TEXTILES WORKING GROUP
COMMITTEE FOR
CONSERVATION
TEXTILES
NEWSLETTER
Ministero per i Beni e le Attività
Culturali
Istituto Centrale Restauro
NUMBER 15-16
1999/2000
This Newsletter is dedicated to the memory of Ágnes Tímár Balászy
First of all, I would like to excuse me for the prolonged bud unwonted
silence due to unexpected happenings and conditions. After the Triennial
Meeting in Lyon, with my assistant co-ordinators, Patricia Dal Prà, Lynda
Hillyer and Dinah Eastop, I had lined out the essential themes to deepen in
By Rosalia Varoli Piazza
these three years. Unfortunately a serious disease occurred to ICR’s
Istituto Centrale del
director, Michele Cordaro, a dear friend and colleague of mine since many
Restauro, Roma
years, ending with his death last March 2000. With him we all have lost a
faithful supporter of what we intend is the real restoration/conservation,
always involved in the studying and understanding of the works of art and its conservative history
that could have changed its original appearance and further the ways of transmission of the intrinsic
message of the piece of art. He was the first that made me interested in the world of textiles, always
supporting my activities in Italy, but most of all my work for ICOM, sustaining particularly the
Newsletter editions. He has always been a brave champion of inter-disciplinarity, not to be confused
with multi-disciplinarity, and in this he reassembled Ágnes Tímár Balászy, to whom we dedicate this
Newsletter. Its is just in this field that each of us might remember Ágnes many attempts, often
successfully ended, to try to work together. I am pleased to remember both of them through their
contributions on this subject to the Interim Meeting in Palermo in 1998, each of them unknown to
the other (pp. 15 -17)
Unfortunately, we must remember an other dear and tireless colleague, Rikhard Hördal, who died
just a few days before Ágnes. Together we had recently worked in the Symposium held in
Amsterdam about textile conservation and the co-operation and continuity in textile conservation
education, in the middle of November 2000. He proposed the creation of a textile subgroup inside his
Training in Conservation Working Group.
These sad news must give us the strength to continue their work, even if this will be extremely hard
to do, because all of them have been so active, and in such an intelligent and generous way, giving so
many contributions and ideas, never fearing expressing or confronting their opinions and their
working hypothesis, trying making people working together in order to achieve the common purpose
of preserving our cultural heritage.
In this path we must go on, even if our harts are full of sorrow, as they, first of all, should have
desired.
Therefore you will find this Newsletter even on the web, for a fast and economic circulation. I would
try to update the News about conferences, exhibitions, publications and courses reaching who are
interested in the easiest way. I hope I will be able using this electronic Newsletter to achieve a fast
and easy debate and exchange of ideas and opinions. Any contribute is well accepted.
I would like to end my message, remembering that the idea of establishing the Newsletter as an
instrument of exchanging news and ideas, and its realisation from the first number in 1991, is to
ascribe to Ágnes Tímár, with her inventiveness, professionalism and generosity.
Therefore I exhort you to become an active part!
MESSAGE OF
THE
COORDINATOR
NEWSLETTER
2
OBITUARY
Ágnes Tímár Balászy, MA, PhD
b. 14.02.1948 - d. 22.03.01
Several weeks ago Ágnes Tímár Balászy told me that her battle against cancer had become a war.
She’d been diagnosed with breast cancer about eight years ago; by the time of the 1996 ICOM-CC
meeting in Edinburgh she had lung tumors, and last year she developed liver cancer. Ágnes, best
known to members of UKIC for her enthusiastic teaching of chemistry to textile and paper
conservators, will always be remembered as a joyful and passionate person, with vision, intelligence
and determination. This was combined with pragmatism, and the ability and willingness to work
very hard.
Ágnes gained a Master’s degree in Chemical Engineering in 1975, and a PhD (on the
investigation of historic dyes) in 1997. Ágnes was employed at the Conservation Department of the
(Hungarian) National Centre of Museums, working first as a conservator and since 1975 as a
conservation scientist. She was involved in the development of career-entry, mid-career and
academic training programmes in Hungary for many years. In 1989 she was appointed Head of the
Faculty of Object Conservation (Hungarian Academy of Fine Arts and the Hungarian National
Museum). She was appointed Professor in 1997.
Ágnes’s strategic vision and her ability to get things done meant that she served international
professional bodies, most notably ICOM-CC and ICCROM. She was a member of the Directory
Board of the Hungarian National Committee of ICOM from 1989-1995, and secretary since 1995.
She also served ICOM-CC as Assistant Co-ordinator of the Textiles Working Group from 19871990, and Co-ordinator from 1990-1993 and 1993-1996, years marked by two interim meetings
(published as ‘International Perspectives on Textile Conservation’ edited by Agnes and me, 1998)
and eleven newsletters. She was elected a member of the Directory Board, 1996-1999, and in 1999
she was elected as Deputy chair.
Ágnes served ICCROM as a Council member (since 1994), Vice-Chair since 1999 and as a
teacher on a range of ICCROM’s programmes. She taught in many different countries and in many
different conditions. When she discovered that the ‘laboratory’ where she was due to run a course
was without any glassware, she set about collecting plastic bottles and marking them. Within a day
she had assembled a working set of ‘measuring cylinders’ and funnels.
Her influential role in the development of conservation education extended from organising short
courses in Hungary for both East and West European conservators, to her work in the UK via
teaching at the Textile Conservation Centre (from 1988), for Jim Black’s IAP Summer Schools
(since 1989), and at the Victoria and Albert Museum; she also taught in Austria, Chile, Ghana,
Nigeria and Zambia via ICCROM; and at the Abegg-Stiftung, Switzerland. She loved teaching, and
managed to make arts-trained conservators feel that chemistry was fun. She took great care in
preparing her teaching material, and appreciated the teaching techniques she’d been taught by Robert
Ferguson (Institute of Education, London). She managed to inspire enthusiasm for chemistry in
even the most reluctant course participant. Her idiosyncratic pronunciation of the word ‘molecule’
endeared her to many. Here it must be noted that Ágnes was a skilled linguist: she spoke English
and German very well and had studied Russian. She devoted much time to improving her English so
that she could read specialist literature. She made English and German-language material available,
e.g., she translated ‘The Elements of Archaeological Conservation’ (Cronyn 1995) into Hungarian.
One notable tangible outcome of her many years of teaching was ‘Chemical Principles of Textile
Conservation’ (Timar-Balazsy and Eastop 1998). Agnes was delighted to see well-thumbed copies
in conservation workrooms, and to receive questions and comments arising from it. She and I have
been preparing a revised edition, and Agnes was working on this until shortly before her death. Her
husband (Dr. George Timar) tells me she has left me a pile of articles she had collected for the
revision, and which she had not finished reading. She was very honoured to contribute a review of
wet-cleaning to the first issue of IIC’s Reviews in Conservation (Timar-Balazsy 2000). On her last
3
NEWSLETTER
birthday Ágnes tried to convince me that ‘work was the best medicine for her’; this approach had
certainly worked for many years. She hated being bored; as long as her mind was active she could
cope with the occasional debilitating tiredness and wave of misery, and the loss of her beautiful red
hair.
Ágnes played a key role in welcoming colleagues to Hungary, both to enjoy the landscape and
the hospitable culture of her home country, and to take pride in the work of conservation there. She
was an excellent ambassador for Hungarian conservation. Many of her older friends met her first in
Veszprem in the wonderful conferences organised by Ágnes’ mentor, Istvan Eri. The restrictions of
the Iron Curtain fostered in Agnes an intense curiosity for other countries and cultures. Ágnes was
born and brought up in Soviet Hungary, a child during the Hungarian revolt, she was a fervent
European before the fall of the wall. Her enthusiasm for travel was shared with her husband and they
traveled widely as soon as this was possible.
Ágnes was indefatigable in her love of Hungary, in her commitment to international collaboration
and her infectious enthusiasm for chemistry and culture. In announcing her death, George Timar
wrote: “Please keep her memory alive”. Forgetting Ágnes seems quite inconceivable; she’ll live on
in her publications and in the sense of joy and enquiry which she inspired. For those who knew
Ágnes and worked with her, she will be impossible to forget: she just meant so much to so many.
02.04.01
Dinah Eastop,
References:
- Cronyn, J. 1995. The Elements of Archaeological Conservation. London: Routledge, 326pp.
- Timar-Balazsy, A. and Eastop, D. 1998 (reprinted 1999) Chemical Principles of Textile
Conservation. Oxford: Butterworth-Heinemann, 443pp.
- Timar-Balazsy, A. and Eastop, D. (eds.) 1998. International Perspectives on Textile Conservation.
London: Archetype Publications, 160pp.
- Timar-Balazsy, A., 2000. Wet-cleaning of Historic Textiles. Reviews in Conservation (IIC), Vol.
1,
Many people may want to send messages of condolence or personal memories of Agnes to her
husband to support him in his loss.
You can contact Dr George Timar directly on his email address:
[email protected]
A memory from the Italian Textile Restorers
On march 22 Agnes Timar passed away.
It was a too early loss which left us with a big missing sensation and a great sorrow.
Thanks to her charisma, professionality and great enthusiasm, during the six years of her co-ordination in the
Textile Working Group, she reached very important results in a field often considered secondary, in which she
put all her efforts.
Despite the importance of her role, she remained simple and encouraging for anyone..
In Budapest, during her course: “Chemical background to Conservation of Textiles, Leather and Metal
threads” she was able to fill up our blanks, to understand our needs, taking in great consideration how to
improve her lessons. She was very often with us during those weeks, ignoring her formal roles, showing
interest towards any of us, catching any of our doubts and insecurities.
For all of us she was a very important person, a reference. In all of us remain something from her, many
beautiful memories, suggestions and incentive in proceeding despite difficulties.
For many of us she has been a wise and objective friend.
She faced her pain with a great strength and dignity, keeping on smiling and showing to be optimistic, she
leaves an indelible sign in our lives and in our work.
Thank you Agnes.
NEWSLETTER
4
TEXTILES WORKING GROUP PROGRAM 1999-2002
Together with the three assistants co-ordinators appointed in Lyon, Patricia Dal-Pra, Dinah
Eastop and Lynda Hillyer we identified five main topics among the ones which arose out of
discussion initiated at the Lyon Textile Working Group Meeting. They are by no means exclusive;
additions are welcome.
We think of these as windows, each with a person responsible for gathering news and ideas
and exchanging them among members and collegues. The results will be published in the Newsletter
which will appear each April, and will be send out by email. For those who do not have e-mail yet
and for institutions and libraries a certain number of Newsletter will be print and send by mail.
• COSTUME . Contact has been in progress with the President of Icom Costume Committee
to try to arrange an interim meeting in autumn 2001 focusing on problems both from
the historical and conservation point of view.
• DETERGENTS . Gather the huge bibliography on the problem, published and not, and
discussion.
• TEXTILE CONSERVATION EDUCATION and PROFESSIONAL Development. Need of
keep high the practical work: schools, institutions etc. Link with ECCO etc.
• CONFLICTS BETWEEN PRESERVATION AND ACCESSIBILITY-POLICY
PRESSURE
• CARPETS . Problems of restoration, conservation, and historical houses.
• Other subjects of discussion which can be common to all the previous “windows” are:
• DDT permanence and risks for operators
• Dyeing for textile supports.
Interim meeting in Amsterdam 13-14 November 2000 on Archaeological Textiles: Conservation
and Research, organized by Netherlands Institute for Cultural Heritage.
Interim meeting in Barcellona 4th July 2001 with TWG and Costume
E-MAIL AND ADDRESS REQUEST
FOR THE NEXT NEWSLETTER
The next Newsletter will be published only on the web
http://www.icr.arti.beniculturali.it/ICOM-TXT
Paper copies will be sent just to Libreries and Institutions
and to those who will make a special request.
Send your e-mail address NOW!
[email protected]
(specify in the subject line: ‘to the attention of Rosalia Varoli Piazza’)
or fax your special request with your updated address to:
Dot.ssa Rosalia Varoli Piazza
Istituto Centrale del Restauro
Fax: 0039-064815704
5
NEWSLETTER
Regional Organisers and Topic Reporters
Duties of Regional Organisers and Topic Reporters
To act as a conduit for contributions from their area and to encourage contributions.
To act as regional contact group co-ordinators and assistants. To keep up to date contacts with
professionals in their area.
To provide an annual report on matters relating to textiles and textile conservation in their region.
To forward contributions in e-mail form to the Newsletter production editor.
Topics Reporters
To act as a conduit for contributions in their subject area and to actively encourage contributions and
encourage relevant case histories, significant points and ideas in these topics.
To provide an annual overview of developments in this area.
To forward contributions in e-mail form to the Newsletter production editor.
In the event that you cannot undertake any work for the Textile Working Group in any 6 month period
you are asked to suggest to the Textile Working Group Co-ordinator someone else to continue your
work.
The Newsletter is a communication tool. Where possible for those contributors who have e-mail it is
proposed to send it by e-mail, but paper copies will be available for those who do not have it.
TWG Topics
Textile Conservation Education and Professional Development: Alison Lister, [email protected].
uk
Detergents: Frances Hartog, V&A, Cromwell Road, London SW72RL, UK, [email protected]
Carpets: Cecilia Di Nola, Vic.Albano 46, 5010 S.Venanzo(TR) Fraz.Collelungo, Italy
[email protected]
Conflict between preservation and accessibility – policy pressure: Deirdre Windsor Textile
Conservation Center -American Textile History Museum, 491 Dutton Street, MA 01854 MA 01854,
LOWELL, USA, Tel. (+1-508)4411198, Fax (+1-508)4411412 (+1-508-7850345), dwindsor@athm.
org
Costume: Christine Paulocik, The Metropolitan Museum of Art, Fifth Avenue at 82nd Street , NY
10028
Zenzie Tinker.V&A, Cromwell Road, London, SW72RL UK, [email protected]
Regional Organisers
Canada: Jan Vuori CCI, Innes Road, K1A OC8, Ottawa, Ontario Canada, Tel (+1-613)9983721, Fax
(+1-613)9884721, [email protected] - www.pch.gc.ca/cci-icc
Sharon Little, Centre de Conservation du Quebec, 1825 rue Semple, Quebec, G1N 4B7,Canada, Tel
(+1-418)6437001, Fax (+1-418)6465419, [email protected]
USA: Deirdre Windsor, Textile Conservation Center -American Textile History Museum, 491
Dutton Street, MA 01854 MA 01854, LOWELL, USA, Tel. (+1-508)4411198, Fax (+1-508)4411412
( (+1-508-7850345), [email protected]
France: Patricia dal Pra, 23 rue de Bercy, F-75012, PARIS, France, Tel (+44-1)39252876, Fax
(+44- 1)39027545
UK: Dinah Eastop, The Textile Conservation Centre, Apartment 22, Hampton Court Palace, KT8
9AU, EAST-MOLESEY, Surrey, United Kingdom, Tel (+44-23)80597107, Fax (+44- 23)80597101,
[email protected]
Lynda Hillyer, Victoria & Albert Museum, Cromwell Road, SW7 2RL, LONDON, United
NEWSLETTER
6
Kingdom, Tel (+44-20)79422124, Fax (+44-20)79422092, [email protected]
Mary Brooks, The Textile Conservation Centre Apartmant 22- Hampton Court Palace KT8 9AU
EAST-MOLESEY, Surrey United Kingdom, Tel (+44-23)80597100, Fax (+44- 23) 80597101
[email protected]
Italy: Rosalia Varoli Piazza, Istituto Centrale del Restauro, P.zza S.Francesco di Paola 9, 00184,
Roma, Italy, Tel (+39-06)48896262, Fax. (+39-06)4815704, [email protected],
[email protected]
Russia: Valery Golikov,Russian Research Institute for Cultural and Natural Heritage, Kosmonatov
2, 1, 29366, Moscow, Russia fax.007-095-2861324 [email protected]
Sweden: Eva Möller, LSH Textilkonservering Strandvägen 58 S-11523 STOCKHOLM Sweden
(+46- 8)6664488(+46-8)6664497
Denmark: Katia Johansen, Rosenberg Castle, Volgade 4A, DK-l350, KOPENHAVN K., Denmark,
Tel (+45-3315)3286, Fax (+45-3315)2046, [email protected]
Australia: Wendy Dodd
New Zealand: Valerie Carson, Museum of New Zealand -Te Papa Tongarewa, P.O.Box 467,
WELLINGTON, New Zeeland, [email protected] Tel (?)-3859540 Fax (?)- 845975
South America: Emilia Cortes, Metropolitan Museum of Art, 1000 Fifth Avenue & 82nd Street, N.
Y. l0028, NEW YORK, USA, Tel (+1-212)5703927, Fax (+1-212)5703879, emilia.
[email protected]
Da Silveira Luciana Rua da Lapa 276 20021 -180 CEP Brazil Tel (+55-21)2525619 . Fax (+55-21)
2525619
Spain: Rosa Martin i Ros, Museu Tèxtil i d'Indumentària c/ Moncada 12- 14, 8003 BARCELONA
Spain fax. 0034-93-3197603
Switzerland: Karin von Lerber, Prevart - Atelier für Textilkonservierung Oberseenerstrasse 93 CH8405 WINTERTHUR Switzerland Tel(+41-52)2331288, Fax(+41-52)2331257 karin.
[email protected]
The Netherlands: Emmy de Groot, Stichting Werkplaats tot Herstel van Antiek Textiel Leidseplein
36 zw2013 PZ HAARLEM The Netherlands
Africa: Alain Godenou, Director Ecole du patrimoine africain P.O.Box 2205 PORTO NOVO Benin,
Tel ( +229-2)14838 Fax(+229-2)12109 [email protected]
Finland: Anne Vesanto, Conservation Centre Keskikatu 2440700 JYVASKYLA Finland, Tel(+35814)626860 Fax(+358-14)626861
Lithuania: Janina Lukseniene, Vice-director, Lithuanian Art Museum, Rudininku Street 8, 2024 V
VILNIUS, Lithuania Tel (+370-2) 617941
Belgium: Juliet de Boek, Koningin Astrid laan 62 B-2820 BONHEIDEN Belgium Tel(+32- 2)
7354160
Norway: Britt Kaupang, The Oslo Museum of Applied Arts St. Olavsgt. 1 N-0165 OSLO Norway
Tel (+47)22203578 Fax(+47) 22113971
India: Kharbade Shri B.V.Cunear, National Research Lab. for Conservation of Cultural Property
Sector E/3, Aliganj Scheme , 226 024 LUKNOW Uttar Pradesh India
Estonia: Lea Reichman, Estonian National Museum Veski 32202400 TARTU Estonia
If there is someone interested in becoming an area referent for a country not represented, please
contact Rosalia Varoli or the assistant co-ordinators.
7
NEWSLETTER
1. The mission of ICOM-CC
2. Long-term goals of ICOM-CC
3. Short-term goals of ICOM-CC
4. The critical issues which must be addressed and resolved
over the next 3 years
This paper includes the various results of the 5. Best ideas to address the critical issues and achieve longterm goals of ICOM-CC
session co-ordinated by Alan Parry.
