Textile materials President's cabinet, 3
Financial acumen, 35 President's Committee on the Arts and the
The Fine Arts Museums of San Francisco (FAMSF). 25 Humanities, 3
First aid. 125 regional, 3
F~tnations, 99 , 109 Republican PaTo/. 3
Flag. 7. 103. 194 spending, 3
painted. 142 state, 3
Flexible. 130 Grace Kelly. 76. 77. 81. 82
For-profit organization, 40 Group. 26. 27. 40. 57. 58. 99. 105. 117. 118. 126. 127. 134.
Foundation of the American Institute for Conservation of 136. 170. 230-232
Historic & Artistic Works, Inc. (FAIC), 5 discussion, 170
Fr.unes. 23. 24. 59. 134. 163. 171-173. 179. 210. 215. 246. leaming. 117. 118
253. 289
Freelance conservators, 3, 13, 14, 16, 34, 39, 228 H
freelance textile conservator, 4, 5, 13, 63 see also Hampshire County Council Museums and Archives
Contract Conservators; Outside consultants Service, 222
Fringes. 18. 63. 64. 74 Handle. 13. 58. 80. 105. 134. 155. 183. 199. 201. 222
netted. 7!1--75 Harper's Ferry Regional Textile Group
knotted. 28. 74. 141 (HFRTG). 55. 232
Funding. 3, 4, 6, 8, 10, 20, 22, 23, 25, 28, 29, 33, 34, 38, Hat, 28. 54. 223. 224
66. 68. 109. 127. 169. 215. 227. 228. 239. 243. 244. Health and safety, 44, 46, 147, 148
257. 258. 260. 282 Heritage Lottery Fund. 23. 127
charitable trusts. 270 Heritage Preservation, 6, 10, 199
corporate giving, 3, 133, 274 Heritage Health Index, 6
creative partnerships, 4 Heritage. 3. 5. 6. 9. 10. 23. 31. 43. 51. 78. 101. 108-110.
endowment, 3, 10 112. 118. 123. 126. 130. 170. 199. 209. 228. 229.
independent foundatioIl8, 3 258. 266. 268. 270. 271. 275-277. 282
individual giving. 3 institutions, 243
Institute of Museum and Library Services (lMLS). 3 sector. 3. 43. 51. 78. 100. 228. 229. 258. 266. 268. 276
National Endowment for the Arts (NEA). 3 H~toric, 5 , 6. 19, 33, 38 , 41 . 44. 51 . 57-59 . 63. 69-73 , 75 .
National Endowment for the Humanities (NEH), .3 85. 93. 95. 102. 124. 130. 144-147. 173. 175-177.
philanthropic. 124. 258 188. 189. 209-211. 214. 222. 228. 229. 231.
research funding. 148. 260 245-247. 270. 271. 274. 276. 278
sponsorship, .3 document. 59. 102. 177. 197
house, 6, 33, 44, 51 , 73, 75, 104, 173, 177, 197, 211 ,
G 215. 231
~ent, 8. 13 . 14. 31 J 59J 81 . 84-91 J 94J 96. 181, 183, Historic Royal Palaces. 41. 104. 121. 130. 137. 228.
184. 221-225. 231. 233. 241. 243 270. 271
 INDEX 305

175, 177, 188, 189,

1I~toricru, 6, 38 , 57, 59, 70, 93, 173, post-minimal, 59
205, 214, 228, 229, 238, 270, 271, 274 Investigation, 53, 67, 147, 230, 237, 239, 245, 246, 254,
context, 70, 214, 238 266, 270
record, 114 Iraq Cultural Heritage Conservation Initiative, 101
significance, 257 Iron, 128, 143, 166, 168-170, 172, 183, 184, 233
lIousekeeptng, 197, 210, 211, 213, 215, 216, 219, 287 iron (ii) ion indicator strips, 169
House of Lords Science and Technology Committee on iron (ii) ions, 169
Science and Heritage, 9 Iron grul, 168, 170, 233
Humidification, 142 corrosion, 168
ultrasonic, 191 ink, 168, 170, 233