1. The mission of ICOM-CC is to have acceptable results
in :
§ Impact on quality of knowledge skill of conservation
related professionals
§ Public and political awareness and attitudes to conservation
§ Quality of network for knowledge exchange
§ Impact on the state of collections
§ Impact on decisions affecting cultural heritage
§ Image and profile of conservation within museum community
§ Image of ICOM-CC within museum community and ICOM
§ Number and diversity of membership
§ Relationship with international and national organisations and agencies
§ Member’s satisfaction with ICOM-CC
§ Clarity of structure for members and non-members
§ Happiness of co-ordinators, assistants co-ordinators and directory board
§ Condition of finances and assets of ICOM-CC
2. Long-term (3-year) goals of ICOM-CC
§ Increased public and political awareness and attitudes to conservation
§ Increased impact on decisions affecting cultural heritage
§ Improved image of ICOM-CC within museum community and ICOM
§ Improved image and profile of conservation within museum community
§ Increased image and profile of conservation within museum community
§ Maintain results in all other areas of the mission at no less than current levels
3. Short-term (1 year) goals of ICOM-CC
§ Improved clarity of structure for members and non-members
§ Improved condition of finances and assets of ICOM-CC
§ Improved image of ICOM-CC within the museum community and ICOM
§ Improved quality of Newsletter for information exchange
§ Increased number and diversity of membership
§ Maintain results in other assets of the mission at no less than current levels
4. What are the critical issues which must be addressed and resolved over the next 3 years ?
GROUP A
a) Stabilise budget by identifying and securing necessary funds and funding sources (48)
b) Clarify the structure of ICOM-CC Working groups for members and non-members taking into account the
need for diversity and number (32)
c) Barcelona meeting : situation of ICOM-CC within ICOM (July 2001) (30)
d) Improving communication between Directory Board and Working group co-ordinators and between
Working group co-ordinators and members (11)
e) Responding to the ICOM Reform Task Force (11)
GROUP B
a) Resolving relationship with ICOM (33)
b) Developing strategies for finances (29
c) Improving public and political awareness of the significance of conservation (19)
d) Clarify status of ICOM-CC membership, facilitate procedure to become member, develop more and clearer
benefits of being a member (18)
e) Discuss how to make the members of the Working groups more active (13)
5. Best ideas to address the critical issues and achieve long-term goals of ICOM-CC
1. Continue to work with ICOM in order to find more funds (89)
§ Discuss with ICOM new forms of payment for International Committees
which meet separately from ICOM
Meeting between the ICOM-CC Directory
Board and the Working group Coordinators, Rome,
ICCROM 02 – 04 November 2000
NEWSLETTER
8
§
§
§
Specific meeting with ICOM president to express our concerns
Negotiate a status for ICOM-CC which warrants higher income from membership fees
Collaborate with national committees to improve fundings, relationship with ICOM, and the image of
ICOM-CC
§ Put at work a small group to constitute Task Force Financing
2. Public awareness and communication (57)
§ See if we can get a high profile to act as figurehead for fundraising + public awareness campaigns
§ Involve the mass media
§ Establish a working group on P.R.
§ Invite public and decision makers in our discussions, or publish more on them in newspapers
§ Include information for the general public on a well-run (regularly updated) website
3. Promotion (45)
§ Sale and promote TV program on discovery channel to present art in danger and role of conservation
§ Create books, games for children about conservation
4. Task Force dealing with membership issue (42)
5. Improving relationship and communication between Directory board and Working group co-ordinators (26)
§ Annual meeting between DB & WG Co-ord. for measuring and developing strategies
§ Improve the interaction (=reporting + discussing) between board and co-ordinators by regular meetings
§ Improve the responsibility of coordinators because they are closest to working group members
6. Develop a certification process to establish a quality mark for museum collection care (23)
7. Talk to Greenpeace and get advice on making public, corporations, government agencies more aware of
cultural heritage conservation (21)
8. Independence (13)
ICOM-CC WEBSITE
"Luiz A C Souza" [email protected]
This message is to inform you all that we have now a permanent and safe domain name and IP
address, together with [email protected] emails. Unfortunately, we have not heard again from ICOM
about our request to have our domain hosted at the main ICOM server.
After a brief period of discussions and search for low-cost service providers, I am pleased to
inform you all that our new Internet Service Provider is located at http://www.cwiservices.com
Besides the hosting of the domain name this provider also gives us emails within the domain icomcc.org, so from now on please feel free to use our new emails, as following:
[email protected] [email protected]
[email protected]
13th Triennial Meeting Rio2002 - [email protected]
Working Group Coordinators List - [email protected]
ICOM-CC Directory Board List - [email protected]
Webmaster - [email protected]
the emails will be forwarded to the respective persons or lists (for wg-coordinators or directoryboard list you have to be a member for your email to get through without moderator's review). All of
our lists at egroups.com will continue operational.
For your information, untill we have finished with all of the site transfering and up-dates of the
links we will keep using the site at http://cecor.eba.ufmg.br/icom-cc as a mirror to our main site, but
whoever types http://www.icom-cc.org will arrive to our homepage and go on from there.
I will keep you up-dated on the changes, but in the meantime I hope this will be helpful to
improve our communications.
To Post a message, send it to: [email protected]
To Unsubscribe, send a blank message to: [email protected]
9
NEWSLETTER
Introduction:
ICOM-CC comprises more than 1.500 people from
every continent concerned with the museum world
and with the preservation, conservation and
restoration of objects of historic and artistic
By Jørgen Wadum
significance.
ICOM-CC provides a framework within which
18.10.2000
conservation specialists can meet and work on an
interdisciplinary level. The more than twenty
Working Groups form the backbone of the Committee. They deal with:
• scientific research into objects of historic, cultural and artistic significance;
• optimising solutions to conservation problems;
• developing standard techniques and manuals;
• planning preventive conservation and disaster management;
Each Working Group is made up of members interested in specific areas of research and linked by a
Co-ordinator, who is elected by the voting members of the group. All members have the duty to
follow The Code of Ethics as laid down in "The Conservator-Restorer: a Definition of the
Profession", which describes the ideals of the ICOM-CC.
ICOM-CC organises Triennial Meetings to bring together professionals from all over the world who
are interested in conservation. The Triennial Meeting is the climax of the triennial activity of the
Committee and its Working Groups.
During the Triennial Meeting the Committee members present and discuss the results of the last three
years work. These contributions are published in the Conference Preprints, which constitute one of
the most significant publications in the field of conservation.
The Working groups have a pivotal role within ICOM-CC and the importance of the Co-ordinators
and Assistant Co-ordinators cannot be overestimated. Without their dedication and professionalism
the credibility of ICOM-CC as an effectively international organisation could not be sustained at such
a high standard. Although Co-ordinators and Assistant Co-ordinators hold office on an entirely
voluntary basis certain duties and rules are appropriate in order to maintain standards and credibility
within the Working Groups. It should, however, be remembered that as officers of ICOM-CC Coordinators and Assistant Co-ordinators should act in accord with the ICOM-CC Bylaws. The
following Model Rules for Co-ordinators, an addition to the Bylaws, should be appreciated in this
positive spirit.
MODEL RULES FOR ICOM-CC
CO-ORDINATORS
AND ASSISTANT CO-ORDINATORS
Section I: The functions of the Co-ordinators are:
- to organise and stimulate a Working Programme for the Triennial period.
- to disseminate the WG programme
- to maintain and stimulate communication between Working Group participants during the whole
term of office.
- to liase with the Directory Board and to bring important issues to the attention of the Directory
Board.
Section II: Up to the Triennial Meeting
Section III: The Triennial Meeting and the running of the Working Group session.
Section IV: Eligibilit y and election of the next Co-ordinator
Section V: After the election of Co-ordinators
More about Model Rules on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
NEWSLETTER
10
19th General Conference and 20th General Assembly of ICOM
ICOM 2001 BARCELONA
Managing Change: the Museum Facing Economic and Social Challenges
Barcelona, 1st to 6th July 2001
The challenge proposed as the theme for the 19th General Conference of ICOM is put into relief by
the turn of the century. Museums, these old public institutions in the service of society, have come a
long way. Their forms and management have changed, as has society itself and the men and women
forming part of it.
ICOM has accepted the challenge of raising and dealing with a theme such as the one which now
concerns us in undertaking the organisation of the Conference in a changing and plural world which
is, at the same time, full of groups concerned to protect their own identities. This a world which has
clearly taken the path of globalism and economic liberalism, and a society that believes that education
and culture are the most highly prized assets that humans have, and in this framework museums must
carry out a task of assisting in the development and the enjoyment of peoples.
Conference Papers
With the aim of presenting the theme from four different, but completely complementary points of
view, we have considered it appropriate to divide the discourse as follows:
• The first part will deal with the aspect of heritage management with respect to regional identity
and global identity inasmuch as these are two opposite or complementary options.
• The second will present the history of museum management, the precedents and models of what
will soon be the 21st-century museum, and the adapting of social and economic resources to
the socio-economic settings of each historic period.
• The third will discuss the ethical scope and limits of museum financing, the origin of the
resources, the responsibility of management and the role of heritage as an economic asset.
• Finally, the fourth will deal with the question of museum management directed towards the
well-being of peoples and will discuss whether heritage is or is not a dynamising element in
societies.
When and where
The 19th General Conference and 20th General Assembly of ICOM will be held in Barcelona
(Catalonia), Spain from th 1st to the 6th July 2001. The Palau de Congressos in the Montjuic Park
will be the meeting’s headquarters. Working sessions will be held in different museums an cultural
centres in the environs.
Participants
The whole 19th Conference and 20th General Assembly may only be attended by ICOM members
individual and institutional members. However outside individuals are being ofered the possibility of
attending some of the sessions on th basis of a prior specific enrolment.
Informations concerning enrolment
Enrolment begins on the 1st October 2000 and will continue until 30th April 2001 with reduced
rates. Normal rates will be applied after 1st May 2001.
Fees
• Reduced rates: 61,000 PTA (366.62 euro)
• Normal rates: 70,000 PTA (420.71 euro)
• Reduced rates for accompanying guests: 27,000 PTA (162.27 euro)
• Normal rates for accompanying guests: 31,000 PTA (186.31 euro)
Information
ICOM 2001 Barcelona: Museu Nacional d’Art de Catalunya, Parc de Montjuic, 08038, Barcelona,
Spain. Tel. (+34)93 2893100 / Fax (+34) 93 423 48 18, www.icom2001barcelona.org,
[email protected]
Interim meeting the 4th July between Textile WG and costume WG
11
NEWSLETTER
DRAFT
Call for Papers for the ICOM Committee for Conservation
13th Triennial Meeting in Rio de Janeiro, Brazil,
September 22 – 28, 2002
In preparation for the upcoming ICOM-CC 13th Triennial Meeting, ICOM-CC is hereby making a call for
papers and posters. Although we will continue to publish the preprints in the usual two-volume format with
approx. 150 papers, the process for selecting papers has been changed.
We, therefore, request that each author(s) submit a 1000-word (in maximum) description of the proposed paper
or 150-word description for a poster. The description is to include the title, author(s)’name, addresses, e-mail
addresses.
The papers will be selected, bases on quality, originality, importance and the following criteria of relevance.
Criteria of relevance
The objective of Triennial Meetings is to present an overview of the state of the art in conservation through
reports on the status of Working Group Programmes. In addition, special attention is given to the conservation
problems of the host region. Relevance must be considered principally in terms of these global aims.
Thus the relevance of a paper is indicated by some of the following criteria :
- relationship to the Working Group Triennial Programmes or strong current interest to the Working Group as
defined by the Working Group Co-ordinator.
- the paper is expected to contribute to the increase of conservation knowledge and/or to the development of
partnerships, collaborations and hence enhances the understanding between different disciplines or different
regions of the world.
- usability, practicability of the paper.
Schedule for production of Preprints
The submitted descriptions are to be set to the relevant Working Group Co-ordinator not later than April 2,
2001. Information about Co-ordinators’ addresses can be obtained through the ICOM-CC Secretariat.
ICOM-CC Secretariat: Isabelle Verger c/o ICCROM, 13, via San Michele, 00153 Rome, ITALY
tel.: 00 39 06 58 55 34 10 - fax: 00 39 06 58 55 33 49 - e-mail: [email protected]
After the Co-ordinators and the Preprints Committee have made their selection no later than May 31, 2001, a
number of authors will be invited to submit a full paper. Instructions to Authors will be provided.
The final paper should reach the Working Group Co-ordinator by October 31, 2001. The Co-ordinators will
collaborate with authors on the finalization of the papers/posters, rank them and forward them to the Preprints
Committee. The final selection of the papers will be made by the Preprints Committee in February 2002 and
authors will be notified immediately after.
ICOM-CC Board
January 2001 Call for abstracts (English/ French only, electronic format preferred)
§ in ICOM-CC Newsletter and on ICOM-CC website
§ through e-mail to co-ordinators who send directly to their members
§ CoOL
April 2nd Receipt of abstracts by co-ordinators
§ Co-ordinators rank the abstracts (Criteria of relevance)
April 20 Receipt of the abstracts and ranking (from co-ordinators) by the managing editor
§ Managing editor to distribute abstracts and ranking to the relevant members of the Pre- prints
Committee (the distribution of specialised groups of papers to the Committee members is negotiated
by Caroline Villers) and to the sub-Committee of the Directory Board
§ Pre-prints Committee Members to review and comment ranking
May 10 Receipt (from the Pre-prints Committee members) by the managing editor of review and comments.
The managing editor sends them to the sub-committee.
Receipt (from the Pre-prints Committee members) by the Managing editor of review and
comments.The
managing Editor send them to the DB sub-Committee
May 23 – 29 (?) Directory Board meeting in Brazil (exact dated to be confirmed)
§ Sub-committee meet one day in advance to:
1. Review the balance
2. Isolate problems, negotiate solution
3. Agree with Edson Motta on procedure for papers in Spanish
NEWSLETTER
12
§ Directory Board to inform
- Pre-prints Committee
- Co-ordinators
May 31 Co-ordinators to write to each selected author and to each rejected one
October 31 Receipt of FULL papers by co-ordinators
§ Co-ordinators edit the papers for content and rank them
2002
January 7, Co-ordinators send papers and ranking to the managing editor who will forward them to the
relevant Pre-prints Committee member
§
Pre-prints Committee members inform the editor of the clear accepted papers (to allow him
starting copy-editing)
§ Pre-prints Committee members to edit and rank full papers
§ Co-ordinators liaise with selected authors if changes are needed
February 20 Meeting of the Pre-prints Committee
Final decisions (accepted/rejected)
Managing editor to inform EACH selected and EACH rejected author
April 30 Final papers to be submitted to the managing editor
Co-ordinators to submit report/ overview for publication in Pre-prints to managing editor
Table of contents published on the web-site
CO-ORDINATORS
The process for the selection of papers for publication in the Pre-prints has been modified in order to avoid the
rejection of very many fully worked papers at a late stage. The main change is the introduction of a selection
process based on 1000 word summaries (see schedule).
1. Co-ordinators are asked to play a more active role at earliest stage – that is in selecting from the 1000 word
descriptions which papers will be invited for submission.
Co-ordinators will be assisted by the Pre-prints Committee.
This first selection will be based on “ Criteria of Relevance”.
The Directory Board has established a subcommittee to review the overall balance of the papers proposed
for publication at this stage and to identify any problems arising and negotiate solutions.
The role of the Managing Editor is to centralise, co-ordinate and facilitate the process.
2. Co-ordinators will continue to play a crucial role, as before, in assisting authors to achieve the required
standard in their papers and in editing the papers that are submitted.
The Pre-prints Committee will make the final selection of papers to be published in the Pre-prints based on
quality. This is the principle responsibility of the Pre-prints Committee.
The Managing Editor will manage the production of the Pre-prints together with Publisher and copy edit all
the papers.
3. Finally the co-ordinators will provide a report for publication in the Pre-prints on the activity of the Working
Group during the Triennial Period and an overview of the significance of the papers selected for
publication. It is envisaged that this statement will assist interdisciplinary contacts and discussion at the
Triennial Meeting.
It is essential that all participants in this process should be fully aware of the fact that the size of the Preprints and the schedule for production and delivery of the Pre-prints are indivisibly linked to cost and this
cost will be passed on in the conference fee. It is, therefore, vital to keep to the schedule for financial
reasons.
The Directory Board has agreed to produce a 2 volume (900 pages) set of Pre-prints including 150 papers
(3,500 words max.) which reflect the activity and interests of all the Working Groups.
The submission of texts in electronic format (Microsoft RTF Format) is encouraged at all stages (1000word submission – final paper), on the other hand we do not wish to exclude anyone who does not have
access to the Internet.
13
NEWSLETTER
ICOM-CC 12th Triennial Meeting Lyon
29 August - 3 September 1999
The aim of Textiles Working Group (TWG) for the
triennium 1996-9 was to promote interdisciplinary
cooperation between conservators, curators, scientists, art
historians and others involved in the care and interpretation
of textiles. To this end the TWG continued to circulate
information about ICOM's activities, reports from other
meetings, announcements of exhibitions, courses and
publications, via its newsletter, which was distributed to 350
addresses worldwide, plus 50 Italian institutions. The first issue of this triennium (24 page)included
the draft programme of the triennium, messages from the current and former coordinators, abstracts
of the TWG's papers presented at the Edinburgh 1996 Triennial Meeting of ICOM's international
Conservation Committe. The 1997 issue presented the other working groups' programme, in order
to promote interdisciplinary curiosity! The first internal meeting was arranged with the Swedish
Jubilee Conference "Silk - different aspects" held in Stockholm, September 1-4, 1997. Abstracts of
these papers were printed in the 1998 newsletter (32 page). The TWG Coordinator introduced the
work of ICOM-CC at the start of the Textile Symposium 97 (Fabric of an Exhibition: An
Interdisciplinary Approach), held in Ottawa in September 1997. TWG members were involved in
many other events, including the six-week International Course on the ScientificPrinciples of Textile
Conservation, organised by ICCROM and supported by the Hungarian Ministry of Culture, held in
Budapest in August/September 1997; the annual meetings of AIC, including the Textile Speciality
Group, in Norfolk, Virginia (1996) and in San Diego, California (1997); annual meetings of the
Comite Nacional de Conservacion Textil de Chile; the Third Adhesive Forum organised by UKIC's
Textile Section, held in London, 1997; and a Symposium on 'Banners and Storage', in Turin, Italy, in
October 1997.
In October 1998 the TWG held its Interim meeting, 'Interdisciplinary Approach to the Study and
Conservation of Medieval Textiles,' in Palermo, Italy. The meeting attracted 139 participants, and 31
papers by 51 authors, who included conservators, curators, scientists, art historians and a medical
man. The papers were published as a 200-page, illustrated Conference Preprint. The vitality of the
TWG is reflected in the fact that 16 papers and two posters were submitted for the Lyons triennial
meeting. Of these, six were the outcome of interdisciplinary teamwork. Last but not least, ICOMCC has selected the Textiles and the Preventive Conservation Working Groups for a trial, in which
the WG papers will be made available on the www before the meeting in Lyons.
In a major new development the UK's Textile Conservation Centre (TCC), which has been based at
Hampton Court Palace since 1975, merged with the University of Southampton in August 1988.
"Chemical Principles of Textile Conservation", by Dr. Agnes Timar-Balazsy and Dinah Eastop, was
published in 1998 (by Butterworth-Heinemann, as part of their prestigious Conservation and
Museology series). This book brings together the material science necessary to understand the
properties, deterioration and investigation of textile artefacts, and the chemical processes involved in
textile conservation treatments. It includes many well-illustrated case studies.
Introduction
By Rosalia Varoli Piazza,
Coordinator
Istituto Centrale del Restauro
NEWSLETTER
14
The Textile Working Group were accepted as Pilot scheme, with Preventive Conservation,
and our papers could be read in advance in James and James (Science Publishers) Web
pages: www.jxj.com/icom/papers PDF files Adobe Acrobat Reader to provide more time
for discussion at the meeting.
ICOM-CC 12th Triennial Meeting Lyon
Programme of textiles contributions
Introduction by the Coordinator: Rosalia Varoli Piazza.
M. Bergstrand, E. Hedhammar, A.G. Nord, K. Tronner All that glitters is not gold: An
examination of metal decorations on ecclesiastical textiles
M. Matteini, I. Tosini, M. Giorgi, G. Palei, Evaluation of possible methods of cleaning the
Opus Anglicanum cope of pope Pius II
N. Indictor, M. Ballard, A survey on some recent literature and studying pertaining to the
C- 14 dating of textiles.
K. Johansen, Perfumed garments, their preservation and presentation “...the good smell of
old clothes” (R.Brooke, 1887-1915, ‘The Great Lover’, 1914)
S. Little, Diffusion touristique: Le traitement d’une robe en taffetas de soie, exposition au
bureau touristique, coucours de robes, bal costumé.
A.J. Rowe, Preserving Normansfield Hospital Theatre: Evolving a conservation strategy
for a museum cum working theatre.
A. Bruzelius Scharff, Synthetic dyestuffs for textiles and their fastness to washing
A. Timar-Balazsy, Drying behavior of fibres.
A. Stauffer, F. Weiße, Conservation of an early Etruscan cloak.
D. Windsor, Preserving the historical document: minimal conservation intervention for
18th- and 19th- century needlework and pictorial embroidery.
Abstracts on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
15
NEWSLETTER
ICOM-CC Textiles Working Group Interim Meeting
Interdisciplinary Approach to the Study and Conservation of Medieval Textiles
Palermo 22-24 October 1998
Interdisciplinarity in restoration project.
By Michele Cordaro, Director ICR Rome
When , in the 18th Century, for the first time modern conservation started to be consciously
presented as something new, it was already clear the necessity of integrating different experts
to determine the causes of decay and their elimination, to choose the methodologies of
intervention restoring the damages that a work of art had suffered and making it fully
appreciable again. I just want to remember what Peter Edwards said in 1785 about the
essential qualities of a so-called “constant system” of conservation and protection of the
artistic heritage: “the most famous principles of Art, with the support of Chemistry and
following the traces of Good Physics” are needed.
The historical artistic knowledge of the work of art and the acquaintance with its constituting
materials and their possible alteration and decay are fundamental for any correct conservation
work.
Conservation is a good occasion for the meeting between Art and modern Science.
But we well know how this principle, so many times confirmed by the most careful lovers
and by conservation and historical operators, is hard to realise in practice. Misunderstanding
and incomprehension, partial or reckless experimentation, the lack of exchange among
different disciplines, each one wanting to assert its own system and demands as unique and
irrevocable, have produced distrust and lack of confidence about the realisation of the
integration of knowledge and experience in order to get a better conservation and restoration
of the work of art or of the artefact of historical and cultural interest.
In the last decades the distrust has decreased showing the utility of scientific analytical
methodologies and equipment, to define exactly the state of conservation, of different kind of
art. Many are the examples of scientific diagnosis or conservation treatments where the
integrations between historical and scientific and technological knowledge have been
realised. But the dialogue between the two knowledge id still difficult. Often the intervention
follows his own traditional and usual way, even if the most sophisticated and advanced
analysis have been done.
At<the same time many investigations and researches are often made without a real need nor
are of any help to determine the constituting materials and the reasons of their decay, being
just a redundant and tautological apparatus respect what the conservator-restorer or the art
historian or the archaeologist might define and comprehend with the experience and the
observation.
The best results are obtained when, from the beginning, the project and the following choices
of the conservation work come from the presence of different experts and experiences,
capable of exchanging the necessary information for the safeguard of the material and
cultural identity of the artefact, respecting its historical aspects.
This is true especially for textiles because of their fragility and of the manipulation often
suffered during their existence. For making the intervention project, different experts, archive
researchers, technical, scientific, critical and historical scholars are particularly needed to
reconstruct the conservative events happened to the artefact in its lifetime and for choose the
most adequate system for its conservation.
NEWSLETTER
16
Debate during the meeting about the interdisciplinary concept in textile conservation.
Agnes Timer Balaszy, Hungarian National Museum, Budapest.
Ten years ago I am sure that the title of this conference would have been “Conservation of Medieval
Textiles”, because at that time it was a common costume to deal with remedial conservation, the
conservator did his job, often a good job and they usually carried out active conservation.
Five years ago the title of this conference would have been “The study and conservation of medieval
textiles”, because at that time it was already common to realise how important was a very thoughtful
study before conservation for both curators and conservators.
Now today the title is “Interdisciplinary approach to the study and conservation of medieval textiles”
and this really reflect our age in textile conservation. The word “interdisciplinary” was very well
represented in this conference and I don’t think we could add any word to these. I would like to
concentrate my attention on the word “approach”. To me this means mental activity, not a practical
activity, not only doing something but thinking for a long time, discussing things, planning it before,
etc.
Someone says that conservation should not be a series of surprises but we can plan part of the
surprise. I think that this is the main important message of this conference: that we have to have an
approach to the things we do. We really must go back to the approach that every object is individual
and that we have plenty of methods. What we have to learn is to choose the right method.
Here we can listen to very interesting reports of art historians who valued the most valuable objects
and showed very thoroughful and beautiful documentation. We can also listen to conservators who in
most cases did their job very well planned, and I am pleased to say that it is very rare that so many art
historians and so many scientists are together in a conference, even in an interim meeting, not to
mention a triennial meeting. We must congratulate with Rosalia Varoli, apart from organising the
whole conference, to have invited so many art historians, so many scientists and also the so called “
old generation”. The young generation have so the opportunity to meet them and learn from them,
and I think that this is also the wonderful message of this conference.
I would like to mention another aspect peculiar to this conference: that the scientists try to draw
conclusions on the technologies more then before on the base of their investigations and researches. I
was very happy listening some of these papers because they were very cautious to draw their
conclusions.
I was also very happy counting so many times I could hear the word “hypothesis” and I think it is
very important also in that profession because scientist cannot have it in their real scientific word.
Scientists usually use the word “respect” while conservators, art historians use the words “probably”,
“most probably”, “according to my assumption”, “according to the literature” or anything which does
not make the impression that we really know things. We only try to find out things. Therefor I think
that Hypothesis as used here is so important. Because Hypothesis are like scaffoldings for building a
house. First we have the scaffolding and then, when the house is ready you can remove it and so you
have already the fact, you have already the conclusions. So I think that this is also a good message of
this conference.
I would also like to emphasise and appreciate very much what happened so far to the tomb of
Frederick the II because that is one of the reasons of this conference and why we got the conference
in Palermo. It is very important for all of us, in relation to this tomb project, to have some guide lines
or recommendations what to do when a conservator is suddenly in front of o a crypt or a tomb after
the archaeologist or the curator once opened it. I think that many times bad works are done because
the conservator must work with panic and also because they have not enough information about this
field. That is why it is almost revolutionary what happens here in Italy: that they try different
methods, and they try to think different solutions so I hope that at the end they will take the very
correct decision what to do with Frederick the II.
So thank you very much for this opportunity.
Judith Hofenk De Graaf, Nederlands Institute for Cultural Heritage, Amsterdam
I would like to say something about the different meanings in textile conservation. From the past, and
17
NEWSLETTER
you know that I am running already for several years in this field, we have had many occasions
where there were schools or enemies in textile conservation. You probably can remember the gluing
or non-gluing and I would very much ask your attention. I think that we have grown up, the
profession is grown up it is a real profession. So that means that we have to look at our objects with a
professional eye, that means that washing or non washing should not become again these
contradictions, I think that every object should be looked at and discussed and on the basis of our
knowledge taken the right decision and that can be washing or non washing. So please let not start
again these kind of fight but lets work together and make the right decision at the right time.
Rosalia Varoli Piazza, ICR, Rome
I believe that if we are able to organise such a meeting and if we are able to carry out restorations
as the ones I saw in these days, this is also thanks to the experience of the people who worked before
us, both in researching, in studying and in restoring.
I wanted to title this meeting ‘Interdiscipliraity’ because this is what I want: that different
disciplines as the scientific and the litterary should meet, and, as our director Michele Cordaro said
and we all agree, that this should happen from the very beginning. Since the restoration project. We
must now get used in making a project if the artefact deserves it, or at least a programme if there
should not be enough time or if there were economic problems. This means that we, together, must
look at the artefact, make our observations and research, decide why, where and how take
microsamples, decide a proceeding. Obviously there are discussions, as we can see inside our
Institute, but they are always welcome before starting to work on a new artefact. Then we are able to
proceed after carrying out a research of the previous experiences, both the published ones that the
ones that could have been handed out orally or through the compilation of museum or workshop
schedules. We must therefor keep these precious experiences ad together proceed, working together
and without contrasts.
Further I would like to emphasise the importance of the documentation carried out before the
treatments. This gives us the opportunity to pay particular attention to the artefact. That will say that
if we carry out a project for the graphic, photographic documentation before the intervention, this will
compel the art historian and the restorer to look very carefully to the artefact, trying to have an
opinion from the scientific experts who from the very beginning must be with us. That’s why the
graphic and photographic documentation are so important if done following such a method. At the
ICR we are obliged by law to give guide lines to workshops and Institutions so that we and all the
group of scientific experts must research the best materials to use, try them, put them in airconditioned chambers and so on, so that they know what are the materials and methods to adopt.
Obviously these guidelines must be continuously updated. Always some changes will occur because
each of us is carrying out his own studies, to proceed in the updating and new researches. Therefore I
invite you to discuss ‘interdisciplinarily’.
NEWSLETTER
Interdisciplinary Approach to the Study
and Conservation of Medieval Textiles
18
- Mario Micheli, Massimo Vidale: Project for
documentation using video-photogrammetric
mapping. From the Riace bronze statues to the
sarcophagus of Frederick the Second.
- Maria Cristina Berardi, Maria Rita Giuliani,
Giuseppe Guida, Rosanna Rosicarello, Ulderico
Santamaria: A silk ‘lampas’ with gold threads from
the tomb of Henry VI: a case study.
- Francesco Indovina, Angela Lombardo: A Database
Project.
IV. Session : Medieval and Renaissance Clothing.
Chair: Françoise Tétart-Vittu
- Mechthtild Flury-Lemberg: The grave goods of king
Rudolph the First of Bohemia and their relationship
to the funerary clothing of Cangrande della Scala.
- Dinah Eastop, Mary M.Brooks: Evidential issues for
conservators and curators: concealed and concealing
garments.
- Christine Paulocik: Early doublets at the Costume
Institute at the Metropolitan Museum of Art.
- Giuliana Ericani: The so -called Charles the Fourth
mantle in the City Museum in Feltre.
- Mary Westerman Bulgarella: From conservation to
attribution: the Medici burial clothes and two
Bronzino portraits.
- Paola Frattaroli: A garment fragment from the
funerary goods of Cangrande the First della Scala.
V. Session: Recent research and initiatives
regarding Medieval and Renaissance Textiles.
Chair: Ágnes Tímár-Balázsy
- Valéry Golikov, Olga Orfinskaya, Yelena
Pshenitchnova, Dmitri Voskrersensky: Experimental
reaserch of polycrome ‘Sogdian’ silk of the 8th –9th
centuries from the Tcherkessk Museum collection.
- Márta Járó: Differences in manufacturing technique,
usually neglected, with the description of medieval
metal threads made of metal coated organic material.
Some remarks on the basis of the results of scientific
examinations.
- Marco Ciatti, Susanna Conti, Maria Grazia Vaccari:
The unexpected discovery of a textile inside a
medieval icon.
- Caterina Ciolino e Domenica Digilio: The restoration
of fragments of cloth from the tomb of Archbishop
De Tabiatis of the Cathedral of Messina.
- Silvana Musella Guida, Rosanna Rosicarello, Anna
Maria Schiano: The St. Severo and St. Massimo
reliquary linen: Two altar cloths from the late 13th early 14th century.
- Giuseppe Cantelli, Maria Giorgi, Graziella Palei:
Silkwoven art and its patterns from Caliphates to
Lucca: a chasuble from Sulmona cathedral.
Programme
I Session : The Royal Factory of Palermo and its
Textiles: Historical, technical and conservational
aspects. Chair: Rosalia Varoli-Piazza
- Rotraud Bauer: The mantle of King Roger the
Second and the related textiles in the Schatzkammer
of Vienna. The Royal Workshop at the court of
Palermo.
- Nobuko Kajitani and Masako Saito: A thirteenthcentury Sicilian silk textile: a case examination for
a conservation project.
- Judith Hofenk de Graaff and Wilma Roelofs:
Dyestuff analyses of early Medieval textiles and
possible reconstruction of a dyeing recipe.
- Marie Schoefer: Etude et restauration d’une mitre
du milieu du XII siècle dont les fanons comportent
un décor en tissu dit de Palerme.
II Session : Medieval Textiles from
burial
sources: problems and proposals. Chair: Mechthtild
Flury-Lemberg
- Concha Herrero Carretero: The ‘Las Huelgas’
Museum of Medieval Textiles in Burgos its
creation and projects.
- Rosa M. Martin i Ros: Les trouvailles textiles de
queslques sépulcres du Moyen Age de la Catalogne
ouverts pendants les cent dernières années.
- Hero Granger-Taylor: Three fragmentary hats of
around the early 13th Century, one incorporating
pieces of a Sicilian silk tapestry, found in Qasr
Ibrim in southern Egypt.
- Claudia Kusch: Liturgical vestments from three
archbishops burial at Sant’Apollinare in Classe,
Ravenna.
- Valéry Golikov e Olga Lantratova: The scientific
research of a set of seven funeral textiles found in
the 7th-8th century “Kara-Koba” tomb in the Altai.
III Session: The ‘minimal opening’ of Federick the
Second sarcophagus: guidelines for a project.
Chair: Judith Hofenk de Graaff
- Maria Andaloro: The monument and its history
- Rosalia Varoli-Piazza: The importance of an organic
study prior to the opening of a tomb for the
safeguard of its artefacts.
- Ursula Rothamel: The conservation of textiles
coming from medieval tombs: a hundred years of
experience, today’s knowledge and unsolved
problems.
- Gianfranco Tarsitani, Maria Pia Nugari, Maria Rita
Giuliani: A method for microbiological study
preliminary to the opening of a tomb.
- Maurizio Marabelli: A definition of ‘ideal
conditions’ for materials preserved inside the Abstracts on the web at the URL: http://www.
sarcophagus of Frederick the Second.
- Carlo Cacace: Microclimatic project for the opening icr.arti.beniculturali.it/icom-txt
of the sarcophagus of Frederick the Second.
19
NEWSLETTER
Focus on Textile conservation
Amsterdam 13-17 November 2000
Introduction
The ICOM-CC Working Group textiles and the ICN have organised this meeting as an interim
meeting for the working group. However, also contributions outside the direct scope of the working
group will be presented. Through discussions a meeting place will be created where conservators,
archaeologists and conservation scientists can exchange their knowledge and experience.
The emphasis of this international meeting focuses on the conservation and research of
archaeological textiles. The first day is devoted to textiles from a wet archaeological context; the
second day on textiles from a dry context. The preservation of the integrity of the textile object and
its role as a carrier of information will be the central theme for the two days. Also contributions that
focus on more general topics in textile conservation but have a relation to the preservation of
archaeological textiles are presented.
Questions can be raised in how far the conservation of archaeological textiles differs from
‘traditional’ museum textiles and whether there is or should be a difference in approach between
‘wet’ and ‘dry’ context.
Textile conservation: past-present-future
Textile conservation as an activity has a long tradition but profession as such is in full development.
Because of the tradition and its link with the ‘housewife’ profession, textile conservation tends to
suffer from a certain ‘image’. Almost all textiles objects are part of the daily life and the care for the
objects lies traditionally with the women on the house. The textile conservator’s profession has
developed from that tradition. To explain that as a discipline it has followed the same development
as for instance that of the painting conservator – from artisan to conservator trained on academic
level- this ‘Textieldag’ concentrates on past, present and future of textile conservation.
On this day attention is given to the changes from traditional restoration concepts to present-day
ideas of conservation. As an example of activities in future, special attention is given to the
development of new conservation methods where good knowledge of the sciences involved plays an
important role.
The training of textiles conservators
During the conference a workshop with teachers from European Centres for Textile Conservation is
held at the ICN Training department. The aim of this meeting is to investigate the possible means of
co-operation in the field of textile conservation training and to discuss the content of training, etc.
The results of this meeting will be presented at the meeting of the Dutch Textile Committee.
Program
Archaeological textiles from a ‘wet’ context
Rosalia Varoli, Ethics for archaeological textiles
findings
Sandra Comis, The Archaeological Scene in the
Netherlands.
Elizabeth Peacock, Drying water degraded
archaeological textiles,
Gunilla Lagnesjö, 18th Century cordage- network
through the Ages.
Silvia Mitschke, Textile fibres on corroded
archaeological metal objects.
Elizabeth Goodman, ‘From rags to riches’. The
conservation of archaeological wet textiles in
the Museum of London.
Irena Skals, Exhibition of burial clothes?! Practical,
ethical and emotional aspects of textile
conservation.
Ursula Rothamel, Different conservation practices for
archaeological textiles from a dry or from humid
sites. Scientifically justified or just tradition?
Archaeological textiles from a ‘dry’ context
M. Berducou, Ethics in archaeological conservation.
W.D.Cooke, Archaeological textiles: teasing-out the
evidence.
M.R.Giuliani, R.Rosicarello, U.Santamaria, Preliminary
study of textile samples from Federico the II
sarcophagus.
Foekje Boersma, Modern technology: an aid in the
interpretation of a group of archaeological carpet/
rug fragments.
Howard Sutcliffe, Recovering history: the
characterisation and conservation of a ‘Coptic’
tapestry cover with pile order. A study of the use
NEWSLETTER
of Alpha-amylase Enzymes.
S.J.Wolf, M.Wing Dodge, Changing attitudes
towards the treatment of dry-site
archaeological textiles.
Alison Lister, Preserving a forgotten inheritage: the
iterpretation and conservation of Genizah
artefacts.
Lena Bjerregaard, The preservation of the integrity
of the textile object and its role as a carrier of
information. The conservation of Peruvian
Quipus.
Karin von Lerber, ‘Making the best of it’ –
reconstruction of two liturgical garments
from a find at the cathedral of Friburg
(Germany)
Connections: towards co-operation and continuity
in textile conservation education
Workshop: Development of the professional
conservator
Jenny Barnett, What are the practical co-operative
networks and exchanges which could help to
ensure the continuing development of our
students and ourselves as educators?
Workshop: Development of practice-based research
Agnes Timar Balaszy, Which networks and
partnership could be established to promote
practice-based research and its publication in
our schools and conservation community?
Workshop:Development of networks
Rikhard Hördal, Which practical ways of
20
networking could we develop after today?
Plenary session
General group discussion, ‘Where do we go from
here?’
Textile conservation: past, present, future
Past
Ebeltje Hartkamp-Jonxis, Changing views in the ethics
of conservation.
Tuuk Stam, History of textile conservation.
René Lugtigheid, The Zealand tapestry project. The
history of a restoration project 1955-2003.
Present
Annette Kipp, The image of textile conservation.
Emmy de Groot, Synthetic adhesives in the relining of
textiles. Considerations and decision-making.
Karin van der Wateren, A textile conservator goes
‘digital’
Future
Agnes Timar Balaszy, Wet cleaning of textiles,
‘present and Future’
Howard Sutcliffe, An initial investigation into the
cleaning of historic textiles using laser radiation:
possibilities and limits.
W.A.J.L.den Otter, Dense phase CO2 as a solvent for
cleaning textiles.
Tours conservation workshops and museums
In 1998, the Dutch Institute for Cultural Heritage
(ICN) confronted the problem of the Dutch textile
conservation market of limited work opportunities
and low student numbers. Finding specialist
lecturers was also a problem. In 1997 and 1999
there were sufficient suitable applicants to start a
course. In December 1998 a questionnaire was sent
to all known training institutions in Europe which
trained specialist textile conservators. The
objectives were to gain an impression of the market
in other European countries, collect comparable
data about student numbers and course length and
to gauge the interest for exchanging students and teachers. All respondents were interested in student
and teacher exchange with ICN; a remarkable result considering that very few knew anything about
our training program.
The following step was to organise a one day symposium to explore the possibilities of exchange and
partnerships. The response was enthusiastic; the United States was also included to provide a richer
mixture. Participants from 11 countries submitted an overview of their textile programs to enable
“window shopping”. Workshops were conducted to create a situation in which people could
communicate and work together towards a common goal. Three topics were chosen to concentrate
attention on the goals of textile conservation education (or the product) and ways to achieve them.
The aim was to produce concrete and attainable proposals for future co-operation.. To achieve this,
the organisation of the workshops was highly structured which focussed everyone most satisfactorily!
Connections: towards co-operation and
continuity in textile conservation
education
Symposium, 15 November 2000, Dutch
Institute for Cultural Heritage,
Amsterdam
By Jennifer Barnett, Head tutor in Textile
Conservation, ICN, Amsterdam
21
NEWSLETTER
The first topic, introduced by Jenny Barnet, was centred around the development of the professional
conservator, with the core question being “how can we co-operate to ensure continual professional
development of our students and ourselves as educators?”. It was resolved that the first step should
be to reach agreement on the commonly desired outcomes of specialised textile conservation
training. To achieve this it would be necessary to formulate a profile of the textile conservation
graduate including a glossary of terms used in the profile description, i.e. hand skills, theoretical
knowledge, professional qualities. The instillation of a commitment to continuous education in
students was seen as very important, as was the development of continuous education opportunities
for students and teachers. The development of didactic material and teaching modules was seen as a
strong opportunity for partnership as was the development of a long distant learning courses.
Dr. Agnes Timar introduced the second topic: developing practise-based research (PBR). The group
was asked to consider what networks and partnership could be established to promote practice-based
research and its publication in our training institutions and professional community. There was
unanimous agreement that: PBR should be a part of textile conservation training and that
communication skill is very important in research. It was a successful topic that stimulated most
suggestions, here listed in order of priority:
- Formulation of a definition of practice-based research;
- Development of research methodologies and teaching materials;
- Establishment of research partnerships;
- Provide opportunities for publications and distribution of student research results;
- Provide a web site for the accessing of summaries/abstracts of diploma works and thesis in English,
German and French;
- Survey whether textile conservators are using research skills or not;
- Development of strategies to apply the results of PBR to conservation methodology.