I J
Iconography, 102 Jewel, 54
Ideology, 82, 83, 109
Imperiru College London, 31 K
Independent lab, 37 Kelvingrove Art Grulery and Museum, 94, 96, 97
Infestation, 15, 152, 154, 202, 213, 215, 280
Infr.cred(UR), 207, 231, 239, 240 L
Institute for Conservation (Icon), 5, 6, 9, 56, 99, 108, 143, Laid-off, 42
186, 197, 199, 275, 277 see Redundant
Conservation Register, 8 Learn, 27, 38, 39,41,45, 103, 105,204, 260, 263, 281
Icon Award for Comervation, 261 Libraries, 4, 6, 7, 93, 214, 258
Professional Accreditation of Conservator-Restorers Light, 7, 15, 20, 64, 66, 67, 79, 119, 120, 135, 181, 183,
(PACR), 8 187,189,190,199-201,205,207,208,211-213,
Intangible heritage, 100, 108 216,219,230,239,240,242,257,279,280
Integrated pest management, 209, 213, 280 danoage,125,135,201,218,257
Integration, 146, 176, 178, 242, 264, 268 fading, 66, 202
Intellectual control, 201 lux, 120, 195, 212, 216
Interaction, 77, 78, 81, 83, 104, 117, 122, 205, 245, 286 naOIr.U, 207, 208, 213,219
Inter-discipIinary, 17, 168, 289 visible, 211, 239, 240
Interim, 44, 232 Loan, 13, 14, 16, 18, 76, 81, 82, 111, 126, 129, 152-154,
Interior designer, 74 159,183,189,283,286,287
The International Centre for the Study of the Local solution, 16
Preservation and Restoration of Cultural Property Lord Rochester's bed, 67, 68
(ICCROM), 101, 198 Los Angeles Couno/Museum of Art (UCMA), 27, 73, 152
International Institute for Conservation of Historic and Loss compensation, 30
Artistic Works, 186, 275, 277 see Compensating for Loss
Intern, 29, 39
tnternship, 264, 268, 271 M
pre-programme internship, 259, 264 MA level, 10, 259
see also Apprenticeship master's degree, 8
Internet, 7, 170, 171 ldanagernen,44, 101, 199,202,207,210-211,215,222,
Interpret, 210, 247 258,270,273
interpretation, 7, 21 , 33, 47, 51 , 53-55, 60, 67, 75, 84, skills, 6, 41, 51, 251
85, 96, 97, 131-133, 136, 142, 176, 205, 218, 219, museum, 6, 197
222, 243, 245, 247, 257, 258, 270 pest, 117, 197, 209, 279, 280
re-interpretation, 21 , 54 time, 32, 35,45,47,51,267
subjective, 53 Manchester City Museums and Art Galleries, 19
Intervention, 21 , 57, 59, 80, 111 Manchester Museum of Science and Industry, 7
minllruU, 21, 57, 59, 80, 111 Mantua, 53
306 INDEX

~u£acturing,33,125,148,222,229 mounting, 5, 7, 15,18,20,21,25-27,32,36,54,85,87,

Maori community, 100 88,91,92,141>-147,185
Maori conservators, 100 techniques, 5, 7, 87, 91,185
~neqtWn,33,54,76,94-95,146,225,243,268,280 three-dimerulional, 84, 91
fOrnlll, 95, 268 two-dimensional,91
~keting,6, 10-11,41-42,132 see also Display Materials
department, 39 ~ulti-disciplinary,48, 106, 270, 274
see also Business; Business Specialists Museum Ethnographers Group, 101
Material, 69, 71>-78, 81, 83-ll5, 109, 141, 160, 213, Museum of Chinese in America, 102
245-254,277 Museum afFine Arts, Boston, 7, 201
culttrre,69,71>-78,81,83,84,277 Museum of London, 7
feathers, 85, 109, 141, 213 Museum of Popular Tradition, 119
hydrophilic/hygroscopic, 245-254 Museum of Turkish and Islamic Art, 18
hydrophobic, 245, 247-251, 254 ~useuDl,8-8,10-11,25-33,55-57,70-72,92-94,91>-97,
leather, 141 99-104,108-112,116-117,129,199,205-206,
metal,141 225,261>-267,282-283
nanxr.U,34,113,147 environment, 7, 85, 91, 210
non-material, 56, 171 local, 4, 41, 116, 118, 121, 270, 271
paper, 141, 160, 228, 280 national,89,94,99,100, 104,108-110, 116-119,243,
plastic, 141, 284 254,257,259,281
properties, 56,77,83 regional councils, 4
see also Display materials state, 105
Mattress, 132-137 Museums Association Certificate, 31
~edia, 159-161,228,275,289 Museums and Galleries Commission, 5
Methodology, 22, 29, 46, 66, 85, 89, 91, 92, 111, 112, Museum Srudies Programme, 9, 266
116,127,154,155,164,170,171,214,229,237, Museums, Libraries and Archives Council, 4
245-248,250,251,270,271,283
The ~etropolitan ~useum of Art, 7, 11, 18, 70, 84, N
81>-88,227,228,232 National Center fur Preservation Technology & Training
The Costume Institute, 11, 87 (NCP'IT), 198
The Department of the Arts of Mrica, Oceania, and National Museum of the American Indian (NMAI), 89,
the Americas, 84 99,100,108-114
Michael C. Rockefeller Wing, 84, 85 National Museum of the American Indian Act, 109
Textile Conservation Deparonent, 85, 87, 228, 230 National heritage science strategy, 228
Microclimate, 245, 248, 253, 254 National Park Service (NPS), 199, 231
Microenvironment, 245-248, 25~ The National Museum of New Zealand, Te Papa
Microscopy. 239 Tongarewa, 100
Midwest Art Conservation Center (MACe), 41 National Museum of Wales, 257
Miners' Union Lodge banner, 123 National Trnst, 6, 10, 33, 45, 47, 52, 55, 68-64, 108-104,
~odern,99,14I,197,22I,222,225,229,231-233,260 197,211-213,259
artwork, 99, 260 Blickling, 48
materials, 141, 197, 221, 222, 225, 229, 231-233 Cotehele House, King Charles Room, 63
~oisture content, 246, 248, 251, 253, 254 Hardwick Hall, 50, 229
~oisttrresorption,248,248,251-254 Osterley Park House, 33
~onitoring, 18, 33, 45, 47, 117, 119, 197, 200, 205, Snowshill ~or, 47, 50
208-210,212-219,247,248,250,251,253,254, Textile Conservation Studio, 45, 94
266,273,274,278,280 Tyntesfield, 103
~ount, 18-14, 22, 34, 44, 87, 89, 91, 146, 247-253, 279 Uppark,55
costume, 13, 32-34, 199 Wallington, 210, 215-220
 INDEX 307