The final and most practical topic, introduced by Rikhard Hördal, focussed on developing networks.
This topic provided the “how” for future co-operative ventures. The most exciting idea was to
explore the possibility of forming a sub-group of textile conservation training under the ICOMConservation Committee Training & Education work group. This would be the first such material
subgroup. Equally important would be the creation of a web site/discussion list that could also serve
as a market place for teacher exchange and internship. Other suggestions included the compilation of
an inventory of existing network structures and all textile conservation courses, the establishment of
students conferences and strategies for student publications, the development of a textile
conservation education bibliography and development of master classes for students and educators.
The networking discussion formed a relevant introduction to the final plenary session where concrete
projects were proposed under the title “where do we go from here?”. Under the expert guidance of
the chair, Kate Foley,, resolutions and conclusions were formed. A planning team was formed,
comprising Jenny Barnett (Dutch Institute for Cultural Heritage, Netherlands), Joy Gardiner
(University of Delaware, United States), Barbara Matuella (Universität für Angewandte Kunst,
Austria) and Rosalia Varoli Piazza (Istituto Centrale del Restauro, Italy). The first two projects are
underway: the possibilities for the formulation of the sub group “textile conservation” under the
ICOM-CC Education work group is being explored.
An intense yet satisfying day was concluded in a restaurant where Rikhard Hördal demonstrated the
subtleties of network consolidation by getting everyone to sing their national sentimental songs after
the dessert. Even the waiters joined in. Barbara Matuella stole the show with a sensitive rendition of
an Austrian sinning song.
In many ways the symposium was a tryout for future co-operation and partnership and it certainly
marked the beginning of an international network. In one short day, in addition to generating
projects, we also raised more than enough questions and issues for future discussion. Future
developments will be publicised. Textile conservation training institutions that did not receive a
1998 questionnaire, or were unable to respond are welcome to make contact with the planning group
([email protected] )
NEWSLETTER
22
Pesticides and fire retardant
finish in textile objects dangerous waste from the past?!
by Bettina Beisenkötter
Wurtenbergisches Landesmuseum
Stuttgart
Received: September 1999
Introduction
The Württembergisches Landesmuseum (WLM) in Stuttgart
owns a mixed collection of textiles like costumes,
accessories, liturgical vestments, tapestries, silk fabrics of the
15-19th c., pieces of the early middle ages as well as modern
textile art.The museum has ascertained pesticides and
antiflaming sizings in some expert reports of dust taken from
different textile objects and of paper the objects laid on for
more than 5 years. The result leads to new strategies in
handling the objects.
The following material was tested:
1.Dust test taken mostly from woollen Objects of the 18th.
material
result mg/kg
reference of unloaded
quantity (mg/kg)
reference of loaded
quantity (mg/kg)
tris(2-chlorethyl)phosphat (TCEP)
9,50
no expertise
no expertise
Tribuoexyethylphospat
(TBEP)
135,0
no expertise
no expertise
Pentachlorphenol
0,52
0,1
some g/kg
γ-Hexachlorcyclhexan
(LINDANE)
1,40
0,02
until 400
Eulan (within DDT)
2,70
no expertise ??
some g/kg
Methoxychlor and
Chlorphenotan (DDT)
2,10
<5
some g/kg
Lindane (gamma-HCH)
2,80
<0,1
13
and 19th. century
2. Objects treated with EULAN WA NEU
Pentachlorphenol (PCP)
0,5
0,1
some g/kg
LINDANE (gamma-HCH)
11,0
0,02
until 400
Methoxychlor and
Chlorphenotan (DDT)
15
no expertise
no expertise
Tris(2-chlorethyl)phos-pat
(TCEP)
190
no expertise
no expertise
3. Paper under Objects
4. Dust exclusively taken from Coptic objects
The results:
Example 1) the dust shows a bit of LINDANE (?? HCH) mainly TCEP a little increased and TBEP
clearly increased. Lindane is a pesticide and a neurotoxin. It is lipophilic and is taken up by the skin
23
NEWSLETTER
very easily and by the lungs through the air.
Example 2) DDT was found in woolen objects, which were treated with EULAN WA NEU from Bayer
Ag. The ingredients are insecticides used against moths and beetles. In the 1970s it was used especially
on pure woollen tapestries. Aside a lot of different insecticides for example Permihtrin were applicated.
Until 1988 this group of products, known as EULAN WA NEU were in use and on sale.
DDT is said to promote cancer. Its use is forbidden in Germany since 1972. It is lipophilic and
therefore taken up by the skin very easily.
Because of this loading with DDT the utilisation of chemical resistant gloves is advised.
Example 3) The paper under the Objects is partly loaded with low and partly with high concentrations
of DDT and LINDAN.
Example 4) Test of dust from an aspirator especially used for aspirating 130 Coptic objects. These
objects belong to a sample collection of the former "Landesgewerbeamt Stuttgart". The collection is
typical for all ‘arts and crafts’ collections in Europe.
The test shows a slight loading with PCP and a huge loading of LINDAN and DDT.The loading with
TCEP is extremely high. TCEP belongs to the group of Trialkylphosphoracidester and promotes cancer
(list TRGS 905) It is usually applied as an antiflaming sizing (fire retardant finish) and a softener. It
was utilized in fabrics of US- american origin. In evaluating these test results we should take into
account several things:
1) As to be seen in the chart, we hardly have got expertise of loaded material quantities, because this is
a new scientific field.
2) We also take hazardous pollution up by food daily. So everybody has got a certain amount of DDT,
LINDAN and PCP already in his blood. Partly those materials are excreted, partly they stay and
accumulate in specific organs. The duration of exposure for people working with those pieces is one
critical point
Conclusions:
The expert reports of the German safety standards authority (TÜV) and the trade supervisory board
(Gewerbeaufsicht) agree in respecting these results as more or less critical. For all persons handling
those objects every day they suggest to be extremely carefull in keeping those hazardous dusts away
from skin and lungs: so use special masks if possible.The use of chemical resistant gloves is intended
without exception, as well as work clothing (overall), that should cover as much skin as possible and be
thrown into the waste every day. You may also use a white coat, which is washed very often.Until now
good air suction facilities (elephant hose) like those used in painting and wood conservation labs were
not obligatory for textile conservation labs. The tests show that they are important to take away polluted
air from textile objects.
In planning a new textile conservation lab, the WLM intends to install a laminar flow air room, where
all objects are vacuum cleaned and stay for a specific time in order to get as much dust and pollution
out, before they are conserved in the lab. Special aspirators are necesary, which passed the K1 test (Bia
test- Germany). This means, that the aspirators have got three filters for different pollution gradings in
order to be able to keep out carcinogenic pollutions.
My intention is not to create cahotic fears in working with textile collections, but to draw the attention
to the fact that textile collections may have a hazardous impact on the health of conservators and
curators in their every-day-work. In most cases we don't know how and when textiles were treated
before we even touched them; unfortunately they are not labelled, giving information about their
ingredients! In any way, I recommend to promote as much safety for ourselves as possible.
Last but not least: I would like to know who has made comparable tests of object dust or air in labs and
storage areas concerning textiles. If you have done so, did you find similar materials? Which
conclusions did you draw from the results; for example did you think about special air rates in those
areas?
I would be pleased to get a lot of response.
Bettina Beisenkotter
Wurtenbergisches Landmuseum
70173 Stuttgart, Germany
NEWSLETTER
Pesticides and carpets: identification,
quantitative analysis and removal.
24
“Holbein” rug from the Usak region, Anatolia
16th century.
Giordes rug, Anatolia 17th century.
by CNR Istituto di Ricerca e
Sperimentazione Laniera “O. Rivetti” Biella
C. Tonin, R. Innocenti, B. Cravello, M.
Bianchetto Songia and
Cecilia Di Nola Carpet restorer conservation project.
Two Early Ottoman Rugs from the Palazzo
Barberini Collection in Rome have been
preliminarily examined for conservation purposes
at various levels in order to give a real picture of
the present state of the constituent materials and
information on the nature of the dirt.
The two carpets were very dirty and showed
evident signs of moth larvae attack, but no
evidence of any biological activity at present.
This could have been related to the use of moth killer substances used in the past.
Pesticides and carpets
Organo-chlorine pesticides were largely used in the past as moth and beetleproofing agents. Most of
them are contact insecticides and, because of their toxicity even to warm blooded species, their use is
now prohibited in most countries; however, these substances are still active on the treated textiles. It
should be noted that this practice is still in use in most of the countries connected with carpet
weaving tradition.
The entire work will be published in the papers of the 9th ICOC Meeting of September 1999.
We give here a summary concerning identification, quantitative analysis and removal of organochlorine pesticides found in the rugs in question.
Materials : samples of fibres, dirt deposit on the surface, dust collected by vacuum cleaning.
Aim : determining identification and concentration of pesticides and setting up an effective and
ecological cleaning procedure.
Methods
- GC (Gas Chromatography) analysis of the dust associated with the fibres of all the rugs examined,
revealed DDT concentration between 4 e 17 ppm (2,4 e 4,4’ isomers) and PCP between 1 and 2 ppm.
In particular, the dust collected by vacuum cleaning the “Usak” rug and the “Ghiordes” rug,
contained a concentration of 5.3 ppm of 4,4’ DDT (1.0 ppm of 2,4’ DDT), and 13.9 ppm of 4,4’
DDT (3.7 ppm of 2,4’ DDT) respectively.
GC analysis of the fibre samples from the “Ghiordes” rug, revealed DDT concentration between 1.6
e 4.8 ppm (2,4 e 4,4’ isomers); the average concentration was determined as 4.0 ppm of 4,4’ DDT
and 1.8 ppm of 2,4’ DDT.
These levels are very high if one considers that European legislation provides for a limit of 0.5 ppm
for the total content of organo-chlorine pesticides in textiles.
The analyses were carried out by extraction of the pesticide with organic solvents (dichloromethane
for DDT and 2-methoxyethanol for PCP), purification from the fatty matters by HPLC and
successive dissolution in isooctane for GC quali-quantitative determination.
CLEANING PROCEDURES
With the aim of suggesting an appropriate, safe and effective cleaning procedure for this kind of
historical heritage, laboratory cleaning tests were carried out on carpet samples artificially
contaminated with DDT.
Wool samples of a Kilim carpet were treated with known quantities of DDT, dry cleaned, rinsed,
then washed, in different conditions (taking into consideration the necessity of using “soft”
treatments), for variable durations until the elimination of the pesticide reached the level of 80%-90
%.
25
NEWSLETTER
On the basis of the laboratory results, the “Usak” and the “Ghiordes” rugs were subjected to the
following cleaning procedure:
* dry cleaning with tetrachloroethylene (total immersion for 20 min at 20°C, 4 cycles of slight motion
for 15 s);
* rinsing with fresh tetrachloroethylene (total immersion for 25 min at 20°C, 2 cycles of slight motion
for 15 s);
* drying with slow centrifugal machine in flat condition, for 15 min with air ventilation at 40-45°C.
No mechanical stresses were evident as a consequence of the treatment, owing to a previous
strengthening of the whole rug; the colours appeared unchanged, a little more bright, and the fibres a
little more harsh.
In order to compare the effect of the dry cleaning and the wet cleaning (with water) on the elimination
of the pesticides, other samples of the “Ghiordes” rug were subjected to a washing treatment (40 min)
with distilled water with the following concentration of chemicals:
* non ionic detergent (alcohol polyethoxylate): 0.5 g/l;
* carboxymethylcellulose: 0.05 g/l;
* sodium chloride: 5 g/l.
The washing process was followed by a rinsing with fresh water for 30 min.
After the treatments, the rugs were again subjected to vacuum cleaning and the residual dust collected
(fibre fragments and insoluble soil) and the small samples of the “Ghiordes” rug, dry or wet cleaned,
were again analysed in order to determine the residual DDT concentration.
RESULTS
The dust collected by vacuum cleaning the “Usak” rug described in Fig.1, contained a concentration
of 5.3 ppm of 4,4’ DDT and 1.0 ppm of 2,4’ DDT.
After the dry cleaning procedure described, the dust contained a concentration of 1.5 ppm of 4,4’
DDT and 0.3 ppm of 2,4’ DDT with an average reduction of 70% about.
The dust collected by vacuum cleaning the “Ghiordes” rug contained a concentration of 13.9 ppm of
4,4’ DDT and 3.7 ppm of 2,4’ DDT.
After the dry cleaning procedure described, the dust contained a concentration of 2.9 ppm of 4,4’
DDT and 0.8 ppm of 2,4’ DDT with an average reduction of 77% about.
The fibre samples from the Ghiordes rug contained a concentration of 4.0 ppm of 4,4’ DDT and 1.8
ppm of 2,4’ DDT.
After the dry cleaning procedure described, the samples contained a concentration of 0.6 ppm of 4,4’
DDT and 0.4 ppm of 2,4’ DDT with an average reduction of 80% about.
After the wet cleaning procedure alone, (washing with water), the samples contained a concentration
of 1.9 ppm of 4,4’ DDT and 1.0 ppm of 2,4’ DDT with an average reduction of 44% about.
Table 1 summarises the results of the tests carried out on the dust from the “Usak” and “Ghiordes”
rugs.
CONCLUSIONS
The dry cleaning procedure suggested led to the elimination of a considerable amount of the pesticide
(70-80%) and the total elimination of the fatty matters.
The water cleaning alone is less effective (44% of pesticide elimination) and less ecological, being
the pesticide transferred into water.
In addition. some dyes from antique textiles do not demonstrate sufficient colour-fastness to permit
wet-treatment for any significant length of time. A colour-fastness test carrried out on samples from
the Ghiordes carpet showed that the light blue dye ran after just one hour when in contact with the
detergent solution.
Further investigation is in progress to evaluate the effectiveness of combined dry-wet treatments, with
the aim of obtaining the total elimination of the pesticide from the carpets.
NEWSLETTER
26
Organo-chlorine pesticides are lyophylic, the contact with eyes and skin must be avoided.
The utilization of Tyvek TM overall, protective goggles, chemical resistent glove and respiratory
mask for toxic dust (Class FFP3S(L), EN 149) is recommended.
Tab. 1 - DDT concentration in the dust collected by vacuum cleaning the rugs before and after dry
cleaning.
DDT CONCENTRATION IN THE DUST (ppm)
BEFORE DRY CLEANING
AFTER DRY CLEANING
DUST FROM THE RUG:
4,4’DDT
2,4’DDT
4,4’DDT
2,4’DDT
“USAK”
5.3
1.0
1.5
0.3
“GHIORDES”
13.9
3.7
2.9
0.8
Table 2 summarises the results of the tests carried out on the fibre samples from the “Ghiordes” rug.
Tab. 2 - DDT concentration in the fibres samples from the “Ghiordes” rug before and after dry or wet
cleaning.
DDT CONCENTRATION IN THE FIBRE SAMPLES FROM THE “GHIORDES” RUG (ppm)
BEFORE CLEANING
AFTER DRY CLEANING
AFTER WET CLEANING
4,4’DDT
2,4’DDT
4,4’DDT
2,4’DDT
4,4’DDT
2,4’DDT
4.0
1.8
0.6
0.4
1.9
1.0
CNR Istituto di Ricerca e Sperimentazione Laniera “O. Rivetti” Corso G. Pella 16, 13051- Biella, Italy
Cecilia Di Nola - Voc. Albano, 46. Fraz. Collelungo, 05010 San Venanzo (TR) - Italy
Tel/Fax 39 - 75 – 8749915 e-mail [email protected]
Editor’s note: See Hayward M and Allen R 1992. Naphhtalene.Conservation News(UKIC),4-9,40-43
Photographs on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt .
27
NEWSLETTER
For many years chemical treatment has been
the most common way of dealing with an
infestation on textiles. Examples of fumigants
are: ethylene oxide, hydrogen cyanide, methyl
bromide, phosphine and sulphuryl fluoride.
Examples of pesticides mostly used are
organochlorine such as DDT and lindane;
By Irma Wallenborg, Armé Museum,
organophosphorus such as malathion,
Stockholm
chlorpyrifos and dichlorvos; carbamates such
as propoxur, carbamyl; pyrethrins and
pyrerhroids such as natural pyrethrins,
bioresmethrin, permethrin, cypermethrin, cyfluthrin, deltamethrin and others such as boric
acid, naphthalene and paradichlorobenzene.
Several pesticides are already prohibited because of their toxicity. Others will soon be
excluded. For example methyl bromide will be forbidden in the European Community in
2005.
Since the 1984´s the Swedish working group PRE-MAL (Pest Research and Education –
Museums Archives and Libraries) has been involved in research into modern pest control
methods and their effect on insects, textile material and people.
Freezing is often used to control pests attacking textiles in museums, but the effect of
freezing on textiles and particularly of repeated freezing has not been sufficiently studied.
In 1993 PRE-MAL performed some experiments to study the effect of freezing on old wool.
The results of these experiments showed that freezing did not influence the break load and
the tenacity of the woolfibre but an increased the breaking elongation. The large variations
in the data of the measurement of the breaking load for the old material is an interesting
experience which could be established. The results in this experiment are surprising and
must lead to further studies and also to a critical examination of the experimental methods.
In 1996 PRE-MAL gave The Swedish Institute for Fibre and Polymer Research, (IFP) the
commission to study the effect of repeated freezing of new wool fibres. The study included
a comparison of mechanical properties and examination of the rupted surfaces of frozen new
wool fibres with reference fibres. According to the results there was no significant effect of
the tested woolfibres as a the result of repeated freezing. These results are considered to be
reliable since the test fibres were selected on basis of similar load-extension behaviour.
Though further studies of more complex structures of ancient materials must be made in
order to obtain a more realistic picture of the effect of freezing treatment of museum articles.
The PRE - MAL group has been taken initiative to realise such experiments together with
Professor Dr. Roshan Shishoo, IFP.
A number of partners in Europe have been interested and also have been connected to the
projected. A project proposal to the European Commission under the co-ordinator Professor
Roshan Shishoo shall be delivered to the commission in February 2001 in order to raise
funds make further research.
PRE-MAL
(Pest Research and Education –
Museums Archives and Libraries)
Treatment against biodegradation of
textiles
NEWSLETTER
28
La poussière est le point de départ des différents
types de dégradations des textiles anciens. Outre une
gêne visuelle incontestable, elle entraîne des
phénomènes mécaniques nuisibles pour les fibres,
elle attire les insectes et favorise le développement
des micro-organismes. Le dépoussiérage est donc
une opération essentielle et indispensable en
by M-A.Privat-Savigny
conservation préventive. Il est fondamental qu’il soit
fait correctement pour la sécurité des œuvres et
Petite Ecurie du Roi - Versailles
éviter toute intervention inutile en restauration.
Dans cet objectif, à l’automne 1999, le Domaine de
Received: November 2000
Versailles et de Trianon, que dirige M. Pierre
Arizzoli Clementel, président du CIETA, a décidé de
confier de façon régulière et sur le moyen terme, le dépoussiérage des textiles et la réalisation de
constats d’état à une restauratrice spécialisée, Mme Solé1. Cette campagne de dépoussiérage apparut
comme une opportunité intéressante d’étudier la poussière, la composition, le phénomène
d’empoussièrement des textiles exposés, l’impact du public, ainsi que les solutions envisageables
pour améliorer leur protection au sein d’une demeure historique.
Nous considérons le public, très nombreux, comme une donnée essentielle et trois espaces
“ pilotes ” ont été déterminés en tenant compte de ce paramètre : un lieu très fréquenté, la Chambre
du Roi, un lieu uniquement visité par les groupes avec un conférencier, la Chambre de Mme Victoire,
et un lieu exceptionnellement traversé, le Billard de la Reine. Des bilans climatiques seront dressés
pour chacun de ces lieux sur une année et une main courante pourra, avec la collaboration des agents
du Domaine, être mise en place, afin de connaître au quotidien l’activité de ces salles.
Quelques examens est analyses préliminaires2 ont été réalisés dans la Chambre du Roi afin de
donner à l’étude la meilleure orientation possible. Cette pièce est très fréquentée et non chauffée en
hiver. Trois types d’analyses ont été entreprises : les relevés de température et d’humidité relative
(du 19/10/99 au 2/12/99)3, le contrôle micro-biologique de l’air4 et l’analyse de la contamination
particulaire de l’air. Les résultats sont les suivants :
a. la température est stable entre 17° et 19°C. L’HR est en revanche globalement inférieure à 50%,
surtout lorsque le chauffage est mis en marche. Une comparaison avec l’HR extérieure indique
que le bâtiment présenterait une bonne inertie. L’air est donc plutôt sec.
b. Le contrôle micro-biologique de l’air indique des taux normaux5 pour un lieu très fréquenté par le
public comme l’est Versailles.
c. L’analyse de la contamination particulaire de l’air indique que le calcium est prédominant ; il
s’agit essentiellement de particules de gypse de taille moyenne (2m). ces particules
proviennent de l’extérieur (façades, graviers du jardin…). Les taux élevés de zinc et de fer sont
normaux dans la région parisienne et ont pour origine les toitures.
Grâce à l’aide de l’ASPEC6, un protocole d’analyse fut mis en place. L’adhérence et la quantité
de poussière déposée sur une surface verticale dépend des propriétés physico-chimiques du matériau.
On ne dispose pas directement de technique élaborée ou d’un appareillage d’usage général conforme
à une norme pour évaluer l’empoussièrage des surfaces horizontales et verticales, mais il existe des
groupes de méthodes d’analyses sur une surface déterminée, qui sont quantifiables en laboratoire.
On peut toutefois distinguer les méthodologies suivantes :
a) Extraire les poussières par aspiration puis les mesurer quantitativement par une méthode physicochimique en laboratoire.
2) Utiliser un scotch spécifique7 pour décoller les particules. Le scotch est appliqué sur une partie
du textile, enlevant les particules de poussière sur cette surface uniquement. En comparant cette
partie test avec le reste du textile, on peut quantifier le ré-empoussièrement. Ensuite, le scotch et les
particules sont pesés. On mesure ainsi la masse de particules en mg/cm3.
3) Adopter la méthode de l’écovillon humecté, avec lequel la poussière est prélevée puis mesurée.
4) Choisir, enfin, la technique des plaquettes de dépôt8 que l’on utilise pour les mesures de la
Etude sur la poussiere et
l’emploussierement des textiles anciens
dans une demeure historique:le cas des
textiles ancienes du Chateau du
Versailles
29
NEWSLETTER
pollution atmosphérique. La poussière est recueillie sur une période de temps donnée et quantifiée
selon la méthode des pesées.
Il existe d’autres méthodes, plus lourdes à mettre en œuvre :
a) A l’issue des prélèvements de poussière, on effectue un passage en milieu liquide, et on mesure
l’opacité de l’échantillon par capteur optique.
b) Les opacimètres optiques permettent difficilement de déterminer la masse volumique des
particules en suspension.
c) Les compteurs optiques effectuent des mesures de la poussière en suspension dans l’air et les
photomètres aérosols procèdent à l’examen et à la quantification des particules présentes. Les
enregistrements sont continus.
L’analyse scientifique s’accompagne d’une observation sur le terrain, essentielle. Elle est certes
empirique, mais elle permet de connaître le fonctionnement de l’institution, ses besoins et ses
possibilités en matière de conservation préventive, ce qui est essentiel pour une application concrète
des résultats. Des conseils ont par exemple été donnés pour la mise en place d’un ménage technique
de l’environnement des œuvres et éviter que la poussière ne soit seulement déplacée9. L’usage
d’aspirateurs à filtration dite absolue est indispensable, ainsi que la formation des agents à certains
gestes.
Par ailleurs, limiter l’apport de poussière est une donnée essentielle de notre recherche. Un
examen des tapis de sol placés à l’entrée et sur lesquels les visiteurs essuient leurs pieds10 permettra
d’en optimiser l’usage et de retenir ainsi le maximum de particules à l’entrée. Enfin, de nombreux
textiles sont encore protégés par des plastiques, contenant des plastifiants, qui à terme jaunissent et
collent les textiles qu’ils sont censés conserver. Afin de trouver d’autres solutions, nous nous sommes
adressés à des industriels du plastique pour connaître leurs derniers produits. Ces derniers doivent
être analysés et répondre à un certain nombre de critères, tels qu’une bonne stabilité dans le temps,
une neutralité, une souplesse pour les adapter aux sièges, un filtrage anti-UV et une absence
d’éléctrostatisme. Cette recherche reste à entreprendre11.
A partir des études réalisées12 dans d’autres lieux, sur d’autres œuvres, nous tentons de
comprendre et d’analyser le phénomène d’empoussièrement des textiles dans une demeure
historique, afin de proposer aux conservateurs des solutions pratiques et concrètes pour le limiter,
pour procéder à un dépoussiérage efficace et respectueux des œuvres et les protéger au mieux de ces
nuisibles particules.
Jean-Louis Boutaine, chef du département Recherche du C2RMF, de Mme Dominique de Reyer,
ingénieur au sein de la cellule textiles DMF/LRMH, de M. Michel Dubus, ingénieur au sein du
département Recherche du C2RMF, Mme Marie-José Solé, conservateur-restaurateur spécialiste des
textiles anciens. Maria-Anne Privat-Savigny, conservateur au C2RMF, département Conservation/
Restauration, filière Arts Décoratifs.
Avec tous nos remerciements à M. Arizzoli Clementel et à l’équipe de conservation du Domaine
de Versailles et Trianon pour leur collaboration.
____________________________
1 Marie-José Solé est diplômée de l’IFROA, spécialité textiles et du DESS de conservation
préventive de l’Université de Paris I.
2 Ils ont été réalisés par Mme Dominique de Reyer, ingénieur au sein de la cellule textile DMF/
LRMH et par M . Michel Dubus, ingénieur au CRRMF, département conservation préventive.
3 Les enregistrements ont été réalisés avec une centrale de mesure squirrel MQ32 (Grant), la
fréquence d’enregistrement étant de 15mn.
4 Les prélèvements d’air ont été réalisés en cinq points de la pièce et en fonction de la fréquentation
du public (jour de fermeture, avant arrivée du public, après une journée de visites) par un SAS doté
d’un débit de 60 l d’air en 20s et d’une aspiration de 120 l sur des géloses spécifiques à la culture des
bactéries et des micro-organismes.
5 Les taux obtenus sont inférieurs à 100 CFU/mcube d’air.
6 Association pour la Prévention et l’Etude de la Contamination, créée en 1971. Nous avons
NEWSLETTER
30
rencontré MM Lavergne et Guichart.
7 Scotch commercialisé par 3M, Scotch 810 Magic Tape®. Nichols Gary, “ Scotch Magic Tape®,
an aid to the Microscopist for dust examination ” in Microscope, 1985, p.247-254.
8 Norme X43-007 de décembre 1973, Pollution atmosphérique. Mesure des “ retombées ” par la
méthode des “ plaquettes de dépôt ”.
9 Avec les conseils de l’ASPEC, le point de départ a été la norme NF-X-50-791, intitulée Aide à
l’élaboration d’un cahier des charges pour une prestation de nettoyage industriel , norme qui fut
adaptée à la problématique muséale.
10 Young Hun Yoon et Peter Brimblecombe, “ Contribution of dust at floor level to particle deposit
within the Sainsbury Center for Visuel Arts” in Studies in Conservation, vol.45; n°2, 2000, p.127137.
11 M. J-L Boutaine, directeur du département de la recherche au C2RMF, a déjà rassemblé une
importante Mlle Agathe Strouk, doit consacrer la partie scientifique de son mémoire à l’étude de
l’efficacité et du vieillissement d’un des plastiques pré-sélectionnés.
12 Léon M. Bellan, Lynn G Salmon, Glen R.Cass, “ A Study on the Human Ability to detect soot
deposition onto works of art ” in Environmental science and technology, vol.34, n°10, 2000, p.19461952.
P. Brimblecombe et coll., “ The Indoor Environment of a Modern Museum Building, the Sainsbury
Center for Visual Arts, Norwich, UK” in Indoor air, 9, 1999, p. 146-164.
P. Brimblecombe, “The composition of museum atmospheres” in Atmospheric Environment,
vol.24B, n°1, 1990, p.1-8.
W.W. Nazaroff et coll., Protection of Works of Art from soiling due to Airborne Particulates, J.Paul
Getty Trust, 1998.
W.W. Nazaroff et coll., Airborne Particles in Museums, J.Paul Getty Trust, 1999.
Les Actualités de la conservation n°4 et 5, 1997, publiées par la Bibliothèque Nationale de France.
documentation sur cette question ainsi que quelques échantillons. Une étudiante de l’IFROA,
section textiles, Mlle Agathe Strouk, doit consacrer la partie scientifique de son mémoire à l’étude
de l’efficacité et du vieillissement d’un des plastiques pré-sélectionnés.
13 Léon M. Bellan, Lynn G Salmon, Glen R.Cass, “ A Study on the Human Ability to detect soot
deposition onto works of art ” in Environmental science and technology, vol.34, n°10, 2000, p.19461952.
P. Brimblecombe et coll., “ The Indoor Environment of a Modern Museum Building, the Sainsbury
Center for Visual Arts, Norwich, UK” in Indoor air, 9, 1999, p. 146-164.
P. Brimblecombe, “The composition of museum atmospheres” in Atmospheric Environment,
vol.24B, n°1, 1990, p.1-8.
W.W. Nazaroff et coll., Protection of Works of Art from soiling due to Airborne Particulates, J.Paul
Getty Trust, 1998.
W.W. Nazaroff et coll., Airborne Particles in Museums, J.Paul Getty Trust, 1999.
Les Actualités de la conservation n°4 et 5, 1997, publiées par la Bibliothèque Nationale de France.
31
NEWSLETTER
Changing aspects: twenty years Introduction
Twenty years ago, textile conservation was already a wellin textile conservation
established craft, rapidly becoming a more widely recognised
profession.
By Nicola Gentle,
Emphasis then was on the practical skills of remedial care.
free-lance Conservation
Methods for the main processes, such as wet-cleaning, and
Consultant
support by stitching- or adhesive-techniques had evolved to
accepted standards.
Received: April 2001
The following years introduced more awareness of
preventative measures: involvement with environmental
control and safe materials for display. Ethics became the 'buzz-word'. Respect for the original
construction and reason for the object, its integrity and its history, came to the fore. The conservator's
role as a researcher was gradually acknowledged. She, or he, was allowed more and more to be
involved in the investigation and documentation of the object's construction and its overall context,
and gradually allowed to play an important part in the realisation of these aspects.
The basic range of textile conservation techniques, tried and true, has varied little over the years.
Today, in a greater wealth of knowledge and experience gained with hindsight, the precise choice of
materials and the exact method of practical execution can be more ideally suited to the individual
object and its situation of display. So, from practicality to idealism: and now perhaps to pragmatism.
Changing aspects of employment and funding for the conservator are inevitably limiting the
possibilities for choice. The consequences of narrowed resources and the increased demand simply 'to
produce the work' can certainly not be accepted with complacency.
Above all, values and experience must not be lost in the sheer need to 'cut corners'. Such pressures
could in fact, more optimistically, provide an opportunity for the conservator to take stock and see
priorities more clearly. If we can no longer afford to give everything 'the works' in terms of
conservation practice, we must focus on the precise needs of a particular object or a particular
collection, within a very specific context.
The Melville Bed
A late 17thC State Bed from Melville House, Fife, now in the collection of the Victoria & Albert
Museum, has been a preoccupation of mine, not quite for twenty years, though it could almost be that
by the time the rehanging is complete2.The counterpane alone has occupied some 820 hours of my
time3
The Bed was dismantled from its old display in the Museum at the beginning of 1985. Conservation
of the textiles was begun immediately with a view to redisplay in 1988. It has to said that at the
outset, there was no fixed programme of work, no time estimates, nor any pre-established overall
policy for the conservation.
The aim was that every item should be allowed the fullest possible treatment4; the Bed would
ultimately be afforded ideal conditions of display. No cost of materials was ever questioned.
Subsequent changes in Gallery planning, too numerous to remember, in fact meant that the project
was stopped and started many times over the next ten years.
By the end of 1994 when the last curtain was completed, I calculated that a total of four-and-a-half
thousand hours at least had been spent on the conservation work so far. Also, that twenty conservators
had worked on the project over these ten years: a small core of Museum staff but with a majority
involvement by interns, students and, latterly, conservators on short-term contract. The open outlook
of this kind of approach might today be considered somewhat cavalier. It was certainly courageous. It
gave space for the development of ideals; time to evolve treatment methods, time to fully document
the construction of such an important object. Not least, it has given experience to many a conservator,
both established and 'in-the-making'.
Some objects surely justify such attention. But who now can afford such idealism? And who now can
afford to give so many conservators-in-training this kind of encounter with practical and ethical
decision-making?
The Dunham Massey Bed
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32
A Bed from Dunham Massey (National Trust in Cheshire) is of comparable date to the Melville Bed,
and similar in its richness of red velvet and passementerie decoration. The tester of this Bed was
discovered at the House soon after the Trust acquired it in the late 1970's. Other items of its textile
hangings and pieces of the bedstock have been found in store over the later years, some as recently as
the beginning of 1998.
I feel sure that if all these items had come to light in the late 70's, there would have been no question
that the Bed should be given the fullest treatment: a combination of remedial work, replacement and
reconstruction, to be displayed in its 'former glory'. However, the Bed has only now come to be
considered for possible conservation and display. (The project is at present in the hands of Ksynia
Marko and the National Trust Textile Conservation Studio at Blickling, Norfolk.)
Practical and ethical questions inevitably arise around an object which has major alterations; for
example here, the tester cloth has been reversed, and various other items, such as the inner valances
and the headboard, have been re-covered with later textiles. Vital structural parts may be missing,
such as one of the posts; some perhaps are too fragile to give support, particularly on open display.
At Dunham Massey, there is the additional problem of where to display the Bed; the original Bed
Chamber no longer 'exists' in the later transformation of the House. One suggestion which has been
put forward is that parts of the Bed could be displayed separately as individual objects. This would
not only allow a less intrusive approach to treatment, but would also mean that the visitor could enjoy
another aspect: a closer view of the materials, and a rare insight into the making of such an object, not
just another Bed in another Room in another House. How often can one appreciate a splendid
cartouche inside the tester of a Bed? These are questions now to be discussed between the
conservator, historian, property manager and, no doubt, the sponsor.
17th century Chairs
I was recently asked to report on a pair of Chairs, again dating from the 1690's, in a private collection,
and I went to examine them with a furniture historian. We independently came to the same
conviction: that because these Chairs appear to be such important examples of their type, they should
receive the least intrusive treatment. This perhaps turns upside-down the thinking both of
conservators and curators from twenty years ago.
In 1979, for instance, conservation of another late 17thC Bed, from Boughton House, was conserved
at the V&A Museum. All the textiles were dismantled; the brocaded damask was wet-cleaned. The
hangings were reconstructed when parts were missing. The metal fringe was cleaned with silver dip,
the accepted method of that time. Fringing on the curtains is reproduction replacement.
My priority now for the 17thC Chairs would be to document and preserve all their original elements
in a way that respects and retains the integrity of the object. My practical objectives would principally
focus on cleaning, (but not over-cleaning), and stabilising, but with no attempt to 'fill-in' the areas of
loss. In this way, the textiles could be made safe; the visual aspect would not only be 'enhanced' but
could be more easily 'read'. A show piece can also be a study piece; a study piece a show piece. (A
less intrusive approach to conservation practice, of course, must be complemented by careful means
of display and storage.)
In the investigation, and the treatment, I would wish to involve the specialist skills of an upholstery
conservator, someone who is still too rare in the last twenty years. The project would also incorporate
the skills of a furniture conservator. When the covers of the set of Dolphin Chairs (Ham House, late
17thC) were conserved during the 1980's5
the textiles were treated very much in isolation, and it was only latterly that the conservation of the
gilding, and even later that of the upholstery, was considered. Now, we are more aware of the object
as a whole entity. In the past, resources could be concentrated on the one or two prime objects of the
moment. This was not intended to be at the expense of others in the collection, because they would,
no doubt, receive equal attention in due course.
Today, now that resources have to be more 'efficiently' spread, attention must be more thoughtfully
divided among a collection. The most fundamental methods of support and presentation can greatly
benefit many objects.
Embroidered Pictures from Trerice
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NEWSLETTER
I am currently involved with a small collection of 17thC textile objects at Trerice, (National Trust in
Cornwall) - a dozen items, all of which require treatment. For the series of Embroidered Pictures, the
basic programme is to remove any potentially damaging aspects of their previous framing: such as
unsympathetic mountings onto wooden board, or torn brown paper providing the only backing to
stretchers.
Simply by cleaning the glass, which is black on both surfaces, the textile's environment and its visual
appearance is immediately improved. The Embroideries will be gently cleaned by vacuuming, then
remounted onto conservation grade materials and more safely re-sealed into their original frames.
Textile objects are rarely that straight-forward and well-behaved. So far, I have found old glue-paste
causing problems on the reverse side of one of the embroideries. On another, the original binding
ribbon was continuing to deposit dark fragments and silk dust over the surface of the Picture. Once
encountered, these issues cannot be ignored. But by keeping focused on the principal purpose of the
programme overall, such problems can, perhaps, be addressed with more straight-forward decisions.
Incidentally, as opportunity arises, the reverse, unfaded, side of some of the objects is being
photographed. This is firstly to document the original colours, but also with a view to contributing to
a leaflet which could 'educate' the visitor about Conservation, the need for low light levels etc, and at
the same time add to their better appreciation of the objects themselves.
Tapestry Cushions from Trerice
I have also worked on a pair of tapestry cushions from the same collection, dated c1649. Their
damaged condition and their vulnerability on open-display warrants more extensive remedial care.
Natural deterioration has been exacerbated by the tidy trimming-away of broken and exposed warps,
and by contributions from the past cat-in-residence at Trerice.
A traditional approach to tapestry objects, over the years, has been to lay new warps in missing
broken areas and to fill-in losses of the pictorial element with warp-couching in appropriate colours.
This is done within an network of support stitching.
At Trerice, the role of the Cushions is as part of the furnishings of a Room. Their primary need is
physical rather than visual. Time is best spent on providing a sound support for open display, which
in turn will also give House Staff confidence for future care.
Vacuum cleaning is perfectly effective where, in the past, wet-cleaning would no doubt have been
carried out as a matter of course. Old repairs have been selectively removed, only where they are
disfiguring. The distortions of reweaving are gradually eased out during work.
The tapestry is stitched onto linen, firstly with rows of laid-couching in fine polyester threads to give
overall support. Broken areas are realigned and then given more detailed support with warp-couching,
also in fine polyester. (Because the weave is so close, this would be impossible with any other
thread.) The linen has been dyed to a colour, sympathetic to the missing silk.
This treatment clarifies the tapestry's design perfectly well. To rewarp and reconstruct the loss would
be purely cosmetic. It would also be significantly more time-consuming.
The Saltram Carpet
Perhaps remedial treatment has now to be regarded as something of a luxury for textile objects.
Particularly with a very large object, before conservation is contemplated, the degree of necessary,
practicable and, of course, affordable work must certainly be carefully considered.
An Axminster Carpet designed by Robert Adam in 1768 for the Saloon at Saltram House (National
Trust in Devon), measures approximately thirteen-and-a-half metres by six. Furniture is no longer
placed directly on the Carpet but, in the 'closed season', concerts and other events are held in this
Room. Then the Carpet is covered by various layers of padding and board, and topped with a painted
canvas replica. There has been concern in recent years that the Carpet is deteriorating. A condition
survey of the Carpet was commissioned in summer 1997.
I am all too aware that many surveys, 'fashionable' within the last decade, have consumed a great deal
of intelligent time, often sadly with little positive outcome. The reasoning behind such surveys, (no
small investment in themselves), must surely now be sensibly defined and guaranteed to be
thoroughly purposeful. It was agreed that a survey of the Saltram Carpet should be useful and usable
on several levels. Its format would be mainly visual and thus, hopefully, easily accessible to
NEWSLETTER
34
conservators and non-conservation staff alike. One aspect was to represent the state of condition at
this date. The second was to document previous repairs, which are in the form of over-embroidery.
The entire Carpet was recorded by photography; the 105 shots were fitted together and arranged
onto 16 manageable-sized pieces of card. Over each of these sixteen sections, two overlay sheets
(of Melinex) were then worked, taking observations from the Carpet itself.
Sheet 1 observes the wear and deterioration, in a very simple system of symbols and ratings. This
could be immediately used for the monitoring of any further signs of deterioration.