National Trust for Scotland, 106 Palio, 188, 195

National Union of Mineworkers, 124, 125 Participant,78,81,115--122,128,279,280
Native American Graves Protection and Repatriation Act Partne~lrip,4,31,100,101,108,110, 112,114,199,
(NAGRA),l09 227,237
Native peoples, 99,110,114 People's Museum, 103
native communities, 99-102,109-112,114 Permanent collection, 28,29, 152-154,261
Native Americans, 89, 108, 109, 111 Perth Museum and Art Gallery, 261
native North Americans, 87 Pest, 135,199-201,213,216
NeecUe>n>rk, 30,50,59,66, 163,210-213,215-219 monitoring, 120, 213, 278
Negotiating, 35, 40, 131, 132, 270 Petrie Museum, University College London, 55
Non-destructive testing, 230 Petticoat, 53, 73, 78-82
North American Textile Conservation Conference Philadelplria Museum of Art (PMA) , 5, 70, 76, 78, 79, 81
(NATCC), 9, 55, 99,168,199,227,233 Photographic, 46, 214, 242, 244
North Carolina Museum of Art, 39 documentation, 153, 155, 159, 273
North Carolina State University, 228 enhancement, 192
Physics, 229
o Pitt Rivers Museum, 101
Object based training, 69, 75, 266 ~ning.l0,16.22.33,35,43-47,50,51,91.112,
Objectives, 22, 43, 48, 50, 51,115--119,215,246,275 115-118, 122, 131, 132, 134, 146, 155, 199,
Objects, 7, 19-21,31-34,47-48,55-57, 65--70, 85-86, 267,270,286
111-113,129,131-133,141-142,155-158,185- Political parties, 3
187,228-233,243,257-258,270-275 Pollen, 59, 120
significance, 14, 21, 53, 57, 59, 63, 66-69, 99, 258, 266 Practical session, 115--120, 122
three-dimensional, 84, 86, 173, 264, 280 Preparation,21,26,85,111,116,117,121,122,152,161,
Observation, 53, 66, 141, 155-158, 161, 227, 267, 280 191,193,194,205,206,237,241,247,278,286
On site, 40, 42, 48, 50-52,111,127,131,132,134,135, Preserve, 11,54,55,58,64,104,110-111
279 preserring, 53, 57, 63, 67,68,77, 82,99, 100, 109, 118,
On-line journal, 34,198 129,145,176,179,184,206,257
see Electronic Journal preservation, 6, 10, 13, 14,16,22,53,55,59,73,85,
Open display, II, 15, 16,45,76, 132, 173, 177, 179, 205, 99-101,103,105,108-112,114,163,168,204,
211, 270-272, 285 225,228-231,233,243,245,258,270,282
Organization, 3, 41-42, 51, 93,198,213,270-271, preservation and access, 6
275-275 Pre.mre mount, 57,147,245-254
organizational, 40, 274 Preventive conservation, 197-225, 234, 263, 266, 277-282
Original element, 175, 179 cleaning, 197
Original feature, 55, 172-174 collections care, 3,19,41,103,197,198,211,279,280
Original upholstery, 171, 173, 176, 177 disaster preparedness, 198
Outcome, 18,45-45, 78, 103, 121, 122,215,233,268 display desigo, 197
Outside consultant, 3 environmental monitoring. 117, 197
see also Contract Conservators; Freelance Conservators; event protection, 198
Freelance Textile Conservator; Private pest management, 117, 197, 209, 280
Conservator; Private Practice; Private Lab storage desigo, 197,228,289
Oxidizing agent, 166, 168, 169 Performance,6,22,45,86, 104, 144, 171,207,246,247,
259,274
P Priorities, 10, 31, 44, 45, 50, 85, 110, 207, 232, 257,
Painting, 64,87, 128,143,146,160,218-219,228,270 259,270
conservation, 127-128, 144, 230, 270 Private collection, 38, 117
Palace of the Legion of Honor, 25 Private, 8, 32, 37, 41-42, 259
The Palace Museum, 16, 17 conservator, 28, 42
308 INDEX