Sheet 2 observes the various embroidered repair in symbols of different colours with numbers to
denote 'acceptability'. Category 1 judges the repair as acceptable; sympathetic both in execution and
colour. Category 3 suggests the repair should be removed; it is unsightly and physically damaging
to the structure of the Carpet. At category 2, there are decisions to be made. The embroidery is
sympathetic in its execution, but it significantly misrepresents the original colour. For instance,
much of the dark shadowing of motifs has been transformed into ochre highlighting, extensively
upsetting the fineness of Adam's design.
This study therefore also investigates and documents the original concept of the object. Together
with the photographs, it could be used to reproduce an image of the Carpet's original appearance, if
it is decided that some of the repairs should remain to allow a less intrusive approach to practical
conservation. The survey as a whole will enable a specification of conservation to be drawn up, in
due course.
Conclusion
As the methods and materials in textile conservation practice have been refined over the last twenty
years so too our ideals and objectives have continued to evolve. Changing aspects need not all be
about making necessity into a virtue. There can still be good reason in variations of approach, when
opportunity allows.
Acknowledgements
I should like to thank Jane Robinson, Scottish Museums Council, for originally inviting me to write
this paper, and Ann French, former Chair of UKIC Textile Section, and Lynda Hillyer, Head of
Textile Conservation, Victoria & Albert Museum, among others, for encouraging me to publish it.
Endnotes
1This is a revision of a paper given at the UKIC Textile Section Spring meeting, Textile Conservation: Past,
Present & Future, Museum of London, April 1998.
2See Landi (1998) pp254-256, & pp272-276, for some account of the remedial conservation, and Hillyer,
Gentle and Balfour (2000), for account of the rehanging.
3See French and Gentle (1993), and Landi (1998) pp273-275 for accounts of treatment to the counterpane.
4See Gentle (1993), for account of choice for cleaning the textiles of the Melville Bed.
5See Gentle (1984), and Gentle (1990).
REFERENCES
French A and Gentle N. 1993. The use of a pyrograph to heat-cut Stabiltex. Conservation News 50, pp 1718.
Hillyer L, Gentle N and Balfour D. 2000. The Reassembly of a Seventeenth-Century State Bed. The
Conservator 24.
Gentle N. 1984. The conservation of six of the Dolphin Chairs, Ham House. In V&A Album 3, pp316-321.
Gentle N. 1990. Conservation of the Dolphin Chairs at Ham House. In Conservation of Furnishing Textiles,
postprints of the SSCR conference, Glasgow, March 1990, pp30-41.
Gentle N. 1993. The choice of cleaning. In Compromising situations: principles in everyday practice,
postprints of the UKIC Textile section forum, Museum of London, March 1993, pp23-25.
Landi S. 1998. The Textile Conservator's manual (revised second edition). Oxford: Butterworth-Heinemann
35
NEWSLETTER
Morphological changes in archeological silk
Microscopic Study of the Structural
Changes Undertaken by Archaeological fibers over time, pointed out by miscroscopic
methods, are considered in relation with the
Silk Fibers
modification of some textile properties. The
changes of the surface morphology such as
By , Eng. Carmen Marian,
irregularities and microcavities, decrease the
Restoration conservation Laboratory
typical lustrous aspect of silk fibers. Some
‘Moldova’ National Museum,and Prof.Dr.
changes of the internal structure i.e. the presence
Eng Mihai Ciocoiu
of fissures, pores and interior voids, determined
‘Gheorghe Asachi’ University,
the decrease of the mechanical properties and the
Iasi Romania
increase of the humidity acces to the fiber.
Received: February 2000
1. Introduction
The microscopic methods have proved to be very
useful instruments for the morphologic characterization of textile fibers. By extending the direct
visual examination, they provide descriptive and qualitative information which is extremely
valuable for understanding the changes undertaken over time by the textile material.
Direct observation of a fiber in the optical microscope or study of a cross section reveals
some characteristics and aspects providing information on the structure and quality of the textile
fibers and implicitly on their degradation. The Optical microscope is used to study various fibre
features such as the general view of the fiber (shape, fiber surface) as well as some aspects of its
morphology.
Electron microscopy techniques provide more resolvable detail than optical microscopy,
being used to investigate the fine structure of the fibers and the changes caused by treatments or
degradation. The scanning electron microscope is used for studying the surface features of the
textile materials which, in most cases, are related to the internal structure and to its changes, as
well as to the physico-chemical and mechanical properties.
The transmission electron microscope, by studying the ultrathin cross-sections, enables the
visualization of some details of the fiber microstructure, such as the presence of pores and voids,
their size, shape and distribution.
In this work, optical and electron microscopy was used for pointing out the structural
changes of some natural silk fibers selected from archaeological excavations differently dated
and located: A – Barnovschi Church – Iasi, the 17th century; B – Mirauti Church – Suceava, the
14th century. The complex changes of the proteic support could be appreciated by the
comparative microscopic analysis of the archaeological samples and of some modern samples
(C).
1. Researches Concerning the Characterization by Microscopic Methods of Natural
Silk Fibers Selected from Different Environments
The microscopic examination of a raw silk fiber points out a longitudinal view with a folded
surface and a cross section showing the two fibroin filaments coated and glued together with
sericin. By degumming, the two filaments become independent. The longitudinal view is
cylindrical, with an even and smooth surface and the cross section is triangle-shaped. By
degumming, the silk fibers becomes the most lustrous of all natural textile fibers 1.
In the case of raw silk fiber, the lustre is lower due to both the sericin (creating a rough
aspect of the surface) and to the folds formed during the process of extrusion of the viscous
protein solution out of the silk worm’s body. By degumming, the surface becomes even and
uniform, the typical lustrous appearance of the degummed silk fiber being thus pointed out.
a) Optical Microscopy Study
The optical microscope examination of the longitudinal view of the new silk fiber shows a
cylindrical shape with longitudinal slight striations indicating the fibrillary structure of silk. In
NEWSLETTER
36
the case of silk fibers selected from archaeological excavations, the microscopic images of the
longitudinal view shows a slight flattening of the cylindrical shape and a certain defibrillation
which can be attributed to the decrease of the interfibrillary cohesion also pointed out in the
studies concerning the breaking behaviour of the archaeological silk fiber 2 (Fig.1).
The optical microscopic analysis of the cross sections of the new threads shows that they
have a circular shape and the disposition of the fibers within the thread structure determines a
certain degree of compactness (Fig. 2). The fibers have a roughly triangular section and the
contour of the section is uniform indicating an even surface of the fiber which actually
determines the characteristic lustrous look of the degummed silk (Fig.4).
Cross sections on threads belonging to fabrics selected from archaeological excavation have
an non-circular shape pointing out the prominent thread flattening as well as the more compact
fiber distribution within the thread structure (Fig. 3). In the case of fibers, one can notice the
significant change of their tri-lobed shape and the presence of the contour non-uniformities
(Fig. 5). These aspects show that the fiber surface lost its specific even character, due to the
formation of surface irregularities.
These changes of the surface features of archaeological silk fibers explain the significant
decrease of its lustrous aspect. The surface irregularities consequent to the degradations
undergone over time in archeological context determine a diffuse reflection of light and in this
case, the human eye perceives the appearance of a matt surface and implicitly the decrease of its
brightness.
As a consequence of the differences in light reflection, the appearance of the cross section of
the undegraded fibers is different from that of the archaeological fibers (lustrous and matt
respectively) (Fig. 4,5). A possible explanation could be the decrease of the interfibrillary
cohesion of the archaeological fibers. The compact and homogenous structure of the
undegraded fibers determines an even cross section which will produce the phenomenon of
regular light reflection, so the eye perceives a lustrous section. In the case of the archaeological
fibers, the decrease of the interfibrillary cohesion determines a cross section where the microfibrils or other fibrillary units, producing the diffuse light reflection are individualized, so the
eye perceives in this case a matt section.
b) Electron Microscopy Study
The changes in the morphology of the surface of the archaeological fibers, indicated by the
cross sections studied by optical microscopy were also pointed out by the images of the fiber
surface obtained with the scanning electron microscope (Fig. 6). These changes have the
appearance of some randomly distributed micro-cavities of various sizes. Their presence in the
fiber structure determines the decrease of the typical lustrous aspect of silk fiber, constituting at
the same time, an instability factor during the mechanical stresses by stress concentration and
fissure initiation.
The transmission electronic microscope analysis of the cross sections of new fibers shows an
even and uniform surface and a compact and homogenous structure (Fig.7). In the case of
archaeological fibers, the electron microscope images confirm the section deformation and the
change of the fiber surface characteristics. Besides these, some changes of the internal structure
are also pointed out by the appearance of some fissures, pores and intrinsic voids indicated also
by other studies in this field (Fig. 8). The structural transformations explain the change of some
properties of the archaeological fibers, such as the decrease of the mechanical properties or the
increase of the humidity access to the fiber. The coloured sections also point out the appearance
of some structural non-homogenous traits as a consequence of the degradations the
archaeological fibers were subject to along the time.
2. Conclusions
The analyses of optical and electron microscopy complemented the methods used in other
37
NEWSLETTER
studies for the assesment of the state of conservation of archaeological silk fibers, pointing out
some aspects which confirm the structural changes of the archaeological textile material caused
by the changes undertaken over time under the action of the archeological microclimate. The
effects of these structural changes are evident in the modification of some physico-mechanical
and chemical properties of the archaeological material which are very important during the
restoration-conservation process.
Thus, the change of the superficial characteristics due to the presence of the irregularities and
micro-cavities formed on the surface determines the diffuse light reflection and implicitly the
significant decrease of the lustrous aspect of archaeological fibers. Some changes of the internal
structure, such as the presence of fissures, pores and interior voids determined the modification
of some properties of the archaeological fibers, for instance the decrease of the mechanical
parameters and the increase of the higroscopicity. The microscopy also revealed some aspects
pointed out in the previous researches such as the decrease of the interfibrillary cohesion and the
defibrillation of the archaeological fibers.
References:
1. Asandei, N, Grigoriu, A., Chimia si structura fibrelor, Ed. Academiei, 1983
2. Marian, C, Studii de microscopie electronica privind comportarea la rupere a fibrei
matase naturala, in Revista Romana de Textile-Pielarie, 1999, p. 89-96
Photographs on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
de
NEWSLETTER
38
In a word – excellent.
Adhesives for Textile and Leather
The
four day workshop took place at the Canadian
Conservation: Research and Application
Conservation Institute, May 4-7, 1999, and due to
high demand was repeated the following week.
by Candace Sweet
Information on all aspects of the topic were
(Conservator, Historic Resource
covered including: research developments;
Conservation Lab., Canadian Parks
preparation, application and removal of backings;
Service)
case histories; some options for textile mountmaking; suction table applications; CCI’s
investigation into customising of a vinyl acetate/
Received: November 1999
ethylene copolymer emulsion; preferred choices
for some applications. Each participant went away
from the workshop with a very useful resource binder that incorporates samples prepared in the lab,
information covered in the lectures, and tables containing the overall evaluation of adhesives for
specific applications arrived at through experimentation in the lab session. The workshop program
offered a good balance between hands-on time, lab demonstrations and lectures. The workshop
attracted numerous international registrants which contributed greatly to the lively discussion during
lunch and coffee.
To provide a context, Ela Keyserlingk presented an overview of the adhesives, backing materials
and application methods used for textiles and Carole Dignard presented a parallel one for skins and
leather. An important point made by both presentations is that not only should the working properties
and chemical stability of an adhesive be appropriate for the object being treated, but the application
method chosen is equally important for optimal results. Ela cited the article “Evaluating the Use of
Adhesives in Textile Conservation: Part 1: an Overview and a Survey of Current Use”, published in
The Conservator, 21 (1997), by L. Hillyer, Z. Tinker and P. Singer as excellent resource. Carole
provided as a handout, a very comprehensive literature survey of adhesives and backings for skins
and leathers.
Jane Down reported on the results to date of CCI research on selected PVAC and acrylic adhesives.
What pleased me most about this session was that June taught us how to interpret her graphs. When
selecting an adhesive for a specific treatment, characteristics can be easily compared for tensile
strength, pH, flexibility, yellowing and volatile emissions. In graphs representing stress/strain
measurements, tensile strength data refer to the strength of the adhesive film itself, not the bond
strength; the elongation of break represents toughness and modulus tells us how flexible, stiff or
brittle an adhesive is. If we wanted to select an adhesive that would do well under high stress
conditions, the tensile strength graph would indicate that Lascaux 360 HV, for example, would not
be a good choice; it has weak tensile strength, a characteristic of contact-sensitive adhesives.
Jane also presented an interesting and fun session on the effects of modifiers on a vinyl acetate/
ethylene (VAE) copolymer emulsion adhesive. In the search to find a poly(vinyl acetate) emulsion
adhesive that had characteristics suitable for conservation, it was found that the VAE copolymer
group showed the best promise. Adhesive like Jade No. 403 and Mowilith DMC2 were found
suitable to a degree but were still subject to changes in formulation and possible discontinuation.
CCI, therefor, is investigating the feasibility of making available an acceptable additive-free
emulsion with separate modifiers so that conservators could make up their own formulations
depending on the characteristics required for a given application; for example, a thickener could be
added to increase viscosity or a humectant to prevent skinning. We tested some prepared
formulations and commented on their properties. Testing will continue for several years before an
actual product is ready but a project to remain aware of.
CCI research updates were also given by Gregory Young on leather and Season Tse on textiles.
Season reported that the experimental work is complete on the effect of deionized water on cellulosic
textiles (the results showed no negative effects for cotton and linen), that Jan Vuori is experimenting
with bleaching using an ultrasonic mist of sodium borohydride and that one future research project
will study the long term effects of heat set adhesive on silk textiles.
39
NEWSLETTER
Some portion of every day was spent in labs exploring possibilities.
On day one we experimented with the preparation of textile backings. A useful technique when
brushing out a stock solution onto Tetex or silk crepeline was demonstrated. Spraying the fabric
lightly with water prior brushing out the adhesive ensures that the warp and weft threads stay aligned
and that the backing fabric stays in close contact with the release film. Other sessions in the textile lab
included application techniques for textile backings and numerous combinations of materials for
mounting systems for storage and display. A helpful tip for the final attachment of a backing, after the
initial tacking has been completed, is to use a customized cover of Teflon coated fiberglass on the
platen of the iron.
For the first three days the lab sessions for leather were spent applying approximately 105 samples
of various adhesive and backing combinations to smoked skin, oiled skin and leather using solvent
reactivation, heat reactivation or stock solutions. Time was also spent preparing samples using a
squee-gee and aluminium sheet with dot-matrix to apply adhesive; we also, prepared sausage skins
for use.
The last day included time to experiment with the removal of backings and some lab
demonstrations. When removing backings it is recommended that mechanical and heat techniques
may be the least aggressive and are tried before moving into the use of solvents. To determine the
most effective and least damaging technique, try solvent in vapour form before progressing to gels,
poultice and brush applications; immersions should be considered last, if at all.
Lab demonstrations for textiles included making a silicone pad as ironing surface for the final phase
of bonding an adhesive backing; it eliminates sheen created by a too firm table surface. A suction
table and suction device were used effectively for the removal of adhesives from backings that
support voids in textiles. Paint brush bristles can be cut back to control the amount of solvent being
introduced.
Other demonstrations were given by Vicki Davis, CCI Librarian, on the Bibliographic Database of
the Conservation Information Network and by Greg Young on shrinkage temperature measurements
of collagen.
The last section of the workshop was an evaluation of all adhesives for each application used during
the workshop. As a group we reported our findings and a consensus was arrived at for the
characteristics and possible uses of all the samples we had prepared in the labs. Some of the results
for the backing of textiles are as follows: Lascaux 360 HV & HV1:1 is less tacky and flexible than
360 HV alone and needs more heat to reactivate but produces a stronger bond – a good overall
backing adhesive; Clariant T 1460 (replacement for Mowilith DMC2) provides a good bond, is stiff,
glossy, difficult to reverse and adheres well to dirty surfaces; Lascaux P550-40TB (replacement for
Acryloid F-10) is shiny, stays tacky, gives a good nap bond and is suitable for flat textiles; Beva 371
(solution) produces a good bond, requires low but exact heat to reactivate and stays tacky.
Jade 403 proved to be a good all-purpose adhesive for preparing mounting systems.
Overall, the workshop provided an invaluable opportunity to learn about the comparative chemical
and working properties of adhesives and to experiment with various application methods under
direction of knowledgeable professionals. Speaking personally, I left the workshop feeling less
hesitant about purchasing and using adhesives that I had not used previously due to lack of
information and the time to experiment. My range of possibilities when determining treatment options
has been expanded.
For more information contact Christine Bradley, Client Services Officer, CCI, at (613)998-3721 ext.
250 or by e-mail at [email protected]
Candace Sweet, Conservator, Historic Resource Conservaton Lab. Canadian Parks Service, Atlantic
Region, 50 Randall Ave., Dartmounth, Nova Scotia, Canada B3B 1T2.
NEWSLETTER
Adhesive Workshops – past and
future
Notice of a collaborative workshop
between the CCI and V&A
40
In May 1999 I was able to participate in one of the
Canadian Conservation Institute’s (CCI) Professional
Development Workshops, “Adhesives for Textiles and
Leather Conservation: Research and Application”. It was
an intensive four day workshop (since lengthened to five
days) through which we were ably led by Jane Down,
By Zenzie Tinker,
Senior Scientist responsible for the adhesives research
Textile Conservation, The Victoria &
carried out at the CCI over the last 20 years, Ela
Albert Museum
Keyserlingk, recently retired Manager of the CCI’s
Treatment and Development Division and Carole Dignard,
Received. April 2001
Objects Conservator at the CCI.
The programme was well balanced between scientific
research, object-based talks and workshop sessions. Jane Down’s first talk which explained the
results of the well known CCI adhesives testing programme (designed to help conservators make
informed choices about adhesives) greatly enhanced my understanding of this report. Her second talk,
“Towards a Better Emulsion Adhesive for Conservation”, discussed current research into the effects
of modifiers on vinyl acetate/ethylene copolymer emulsions. Overviews of the use of adhesives for
the support of textiles and for skins and leather were equally fascinating and informative. Case
histories formed a valuable part of the programme and were presented both by CCI staff and
participants, many illustrating the importance of cross-discipline approaches.
‘Participants’, was an accurate description of the attendee’s role. During the many hours of practical
sessions we experimented with the huge range of adhesive samples and support materials which were
presented to us in our large folders. Participants were encouraged to share their own experiences of
adhesives and to discuss observations made during the practical sessions. Discussion and evaluation
is essential at a workshop of this type as inexperience with specific materials or techniques can lead to
inaccurate conclusions being reached about characteristics of materials.
I came away feeling highly enthused. The workshop was probably one of the most stimulating
conservation events I have attended due to the openness and enthusiasm of all involved. My
workshop folder has proved a valuable reference tool for myself and colleagues many times since my
return.
Since my involvement in this workshop in 1999, the Victoria & Albert Museum (V&A) have been in
discussion with the CCI about bringing the workshop over to the UK. Relatively few European based
conservators have been able to attend the workshops in Canada, presumably due to travel costs. As a
result, the Conservation Department at the V&A will be hosting a joint CCI/V&A workshop in late
April/early May 2002 concentrating on current adhesive techniques in textile conservation. By
omitting the leather component of the workshop, there will be time to include starch and carbohydrate
based adhesives as well as thermoplastic adhesives. The five day programme will include a day at the
Organics Conservation Section of the British Museum (BM).
Jane Down and Ela Keyserlingk will come over from Canada to combine expertise with staff from the
V&A, BM and other institutions. Conservators experienced with particular adhesives will prepare the
reference samples and demonstrate techniques and there will be ample opportunity for participants to
try different methods and equipment for themselves. Reviews of past adhesive usage will be
combined with recent case histories and there will be hands on sessions examining previously treated
objects from the V&A and BM Collections. A discussion on categories of condition of textiles will
lead into practical sessions and demonstrations covering choice of adhesive, the value of microscopic
examination of films, preparation, application and reversal techniques.
There will be several social events and the opportunity to visit the re-designed British Galleries
(1500 – 1900) at the V&A opening in November 2001 and the impressive Great Court at the BM.
Booking forms will be available shortly. For further information on the forthcoming UK workshop,
please contact Zenzie Tinker, Textile Conservation, The Victoria and Albert Museum, South
Kensington, London SW7 2RL, UK. Tel: 020 7942 2126. E-mail: [email protected]
41
NEWSLETTER
This international conference was hosted by the
Ethnographic Department of the British Museum in
the new BP Lecture Theatre. There were 29 speakers
spread over the three days of the conference, who
explored the techniques of manufacture, design and
cultural diversity of traditional and contemporary
clothing from North America, Alaska, Canada and
Greenland.