Private ( Continued) centre, 228

practice, 32, 37, 40-43,259 Registrar, 152, 154, 155, 158-159
lab,28 Reinstate, 82, 178
see also Contract Conservators; Freelance Conservators; Re-interpret, 21, 54
Freelance Textile, Conservator, Outside Re-integration, 146
Consultant Relative humidity (RH), 119, 120, 144, 212, 216, 246-246,
Procedure,44,45,96,161, 168,173, 189-191,274,284 248-254
Production,23,66,72,126,146,191,257 Religious, 96, 102,109,111,277,278
ProfesMon,3,7-10,31,57,105,136-137,181,227, Renaissance in the Regions, 4,19,20
259-260,267 Repair work, 172-173, 175
professional development, 6, 8, 33, 35, 198, 259, 260, repaUing,26,30, 100,257
263,275 RepaU>,26,30,46,174,191-192
profesMo~,9,14,136,163, 170,197,282 see also Alterations
Profit, 40, 42, 170 Repattiation,96,101,109
Prograrrune,9,10,27,31,33-36,41,42,45,52,57,77, DepaDiate,96, 101, 109
100, 101, 103-105, 109, 116, 122, 130, 131, Repeatable, 233
136-137,152,170,181,227,259-260,267 Replacement, 22, 23, 48, 80, 82, 272, 289
Project, 28, 32-33, 35, 38-39, 44-51, 66-68,101-102, elemenOl, 173, 176
126-127,129,131-136,232-233,238-240,270, Replica, 59-60, 67-68,80, 126-127,134, 146,190,191,
272-273,278 193,194,211,216,243
conservator, 47, 48 replication, 123, 188-195
rnanagement,6, 32, 36,43,51, 116,259, 267 Report writing software, 154
manager, 43, 45, 51, 202 Research, 33-34, 59, 68, 74, 96-97, 170, 186-187,
projectcuJuue,4,5,13,34 222-225,227-229,232-233,246-247,254,261,
project-led culture, 36 266,270-271
Properties, 6, 10,45,48,50,66, 125, 143, 145,187,218, development, 229
221-222,230,232,264,270 oqject based, 69, 75
ph)'Sical and cultural, 77, 83, 99, 108, 109, 166,206, scientific, 168,227-254
245,282 Resource, 34,38,40,42,44, 68, 117, 122. 198,285
see Attributes Respect,9,14,18,38,85,102,112,272,275,281
Protection,23,59,101,104,173,179,198,206,208,212, Responsibilities, 4, 44, 47, 99,112,197
218,274,277,280,282 Restore, 109, 142, 193,204,206,272
Public engagement, 46, 102-103, 105, 106, 137, 261, restoration, 28, 54, 71, 97, Ill, 125, 146, 165, 229
267,271 Retouching, 127, 128
Public relations, 39, 42 Re-treatability, 57
PublicatiOrul, 34, 69, 77, 143, 145, 197,199 Reupholster, 57
technical, 55 Revealing,53,66,68,91,163,171-179,258
Putting the house to bed, 104 Reversibility, 57, 280
Review, 10,29,34-44,45,50-51,93,153,186,223,227,280
Q
Ftisk, 10, 16,36,47, 118, 125, 168, 179, 192,200,205,206
~fication.6,7.31.43
assessment, 10, 20, 25, 44, 46, 275, 287
R Role, 4,9-10, 13-18,25-30,32,33,35,36,44-45,47,50,
Realistic, 44, 72, 165, 199, 207, 243 92,93,99-100,118,129,136,177,202,232,259,
Reconstruction, 53, 58, 67, 90,94,95 261,264,265,270-271,274-276,288-289
reconstructed, 54-55, 94, 204 object, 56-56
Redundant, 10, 42, 143 Royal Academy of Art, 13, 15, 18
see Laid-off Royal College of ArtlVictoria and Albert Museum
Regional Conservation Course, 31
lab,41 Royal Institute for Cultural Heritage, Brussels, 243
center, 170 Rotation, 7, 152, 154, 214
 INDEX 309

S Stakeholder, 41, 54--55, 59, 99,101-102,105,118,127,

Salaried, 26-28 274-275,282,289
unsalaried, 26 Standard term, 156, 160
Sample~ 163-171,201,265,279 Stanford University, 258
Sampling, 239, 242 Stibbert Museum, 186-195
minimal, 230 Stiteh, 172, 176-179, 191,211,215,279
Science, 31, 131, 163, 169, 170,207,210,211,227-230, stittlrlng,16,47,63-64,67,80,95,143-144,147,
232,266 176-179,181,184,229,242,263,284-285
advisor, 48 stittlrlng techniques, 144, 172, 263
methodology, 229, 245 Storage, 6, 22-25,50,60, 73, 84-85,90, 125,146-148,
scientific approach, 247 201-203,207,215,231-232,280,282-283,
scientist, 168, 170, 187, 227-229, 232-233, 245, 247, 287-289
264,273 long tenn, 55, 66, 280
Seat support non-interventive, 179 Strategies, 3-4, 33, 79-a0, 82, 113, 170, 215, 223
Semi-transparent overlay, 177 for treatments, 170
Sennces, 3,4, 33, 40-42, 48 for museums, 3-4, 33, 79-a0,82, 113, 223
Shallow tufting, 174, 177-178 for whole collections, 215
Shoes, 59, 78,93, 120,265 Strengths, 20, 44, 63, 128, 181,184,223,233
Significance, 257-258 Studio manager, 43, 45
Silk crepeline, 54, 145, 186, 191, 193 Stud~4-6,10,13-36,43-52,63-106,106-137,152-195,
Skil1s, 25, 27, 28,31,33-35, 36,42,51, 69, 100 204-219,221-225,237-254,263-289
business, 6, 32, 270 piece, 177
judgernentU,56,145,257,258 Suction table, 143, 166-169
management, 6, 41, 259 downward airllow, 166-167
preservation of, 100 lateral airllow, 167
project management, 259 pressure
skilled practitioner, 100 vacuum, 143, 265
technical, 36, 38, 194, 257, 259 Surfactant, 143
thinking, 259 foam, 143
Smithsonian National Museum of American History, 104 non-ionic, 143
Smithsonian Institution Museum Conservation Institute, Synperonic N, 143
227 Supervisor, 40, 238
Society, 6, 96, 99, 108, 169, 199,259 Support
Soils, 57, 61, 149, 173 adbeMve,181, 184, 185, 193-194,263
Solvent, 128, 147, 167, 191 fabric, 15,91,143-144, 146-147
chlorinated, 143 natural, 143-144
organic, 143, 186 painted, 57
South Carolina Confederate Relic Room and Military patches, 128, 144
Museum, 102 printed, 66-68, 193
Specialisation, 5, 57, 198 stitebed, 143-144, 184, 185,225, 243
Spectroscopy, 225, 239, 242 Surveys, 4,44, 148,211,214-215,270
Spreadsheet, 47, 142 Suspended laboratory, 190
Stabilise, 91, 111, 147, 156, 176-177, 179, 181, 245, 272, Sustainability, 207, 209, 277, 281
278 Swedish Institute, 102
stabilised, 80, 128, 176, 185, 212, 272 Syllabus, 258, 278
stabilisation, 111, 112, 179,233,273 see Bibliography
Saun.,18,57,160,163,166-168,173,218,233,236-240,
242-244,249-251 T
sGUning, 128, 143, 160, 166, 168, 169, 183,237-239, Tangible, 105, 106-111
240,242-244 intangible, 100, 106-114
310 INDEX