Received April 2001
The first day was devoted to historical and personal
views of the significance of traditional dress. Two of
the speakers Chana McIntyre and Jana Harcharek of Alaska gave interesting presentations
on traditional fur clothing and the significance of the different designs which are passed
down through the generations. An evening reception followed, this was held in the
“Annuraaq Exhibition” at the Museum, which gave delegates a chance to view a display of
Inuit clothing both traditional and contemporary and the tools used to prepare the skins. The
second day was for me the most interesting . The papers in the morning session were
concerned with the techniques of manufacture and style. Leah Otak from Nunavat, gave a
very interesting and informative paper on the preparation of Caribou skin, going through all
the stages necessary to prepare the skin for use in clothing. Detailing the tools and
techniques which would be employed at each step. This was followed by a presentation from
Fran Reed a contemporary fishskin artist from Anchorage on Alaskan fish skin clothing. She
described the process of curing fish skin and listed the fish which would be used and how
these would then be made up into clothing, this was almost a lost technique which she is
helping to revive..
In the afternoon session a paper was give by Toruun Klokkernes involving conservation
work that she had carried out with Nalini Sharma at the Conservation department at the
University Museum of Cultural Heritage in Oslo. The paper concerned the Roald Amundsen
Collection and the impact that the skin preparation techniques used at the turn of the century
are having on the clothing that was collected. The costume in the collection is beginning to
show signs of deterioration and there are concerns for its longevity.
The third and final day was devoted to historical changes in clothing and how clothing has
adapted to the modern world with the use of new synthetic materials overtaking the more
traditional skin garments. Glenna Maulding a designer from Anchorage presented the
decorative contemporary parkas that she designs using a range of synthetic materials as well
as fur in a mini fashion show. Taqralik Partridge and Vicky Opik from Nunavik talked about
their approach to the design process using traditional designs combined with modern
materials
Molly Lee of the University of Alaska, Fairbanks gave a paper on “Hairnets and Fishnets”
which was a fascinating paper about the kaapaaq, a hair covering worn by married women
and widows made using a knotting technique which is also used for making fishing nets. The
kaapaaq are decorated with beads in geometric patterns which are seen from the back.
The conference was a fascinating and informative insight into how clothing in the Arctic
regions has changed and is still changing with the use of both traditional materials and now
more modern synthetics. It fired my curiosity and made me keen to expand my knowledge of
the subject.
Post prints of the conference are to be published by the British Museum.
Arctic Clothing of North America,
Alaska, Canada and Greenland.
British Museum, March 29-31st
2001.
By Albertina Cogram,
Textile Conservator, Victoria and
Albert Museum, London.
NEWSLETTER
42
18th General Assembly of CIETA – Bern, Switzerland, September 1999
The 18thC General Assembly of CIETA took place at the Bern Casino on September 20th,
21st and 22nd September 1999 and was dedicated to the memory of Donald King who was
President of CIETA from 1977 to 1992 and died in July 1998. Donald Kind joined the
Textile Department of the Victoria and Albert Museum in1948 and subsequently became
Deputy Keeper and Keeper until his retirement in 1980. His expertise was wide ranging,
particularly on textiles from the Middle Ages.
A total of 180 delegates from 20 different countries attended 37 lectures on Late Antique and
Byzantine textiles, textiles from Medieval Europe, Non European Medieval Textiles and late
and Post-Medieval Textiles, as well as lectures on techniques and structures. Papers were
presented in either English or French and abstracts were distributed with the conference
information. Conservation was represented by Dinah Eastop and Lynda Hillyer who gave a
paper on the treatment of a resist-dyed Coptic textiles and the difference in focus and attitude
between its first treatment in 1977 and the minimally interventive treatment decision carried
out twenty years later (it is planned to publish this paper later this year). Rosalia Varoli
described the controlled opening of the sarcophagus of Frederick 11 in Palermo and the
preservation of medieval textiles from burial sources. Annemarie Stauffer presented erudite
research on a group of late antique and early Byzantine fragments which could be related to
Byzantine mosaics of the 6th century. Regula Schorta gave an excellent paper on the textiles
found in the shrine of the patron saints in Hildesheim Cathedral. Her paper is one of a
number of from this conference which have been published in the CIETA Bulletin 77, 2000.
David Mitchell’s fascinating paper on printed fustians dated between 1490 and 1600 also
appears in the bulletin with an added technical analysis by Milton Sonday and Anna
Jerusalimskaja’s paper on Byzantine silks of the 10th and 11th centuries in Georgia also
appears (in French) in this edition of the bulletin. Tom Campbell gave a very interesting
paper on the history of the Abraham tapestries from Hampton Court Palace and presented
new evidence regarding Henry VIII’s purchase of this set and its context in the Tudor court.
Other memorable papers were Chiara Buss’s presentation on the Antonio Ratti Textile
Museum in Como and the possibilities that high resolution digital imaging of the textile
collection offers in terms of comparison and research. Edward Maeder offered fascinating
evidence of the importance of goffered woven frills on women’s headdresses from the 13th16th centuries; Mihoko Domyo from Tokyo illustrated the extraordinary range of techniques
and motifs on 14thC to 15thC Korean textile fragments recovered from Buddhist statues
while Ulla Cyrus-Zetterström described a Ming dynasty loom and the significance of the
Chinese characters which appear on an illustration of one of these looms.
The conference included two receptions. A buffet dinner at the Bern Historical Museum
enabled delegates to see many interesting textiles on display including the Saint Vincent
Tapestries dating from 1515 and many early and important ecclesiastical garments. On the
22nd there was a visit to the Abegg Stiftung where we were able to see the expanded
workrooms and new facilities as well as the current exhibitions. The Abegg Foundation
hosted a splendid gala dinner which took place on a ship which cruised around the Lake
Thun. There were optional excursions to the Textilmuseum at St Gallen for lace and
embroidery specialists and also to Beromünster and St Maurice en Valais et Sion to view
important medieval textiles.
This conference presented a wealth of research and knowledge; it is a pity that all the papers
could not be published together.
43
NEWSLETTER
In August 1999 the Textile Conservation Centre moved from
Hampton Court Palace to a purpose-designed building on the
Updateing
Winchester
campus of the University of Southampton. This
of the
exciting move followed the merger of the Textile Conservation
Textile Conservation Centre
Centre with the University of Southampton in August 1998: the
Centre is now part of the University's Faculty of Arts.
The Textile Conservation Centre's new building was officially
opened by the Centre's Patron, HRH The Princess Royal, on 3rd November 1999.
Academic Developments
The academic rationale for the merger and relocation was overwhelming. The University's
Winchester School of Art has an established reputation in textile studies and applied textile arts and
its Centre for the History of Textiles and Dress is highly regarded. The arrival of the Textile
Conservation Centre creates an unrivalled centre for textile study, development, research and
conservation. The Textile Conservation Centre is already developing joint projects with the
University's Departments of Archaeology and Chemistry: the joint appointment of a Lecturer in
Conservation Science (Dr Paul Wyeth) with the Chemistry Department being one example of the
many exciting opportunities available to the Centre thanks to the merger and relocation.
Academic developments include new Masters courses, PhD and postdoctoral research opportunities
as well as programmes of short courses for curators and conservators.
The MA Textile Conservation builds on the Centre's internationally renowned expertise in teaching
textile conservation at postgraduate level.
The new MA Museums Studies: Culture Collections & Communication is an object based
programme, offered in association with Hampshire County Museums Service.
The Centre's new academic links and new location allow students of conservation, museums studies,
art history and art practice to study alongside each other. This will add to the richness of their
experience and increase their awareness and understanding of the wider sector in which they will
work.
Conservation - new opportunities and new services
The new state of the art facilities available to the Centre's Conservation Services are enabling staff to
develop the survey, research and conservation services offered to museums, historic houses and
private clients. Recent projects have included the treatment of a range of 20th century banners, a
large collection of 16th -20th century shoes, archaeological textiles from Peru and the Eastern
Islamic world, and a survey of ecclesiastical textiles in Winchester Cathedral.
The New Building
Designed by Winchester firm architecture plb the design of the new building is the result of close
consultation between the architects and the Centre's staff.
The environmentally controlled
conservation laboratories are double height spaces benefiting from north light. Specialist facilities
include the Garfield Weston Analytical Laboratory, the Lister Microscopy Room, dye laboratory,
washrooms, photography studio and dark room. Access to the ground floor is strictly controlled,
with visitors' reception and gallery at first floor level, from where the conservation laboratories may
be viewed through a glass wall extending along the length of the gallery. The new building is not
only functional but elegant and has already won three architectural awards.
Contact details for the Textile Conservation Centre are as follows:
The Textile Conservation Centre, University of Southampton, Winchester Campus, Park Avenue,
Winchester, Hants SO23 8DL, UK
tel: + (44) 23 8059 7100 fax: + (44) 23 8059 7101 e-mail: [email protected]
NEWSLETTER
44
TEXTILE CONSERVATION CENTRE
TITLES FROM THE 3RD YEAR PROJECTS, 2000
Three Year Full Time Postgraduate Diploma in Textile Conservation
Sarah Cartmell,
Investigation Project: An Evaluation of Techniques for the Removal of Pressure Sensitive Adhesive
Tapes from Three-dimensional Textiles.
Object Treatment Project: The Conservation of an Apron-fronted White Muslin Dress c. 1805 (TCC
2560)
Kate French,
Investigation Project: UV/IR Characterisation of soiling/staining
Object Treatment Project: The Conservation of a Remodelled 18th Century Sack-Back Gown (TCC
2035)
Penny Hughes,
Investigation Project: Developing Inner Supports for the Storage and Display of a Large Collection of
Shoes
Object Treatment Project: The Characterisation and Conservation of an Unusual Raised Work Picture
dated 1646 (TCC 2550)
Maria Jordan,
Investigation Project: Why, What, When and How are Textiles Touched? An Investigation into the
Extent and Type of Touching Behaviour in Historic House Settings.
Object Treatment Project: The in-situ treatment of a composite three-dimensional object with moving
parts: the conservation of a 19th Century Ottoman Truckle Bed (TCC 2469)
Mamiko Matsumura,
Investigation Project: Visualising Invisible Danger: Using pH Indicator Dyes for Monitoring 'off
gassing' from Costume Accessories made with Cellulose Nitrate and Cellulose Acetate
Object Treatment Project: The Conservation of a Bodice c. 1908 associated with Queen Alexandra:
treating a multi-layered, boned garment made with tin weighted silk (TCC 2557.1)
Mika Takami,
Investigation Project: Funori as a Cleaning Agent for Historic Textiles: A Preliminary Investigation of
its surfactant Properties and Cleaning effect
Object Treatment Project: The conservation of a Korean painted silk ‘tiger’ banner: solvent
reactivation of acrylic adhesive.
Kim Thusing,
Investigation Project: Camouflaging Areas of Loss in Patterned Textiles
Object Treatment Report: Conserving a Pair of 18th century Pink Lady's Shoes (TCC 2582)
Abstracts on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
45
NEWSLETTER
NEWS FROM AREA REFERENTS
GERMANY from Ursula Rothamel
Meeting of the AdR-Textiles group, in connection with AdR-Conference on mould (2123/6/2001)
The textile group of AdR is holding a meeting at Munich on 19-20 of June 2001. It will
comprise several talks and visits to specific sxhibitions and textile laboratories in the Munich
Residence and Bayerisches Museum. For further information and inscription please contact:
Bayerisches Nationalmuseum, Textierestaurierung, Prinzregentstr. 3, Munich, D-80538
Germany. Tel.+49/89/21124247, Fax +49/89/21124210.
FRANCE from Particia Dal Pra
When I came back from Lyon, having been appointed assistant-coordinator together with
Dinah Eastop and Lynda Hyllier, I wrote to 30 colleagues in France to tell them I was their
area referent. I also gave them some information about our interim meeting in Amsterdam.
What answer did I get back? Eight persons anwered. Two of them to thank me, telling they
where too busy to write anything in the newsletter ; two to ask me how to do to become a
member ; three( luckily) to tell me they could write a text.
My main problem is that I do not have any list of french members : that' s the reason why we
decided to send this time the newsletter to all the persons I got on my list. I certainly missed
names and I am sorry about it. So, I do ask everybody in France who belongs to our group to
let me know it so as I can prepare a true list of members. It will be easier, later on, to
communicate ! And please, try to write things about what you are doing : if we dont tell
people about our work in France, nobody knows it and everybody will think nothing is
happening!
We have or had some interesting exhibitions including textiles in Paris: one about cotton in
Galliera : "Cotton and fashion", (catalogue), another one at the Musée de la Mode et du
Textile : "Playing the light" (catalogue is due this month), another one at the Musée Guimet :
"From Alexander the Great to Gengis Khan", (catalogue), another one in Institut du Monde
Arabe : "Andalous, from Damas to Cordoue", (catalogue), and another one at the Espace
Electra : "Kerya, mémoire d'un fleuve",( catalogue), which shows a great number of
archaeological textiles coming from China and dating from the 5 / 4 th. Century B.C. Each
of them needed textile conservators, and it's also their work, that visitors are watching…
UK from Dinah Eastop and Linda Hyllier
Alternatives to Synperonic N
Work is in progress between the British Museum Research Laboratory and Textile Conservation at
the V&A to find an alternative detergent to Synperonic N which has been phased out of industrial use
by the EU PARCOM directive. A total of 11 detergents have been tested for cleaning efficiency. Of
these five appear promising. Samples washed with these detergents will undergo artificial ageing and
further tests to investigate the effects of ageing including tensile strength and colour change. It is
hoped that the tests will indicate optimum choices for both non-ionic and anionic detergents and
recommendations on the most efficient concentrations.
If you would further information on the progress of this project please contact Frances Hartog in
Textile Conservation at the Victoria and Albert Museum, Cromwell Road, London, SW7 2RL. UK
Email address: [email protected]
NEWSLETTER
46
Frances would also like information from textile conservators on the types of detergents and recipes
that they are currently using, including any additives that are routinely included.
Banner Project
The National Museum of Labour History in Manchester has completed a survey of Trade Union
Banners throughout Museum collections in the UK. Some church banners are also included but no
military banners. There may be other banners in private collections which have not been surveyed.
The results are stored on a database at the Museum. The overall aim of the project is to catalogue
what types of banner are in collections in the UK, what historic merit they have and to capture a
picture of their current condition and storage. This information is available to anyone who is
researching banners. It is not available on the Internet yet but it is hoped that eventually there will be
a web link from the NMLH website. Until that time, researchers will need to travel to the museum to
use the database. The project was financed with a grant from the Heritage Lottery Fund. For further
information please contact the Vivian Lochhead in the textile conservation section (email address:
[email protected] or the Registrar, Philip Dunn – address: National Museum of Labour History, 103
Princess Street, Manchester M1 6DD. UK Tel: +44 0161 228 7212.
Conference and Exhibition Announcements
2001: A Pest Odyssey, British Library Conference Centre, London, 2nd & 3rd October
This is a major conference on IPM (Integrated Pest Management) and will focus on collections. 22
speakers will cover such subjects as: an understanding of the environment to make it less amenable
to pests, monitoring and trapping to find out the identity of pests and where they are, and targeted
control strategies using acceptable methods. Effective IPM will contribute to a successful preventive
conservation strategy. Conference fee £199.75 includes a reception at the Science Museum on the
evening before the conference in the innovative Challenge of Materials gallery. There will also be a
dinner/dance in the Medieval Great Hall at Eltham Palace hosted by English Heritage (optional
extra)
For further details and a booking form please contact Belinda Sanderson, Information Officer,
National Preservation Office, The British Library, 96 Euston Road, London, NW1 2DB. UK. Email:
[email protected]
Fabulous Creatures from the Desert Sands
This exhibition of Central Asian Textiles (dating back 2000 years) will be held at the Abegg Stiftung
Foundation, Riggisberg, Switzerland from April 29th 2001 to November 4th 2001. The 10th
Riggisberg report will be published in association with this exhibition
Tibetan art
An exhibition of Tibetan Art including thangkas will open at the Museum der Kulturen,
Augustinergasse 2, Basel CH-4001, Switzerland on May 6th. For further information contact the
museum on: Fax: 061 266 5605 or email [email protected]
British Art and Design from 1500-1900
Fifteen new galleries (one tenth of the entire Museum) of British Art and Design will open at the
Victoria and Albert Museum, London, UK in November 2001. The new galleries will contain over
400 textiles including the spectacular State Bed from Melville House, Scotland, dating from 1700.
The Stoke Edith embroidery (dated 1720), the 16thC Stoneyhurst Cope, the Christie Mantua (1740)
and an early 17thC Mortlake tapestry from the Vulcan and Venus series are only a few of the superb
textiles which will be on display. There will be many examples of Spitalfields silks, printed cottons
from the late 18th and early 19thC as well as beautiful examples of English lace, embroideries,
tapestries and carpets, woven and printed textiles and costume. The galleries are airconditioned and a
small number of objects will be on open display. These will be closely monitored by conservation
staff . The conservation and mounting of the textiles began in 1997 and the textile conservation
section of the V&A has expanded from 9 to 16 in order to complete the project.
47
NEWSLETTER
State Beds – Work in Progress at the Historic Royal Palaces Agency, Hampton Court Palace,
UK
Val Davies, former Senior Conservator and Head of Furnishings (now retired) from the Historic
Royal Palaces Agency, Hampton Court Palace is working on a Manual for the Care of State Beds
and Throne Canopies. The project has been funded by the Getty Foundation Grant Programme and
is intended primarily as a guide for collection managers, curators and those responsible for looking
after historic interiors. Basically it is a practical guide to the care of these complex and fascinating
objects. The 13 chapters cover inspection, cleaning, documentation, sampling, structure, installation,
dismantling, surveys and audits, insect damage, passementerie, mattresses and bolsters, conservation
and emergency and salvage procedures. The aim is to give the reader, who may not be a specialist,
enough information to know what to ask and which professionals to approach for further advice. For
this reason it is also of great interest to conservators. Val hopes to complete this work by the
autumn of 2001.
If you would like further information please contact either Val Davies or Jenny Band at the Historic
Royal Palaces, Textile Conservation Studios, Apt 37, Hampton Court Palace, Surrey KT8 9AU,
UK. Tel: +44 0208 781 9812
NEWSLETTER
48
For the Jubilee 2000, the prestigious Exhibition Hall of Vicenza’s
Basilica Palladiana opens its doors for an extraordinary exhibition of
textile masterpieces woven in Italy and Europe’s workshops and
embroidered, with impressive formal refinement, in the industrious
nunneries of Central Sicily.
The exhibition organised by the Soprintendenza of Caltanissetta in
the city’s Museo Diocesano (December 1998 – February 1999)
By Giovanni C.F. Villa
displays about 150 textile manufactured works, realised between the
Museo Civico, Vicenza
XVI and the XIX centuries, of exceptional value and extraordinary
richness, all employed to weave sacred vestments, whose origins
Received : September 2000
were in most cases profane, then transfered into a liturgical meaning.
It shows a world of cultural exchanges, of links between the Catholic
Church and the aristocracy, of intertwining between arts and crafts, a forgotten world nowadays, but extremely
lively at that time, clearly emerges from the analysis of these works, that during the Idealistic XIX Century
were awkwardly considered as domestic pastimes or as exclusive exercises of patient nuns.
The suggestive exposition – where the forms of the liturgical vestments are concealed to isolate the value of the
decorations of cloths – aims to focus the relationship between the sacred vestments and the bourgeois clothing
in past centuries.
Under the scientific profile, the exhibition qualifies itself as the final moment of an intelligent and examplary
work of conservation endorsed by Caltanissetta’s Soprintendenza for Culture and the Environment. This
operation started from a complete survey of the textile heritage in the territories of Caltanissetta and Piazza
Armerina’s Dioceses, passing through the fundamental phase of conservation through restoration, and
eventually ends up by underlining the value of the materials through this exhibiton, inspired by rigorous
scientific criteria and, at the same time, greatly enjoyable thanks to seducing power that these precious cloths
and their refined colours have always exercised.
The huge catalogue is the result of the researches and deepend scientific studies made by textile experts,
supervised by Prof. Giuseppe Cantelli. It is to become a fundumental milestone in the field of textile studies.
Magnificence of Textile Art
Embroideries, Silks and
Brocades in Caltanissetta and
Piazza Armerina’s Dioceses.