lapestry. 26.27.29.30. 34. 39. 46-48. 183.184.198.229 silk, 54, 56, 63, 64, 70--72, 73, 7S--81, 124--125, 128, 135,
tapesbies, 26, 27, 29,31, 39,45,46, 143, 144, 146, 165, 142.145.171-172.174.176.177.179.184.186.
186.229.257-258.283 189-193.194.201.202.215.218.219.261.272.
Tassel. 54. 67. 190. 194 281
Tate Modern, 8, 259 stretehed. 141. 284
Techniad.141-254.260 synthetic. 284
advances. 141-254 see Fabric; Fibres; Materials
developments, 141, 260 three-dimensional, 68, 84, 89, 159
TechnicUuI. 19-25.94. 192-193.209.277.287 woven. 89. 166-167
Technique. 75. 87. 154-155.178.186. 187. 191.229.239. Textile Conservation Centre (Tee). 266, 267
240.242.273 MA Museums and Galleries, 266
Technology. 55. 117. 131. 142. 143. 146. 166-168.210 MA Textile Conservation. 85. 254. 263-268
Temperature, 119, 120, 185, 199,223,225,245-251,253 Textile Conservation Laboratory, Cathedral Church of St.
Tendering, 6, 44 John the Divine. 39
competitive, 6, 44 Textile Conservation Workshop. 38, 163
see Bidding; Fee for service Thangka, 278
Tensile. 144. 181.184.223 Theory. 145. 169-171.247.264-266.279.280
machine, 144 Theatrical costuming, 38
strength. 181. 184.223 Timescale, 44, 46, 50, 51
Textile. 3-10. 13-18.31-36.50.53-59.63-97.130-137. Timetable. 48
141-148.152-195.197-202.204-219.221-225. Top cover. 171. 172. 174. 176-179
257-261.263-289 Topkapi Palace Museum. 13. 14
archaeologiad. 34. 59. 147. 181. 184 1raUting. 5.8-9.29. 31. 44. 47. 101. 104. 105. 198.215.
art, 19,31 261.284.267-268.277-280.282
ceremonial, 99 apprenticeship. 31. 36. 258. 259. 265
contemporary. 283. 285. 288. 289 course. 31. 36. 115-122
darnage. 15. 16.21. 141. 144. 155-157.202.206-207. route, 7
287 Thmsit, 5.14.17.18. 154.198.246
dye bleeding. 141. 143 Treattnent,3-7. 14. 15.20.21.25.28.29.53-97.99-104.
dyed. 84. 95. 128.177.184.191.193.286 111. 112. 114. 127-129. 131-132. 134-136.
embroidered, 46, 63, 64, 166 141-146.152-154.163-166.168-170.173.
felted. 141. 167 176-178.181.184-186.190-192.199.201.
flat, 86. 157 206-209.215.230-233.237.243.259.261.264.
flexible. 130-136 266.267.269-270.272-274.277-282
funUBhing. 19.63.71. 231 adhesive. 55. 143. 145-146. 181. 186
heritage. 117. 118 consistency of, 29
history. 31. 72 documentation, 114
industry. 19.228.223 humidification, 145
knotted. 28. 74. 141 in..itu.171-180.194.215
linen. 60. 63. 70.72. 94. 102. 144. 167.168.176.177. interventive, 15, 20--21, 34, 55, 80, 104, 179, 202. 232.
179.181-184.215.233.284 260.270
materials. 33. 34. 117 mi.n.iJruilly interventive. 57. 179
modern. 30-37. 103.233 non-interventive, 179--180
painted. 143. 265 non-intrusive, 57
printed. 66-68. 70. 72. 193.278.279 non-invasive, 57, 225
religious. 102 options, 53--97
sacred. 102 past, 260
scholarship. 71. 75 phases. 173
shrinkage. 141. 168 preventive, 148
 INDEX 311

prioritise. 10. 172. 215. 257 Vruue. 38. 57.59.99. 112. 146. 153. 165.206.221.225.
processes, 230, 232 245.257.258.275
proposruo.44. 96. 267 Venues, 4, 5, 13,26,34, 287
rationale, 59, 141 Versterheim Norwegian-American Museum, 102
rernedliU,5, 215, 261 Victoria and Albert Museum. 5.19. ~()"'~7. 56.181-187.
report templates, 38 231.237.263
report. 55. 59. 80. 83. 114. 142.279.280 Conservation Department, 26, 34, 56
.titchtng. 143-144 Furniture, Textiles and Fashion Department (FTF), 34
textile conservation, 39, 59,131,141,148,270 Medieval and Renaissance Galleries. 187. 237. 238
time. 38. 170.189 Virtual centre, 259
treatment-focused, 259 Vitrine.85
'IIue narure, 54-56 Vi~to~4-6. 7. 18-20.31-33.45.80.85.93. 104. 13()"'137.
Tufting. 174. 177. 178 199.208.215.258.273.275.277
impact, 199
Visuru. 46. 47. 51. 64.176. 189.193.238-240.242.244.
U
258.278.285
Ultraviolet (UV). 211. 212. 230. 239. 240. 242
integration, 178
The United Kingdom Institute for Conservation of
re-integration, 146
Historic and Artistic Works (UKIC). 6. 9. 143
Volunteers. 5. 23-30. 44. 51. 103. 212. 215. 259
Code of Ethics. 56. 99
activities, 30
Guidance for Conservation Practice, 56, 57
project
United Nations Education Scientific and Culnu-al
parameter. 28-29
Organization (UNESCO). 108-110
University of Bradford, 237, 244
W
University of Cardiff, 198
Wallington. 210. 212. 215-219
University of Delaware Art Conservation Program, 198
Weaknesses, 44
University of Manchester Institute of Science and
Website, 7, 8, 19, 34, 136, 170, 261
Technology. 184
Welted seam. 174-178
University of Northumbria
\Vetclearring.58. 142-143. 184. 185.264-265.285
University of Southampton. 68. 77. 229. 234. 263
see also Cleaning
Textile Conservation Centre, 9, 27, 36, 59, 77, 104, 200,
Whalebone, 58
202.225.228.233.263
baleen, 58
Upholstery. 72. 73.173.175-180.189.194
Whitworth Art Gallery. 19. 20. 10~. 28~. 286
conservation. 173. 177. 179
Winterthur. 69-75. 203
furniture, 46
MA Program in American Material Culture, 69, 72
profile. 172. 175.177
MA Program in Art Conservation, 69, 73 see University
under..tructure. 171. 173. 174. 177
of Delaware
techniques, adaptation of, 177-179
US Regional Alliance for Preservation (RAP). 42
X
X-radiography. 239. 241-242
V
Vacuum hot table, 185, 186 Y
sa also Suction table York Gallery. 53