Magnificenza nell’arte tessile
Ricami, sete e broccati delle Diocesi di Caltanissetta e Piazza Armerina
Vicenza, Basilica Palladiana, 02 -09- 2000 - 14-01-2001
Promotors: Comune di Vicenza, Assessorato ai Servizi Culturali, Musei Civici, Curia Vescovile di Vicenza,
Regione Siciliana, Soprintendenza per i Beni Culturali ed Ambientali di Caltanissetta, Curie Vescovili di
Caltanissetta e Piazza Armerina
In collaboration: Regione del Veneto, Assessorato alle Politiche per la Cultura e l’Identità Veneta
With the contributions of: Banca Popolare di Vicenza, Ente Fiera di Vicenza, Associazione Industriali della
Provincia di Vicenza, Gruppo Averna, Progress Insurance Broker
Scientific Committee: Giuseppe Cantelli and Marina Carmignani, Rosanna Caterina Proto Pisani, Elvira
D’Amico, Giulia Davì, Claudia Guastella, Teresa Pugliatti, Salvatore Rizzo, Josè Luis Santoro, Salvatore
Scuto.
Press Office: Studio D.C.R. & C. snc- Piazza Duomo 5- 36100 Vicenza, Tel.0444.544852, fax.0444.544762e-mail: [email protected]
Studio ESSECI- Sergio Campagnolo- Via Rialto 6- 35100 Padova, Tel.049.663499, fax.049.655098- e-mail:
[email protected]
Catalogue edited by Giuseppe Cantelli with contributions of curatorsi, of the Bishop of Vicenza, mons. Pietro
Nonis e of the director of the Musei Civici in Vicenza, Maria Elisa Avagnina. Magnificenza nell’arte tessile
della Sicilia Centro- Meridionale. Ricami, sete e broccati delle Diocesi di Caltanissetta e Piazza Armerina,
catalogo a cura di G. Cantelli con la collaborazione di E. D’Amico e S. Rizzo, tomi II, pp. complessive 827,
Giuseppe Maimone Editore, Catania 2000 (prezzo L.140.000)
49
NEWSLETTER
Exposition “Mutation/Mode” au La dernière exposition du musée Galliera, “Mutations//Mode”
a fermé ses portes à la fin du mois de juillet 2000. Proposant
Musée Galliéra
une approche des matériaux et des technologies dans la
création textile des années 60 à nos jours, cette exposition a
Sylvie Brun, Antoinette Villa
donné l’occasion à l’ensemble du service de restauration du
Musée Gallera
Musée Galliera de travailler sur des matériaux modernes et
d’aborder leurs problèmes de conservation.
Received: March 2000
Leur état de conservation a joué un rôle non négligeable dans
la sélection des oeuvres. Valérie Guillaume, commissaire
d’exposition, a choisi des pièces dans le meilleur état possible afin de limiter les difficultés
d’intervention et de présentation. Cependant, certains objets, plus dégradés, ont été retenus car ils sont
sans équivalent; on a fait en conscience le choix de les présenter au public au moins une fois avant que
leur détérioration ne soit trop avancée.
Les matériaux modernes sont, pour certains, plus sensibles encore que les fibres naturelles aux
facteurs de dégradation. Lumière, oxygène de l’air, pollutions, contact avec des matériaux
incompatibles, variations du taux de température ou d’humidité relative, microorganismes, traces de
doigt, les facteurs sont multiples et leurs effets sont souvent combinés, aboutissant dans certains cas à
une destruction extrêmement rapide de l’oeuvre. Nous avons pu observer certains des divers faciès de
dégradation des matériaux modernes, comme le jaunissement, le craquèlement ou encore la migration
à la surface du matériaux des plastifiants qui constituent un film poisseux.
Dans plusieurs cas s’est posé à nous le problème du nettoyage. Or certains plastiques sont très
sensibles à des traitements de nettoyage que l’on peut appliquer sans trop de conséquences à des fibres
textiles naturelles : des solvants, ou même l’eau peuvent initier des processus de dégradation
extrêmement rapides et malheureusement irréversibles. Quitte à obtenir peu ou pas d’amélioration
dans l’aspect de l’objet, nous avons préféré nous en tenir à des opérations strictement minimales dont
nous pouvions maîtriser les effets. On a presque toujours eu recours au seul nettoyage mécanique (par
micro-aspiration essentiellement). Le manteau noir moulé de Paco Rabane avait fait, il y a quelques
années, l’objet d’un nettoyage au solvant visant à l’élimination des plastifiants qui avaient migré à sa
surface. On savait que l’effet de ce traitement serait de courte durée, ce qui fut effectivement le cas;
l’objet se trouvant de nouveau poisseux au moment de l’exposition, on a préféré ne pas intervenir de
nouveau.
Seule la “robe K” de Bory en vinyle a fait l’objet d’une tentative de nettoyage à l’aide d’un cotontige humecté à l’eau déminéralisée, opération effectuée sur le conseil de Sylvie Ramel, restauratrice de
matériaux plastiques. Ce traitement, s’il ne semble pas avoir été dommageable pour l’objet, n’a pas
non plus amélioré son aspect de façon remarquable. Nous avons eu recours à des sytèmes de
protection pour limiter les problèmes d’incompatibilité ou pour abriter des oeuvres particulièrement
fragiles.
Toutes les pièces présentées dans les vitrines (constituées ou non de matériaux modernes ) ont été
placées sur un film de polyester (Mélinex) les protégeant ainsi du fond de bois aggloméré et peint. Sur
les plans inclinés, des systèmes de calage ont été obtenus grâce à des clous partiellement enfoncés
dans le panneau d’aggloméré et gainés de cathéter de polyéthylène. Le manteau noir de Paco Rabane
(sus-cité) étant extrêmement poisseux, il a fallu couvrir le maillot de jersey habillant le mannequin
d’une épaisseur de Tyvek destiné à éviter un contact direct de l’oeuvre avec le jersey dont des
filaments se seraient immédiatement collés au plastique devenu poisseux. Ce manteau a été placé dans
une vitrine le protégeant de la poussière qui n’aurait pas manqué de venir s’engluer à sa surface.
La préparation de cette exposition nous a sensibilisés aux problèmes de conservation préventive des
matériaux modernes. Nous avons effectué peu d’interventions, conscients des dangers qu’elles
pourraient entraîner. Nous avons pris conscience de la nécessité de l’identification des matériaux
modernes présents dans les collections du musée, de l’observation des profils de dégradations des
oeuvres, et ce afin d’isoler les oeuvres susceptibles de constituer une source de dégradation pour
d’autres pièces. Nous espérons que cette tâche pourra prochainement être effectuée dans le cadre de
l’emménagement du département des accessoires au sein des nouvelles réserves du Musée Galliera.
NEWSLETTER
JFK Library to Present
Special Exhibition
Jacqueline Kennedy:
The White House Years
Selections from the John F.
Kennedy Library and Museum
50
To mark the 40th anniversary of her emergence as
America’s first lady, and explore her enduring global
influence on style, Jacqueline Kennedy will be celebrated
with an unprecedented special exhibition of the original
costumes and accessories she wore at state events in
America and abroad. Jacqueline Kennedy: The White
House Years – Selections from the John F. Kennedy
Library and Museum will be presented at The Metropolitan
Museum of Art in New York from May 1 through July 29,
2001.
While the exhibition will specifically focus on Jacqueline Kennedy’s influence on fashion and
style, it will also offer visitors the opportunity to more fully appreciate her historical role in the
restoration of the White House, her contribution to its collection of art and historical furnishings,
her support of the arts, her leadership in historic preservation, and her work as a traveling
ambassador. Documents, photographs, film and objects associated with Mrs. Kennedy’s work on
White House restoration, historic preservation, and the arts will be exhibited along with some 80
original costumes and accessories she wore on the campaign trail, during the inaugural festivities,
at the White House itself, and on state visits around the world.
A book, Jacqueline Kennedy: The White House Years – Selections from the John F. Kennedy
Library and Museum, edited by Hamish Bowles, with texts by Bowles, and Arthur M. Schlesinger,
Jr. will be published to coincide with the exhibition. The conservation and exhibit preparation has
been a collaborative effort by the conservation, exhibit and design staff from the Costume Institute
at the Metropolitan Museum of Art, John F. Kennedy Library and Museum in Boston, and the
Textile Conservation Center at the American Textile History Museum in Lowell, Massachusetts.
The exhibition will be shown after the premiere in Boston at the John F. Kennedy Library and
Museum beginning September 15, 2001 and running through February 28, 2002; and at the Corcoran
Gallery of Art in Washington, D.C. from April 20 through September 23, 2002. For more information
visit the Library’s web page at www.jfklibrary.org .
51
NEWSLETTER
NEWS FROM MEMBERS
Director/chief conservator of the Textile Conservation Center wins 2000-2001 Rome prize
Deirdre Windsor, Director and Chief Conservator of the Textile Conservation Center (TCC) at the
American Textile History Museum is one of 27 Americans to win the 104th annual Rome Prize
Competition awarded by the American Academy in Rome. This six-month fellowship is funded by
the National Endowment for the Arts in Historic Preservation and Conservation. She has joined other
American artists and scholars to live and work at the Academy's ten building, eleven-acre site atop
the Janiculum hill in Rome beginning in February 2001. While at the Academy, Windsor plans to
research the evolution of conservation treatment of Coptic textiles and the prevailing ethics for
archeological preservation in the field at large. The aim of her project is to do a comparative study
about the physical and historical consequences of past treatment intervention by examining select
collections in North America and Western Europe. While living and working in Rome, she will also
explore late Roman and Byzantine mosaics, which influenced the context of manufacture, imagery
and stylization of Coptic textile design. Windsor has headed the TCC, a non-profit regional
conservation center and department of the American Textile History Museum in Lowell,
Massachusetts, since 1995.
Abegg Stiftung promotions
We are plesed to announce the following promotions as of January 1st 2001:
Dr. Regula Schorta has been appointed vice director responsible for Research, Collection and
Textile Conservation.
Furthermore we are able to appoint two new curators:
Dr. Sabine Schrenk,Curator of Textiles and Works of Art pre 1500
Dr. Anna Jolly, Curator of Textiles and Works of Art post 1500.
Textile conservation in Pakistan
Sarah Cartmell, a recent graduate of the Textile Conservation Centre, University of Southampton,
UK, ran a two week workshop at Lahore Museum in November 2000. The workshop was funded by
Jonathan Scott, a Trustee of the Victoria and Albert Museum and further supported by the British
Council in Lahore. A visit to Pakistan in 1998 convinced him of the urgent need to set up some
training in collection care and preventive conservation. 21 participants from museums in Lahore,
Karachi and Islamabad attended the workshop. The lectures included basic organic chemistry and the
chemistry of fibres. Lectures on the deterioration of textiles focused on the extreme environmental
conditions experienced in Lahore. The principles of basic storage and display techniques were
explained and emphasis was placed on the importance of good handling. Some practical exercises
were included such as a range of stitching techniques and the making of padded boards and hangers
Discussions with many of the museum staff resulted in a series of recommendations on ways of
improving the safety of textiles on display.
If you would like further information about this workshop please contact Sarah Cartmell directly. Her
email address is: [email protected]
PhD Research in China
Zhang Xiaomei is a PhD student in the Department of Archaeology at Peking University. The subject
of Xiaomei’s PhD is the consolidation of ancient silk textiles. If you think you can contribute to her
research please contact her. Her email address is: [email protected]
NEWSLETTER
52
Corrections of scientific errors in the first edition of the book
“Chemical Principles of Textile Conservation”
(Agens Timar Balaszy & Dinah Eastop, Butterworth-Heinemann, 1998)
Page
Original Text (1998)
Corrected Text (1999)
16
for cotton
for dry cotton
17
delocalized π
- -bond
δ +, δ -, -δ - is missing
23
(Tg); makes the polymer
(230°C Tg); makes the wet polymer
27
+ fibre
+ 2 fibre
31
C16H3
C16H33
41
in the protein chain: C=C
C=O
45
tryptophan: CH-CH
CH=CH
47
after oxidation to
after oxydation of sulphur dioxide to
58
in the formula of cellulose triacetate
CH3CCOO
CH3COO
69
carboxylic acid
δ + is missing from the second formula
73
fuchsine: NH2Cl¯
NH3Cl¯
125
abiatic acid: -C -(CH3)2
-CH-(CH3)2
165
Last two groups in the formula of paraffin
chain: CH3-CH2
CH2-CH3
191
Na2Na4(PO3)6
Na2Ca2(PO3)6
Na2[Na4(PO3)6]
Na2[Ca2(PO3)6]
192
Complex with calcium
Dotted lines between Ca and Ns
195
Figure 11.1
contra ions are Na+ ions
246
complex of copper with disodium EDTA
Cu in the middle of the molecule should be
connected with dotted lines to Ns and Os
247
copper(I)oxide
copper(I)formate
copper(II)oxide
copper(II)formate
294
(C6H4Cl)
(C6H4Cl2)
310
Vinnapas P-1 (Wacker)
7% ethane
7% vinyl acetate
70% ethylene
30% vinyl acetate
333
chemically
physically
410
Figure 23.7, 0.01 mm
0.1 mm
The publisher and the authors apologize for the above errors.
These errors have been corrected in the 1999 reprint.
53
NEWSLETTER
Contemporary Textiles Corner
The exhibition “Miniartextil
2000On the thread of the
Millennium” .
An Introduction
The historical development leading from tapestries to “fiber art”
is stressed by different interpretations, any time more innovative,
reaching the use of any kind of threads.
The ancient interlace of warp and weft made by the traditional
loom, is left for the free use of threads, becoming itself leader of
different artistic expressions tearing definitively away from the
secular customs.
by Attiliana Argentieri Zanetti,
New ways of art are born, leading to the renaissance of textile art
that does not see the tapestry in the traditional way.
Venice
That even in Italy such a renascence has begun is stressed by the
exhibition “On the thread of the Millennium-Miniartextil 2000”
Received: October 2000
held in Como, organised by Luciano Caramel, now on its tenth
year. In the previous editions over 2000 artists participated
coming from all over the world attesting that the promoters, Mimmo Totaro and Nazzarena Bertolaso,
understood the importance of such an innovative initiative since its the beginning.
The last three editions of the exhibition have showed, beside some installations, even pieces of art of huge
dimensions, as the works of art made by Fausto Melotti, Josep Grau-Garringa and Barbara Shawcroft.
This year, beside the over 200 artists confronting themselves on the subject “On the thread of the Millennium,
Josep Royo will exhibit sixteen panels and two tapestries. Moreover nine artists will participate with huge
installations helping us to comprehend more clearly the transformation occurred even from the realisation point
of view, using transformative and striking techniques.
By now such a noble extension of art such as tapestries, have abandoned its own characters and way of
expression and from the traditional “heald tapestry” is now transformed in “fiber art”, following a predicted
path, after the renascence of the first years of the nine hundred when the aberrant high virtuosity of the seven
and eight hundreds tried to emulate painting techniques. In this way disappears from the tapestry artists’ palette
the over hundred different traditional nuances made from the patient use of wool threads, leaving a modest
number of nuances (between twenty and thirty) that, as Luçrat said in 1957, produced “rough, coarse and
wrinkled” works, like the ones made in the 14th and 15th century.
Luçrat himself in the manufactory of Aubusson starts the renascence of tapestries and becomes leader of the
school. We have now reached the Thirties and the “cartonniers”, coming from the eclectic world of the most
famous contemporary painters, representing the most interesting and innovative artistic movements, makes it
possible for the new weavers to practice unusual techniques. According to the traditional medieval traditions
and wisely using techniques and “battages” they acquired methods that allowed the realisation of original and
valuable works of art reinterpreting tapestries as “ le mural du nomade” as Le Corbusier himself says in the
Fifities.
In the evolution that gradually leads to “fiber art”, an important role is played by the Bauhaus school. The study
of “threads” makes them to consider it as vehicle of new meanings and not just as a functional product.
Following this new idea they creates “places where eyes can rest” as confirmed by the works of Anni Albers
that in 1959 makes Buckminster Fuller to say: “She made an historical successful wedding between the
sculptural intuition of the artist and the ancient arts of weaving”. Anni Albers’ tapestries are of great esthetical
and pragmatical strictness that does not follow, as she declared herself, strictly limitations of the weaving
procedures that might easily limit the artist’s creativity (Exhibiton catalogue “Anni Albers”, P.Guggenheim
Collection, Venice 1999).
The supplementary wefts, the “ajours”, the transparencies obtained using natural and synthetic fibers, shows a
different way of creativity already present in Klees’ signs, looking as graffiti painted on a natural fiber sack,
weaved with large meshes, makes the piece of art to look both a painting and a tapestry.
In other different artistic contexts, i.e. Mirò, we might found so called tapestries, not weaved but made on large
and unbleached canvases, made precious by textile collages and trimmings. Quite a “fiber art”!
Even futurists makes experimental tapestries and Depero use brilliant coloured cloths. This is the moment of
development of tapestries from the traditional technique using natural fibers, to the use of “modern” fibers with
new dyeing technologies. Innovations not only concern style but also techniques.
Venice is during the Forties a traditional place where history and art meets. Here the Swedish artist Anna
Äkerdhal Balsamo Stella becomes professor of weaving techniques of the Public Art Institute until 1955. Beside
NEWSLETTER
54
her many young artists works together creating what Giandomenico Romanelli in 1984 calls “a phenomenon of
art and culture developing beside the Fondazione Bevilacqua La Masa and Ca’ Pesaro” whose experiences,
connected with the European ones, opened Venice to contemporary art. The historical changing is stressed by the
Biennale of 1948 where the new “discoveries” and the happy new ferments makes it possible for tapestries, or
better the “decorative cloth”, as result of the growing artistic, technical and material experiments founds its
collocation in the exhibition Pavilion of the “ Decorative Venetian Arts”. The Yugoslavian Pavilion of the 35th
edition will sign the real cut with the past, thanks to the monumental “tapisserie” of Jagoda Buic, who using
wool and imagination creates real sculptures “objets” to insert in the open space. For her even the single thread
might be reinterpreted and renovated and even if monochrome it does never appear monotonous because the
various combinations of interlace are made evident by the rich “arsenal” of ideas grounded upon a well and
deepen knowledge of the historical textile tradition.
In particular Poland is the diamond point that during the Sixties makes the most advanced renovation processes
to be bound also with the realisation of new technical procedures. We cannot therefor forget the Catalan School
of Sant Cugat, directed by Grau-Garringa, who wants the direct collaboration of the author during the weaving
processes at the high heald loom.
To the specialised artisan it is now possible to modify the “cartoon” with the artist’s drawing. Surfaces quality
and textures are strictly connected with natural synthetic or metal fibers, or with any kind of material which is
possible to weave. In the atelier are carried out all different dyeing procedures of fibers that after spinning are
prepared to be twisted in the desired way.
However, these innovations are not included in the regulation of Losanna “1st Biennial Tapestry Art Exhibition”
held in 1962, accepting only works made with Gobelins stitches, then automatically excluding the Catalan works
that already represented the avant-garde. In the 2nd edition of the exhibition these gap was promptly filled so that
Spanish, Polish, Yugoslavian and Italian tapestry were finally presented in the most famous European exhibition
now opened to the “nouvelle tapisserie”.
Still nowadays the research of still new solutions of textiles and materials leads to daring experiments where
even the interlace, always playing an important role in the history of tapestry, is abandoned. The works of art
these new executor-artist working in the field of the artextil are well defined as “nouvelle vague”.
In the Sixties tapestry becomes autonomous and looses its homogenous surface. Weft shows the warp. It is not
the simple woollen cloth to be hanged upon the wall and bi-dimension and neat contours are left. Also thickness
is different: rolled and interlaced. Even plastic materials and wood are used to create new contrasts. Tapestry
acquires a new tactile sensibility. Surfaces are digged, furrowed and prominent so that the shape appears less
rigid. To the traditional walls are preferred new spaces created with tri-dimensional structures, built as sculptures
“a taille directe” (Abakanowicz). Suspended and fluctuant, made with loom or just by hand as tricot, crochet and
macramé they are defined in 1996 by Daniela Lunghi as “it is no more applied arts but pure and original creative
expressions, free from any traditional practical use”.
After all these new happenings (Elena Parma Armani 1993) and after many positive practical courses and lessons
(Centro Studi di Storia del Tessuto e del Costume, Venice 1990), today the interest in such works of art seems to
be lacking and limited even if some initiative seems to be taken in the Biennial of Chieri now at its second
edition. The precariousness of many workshops and manufactures and the few number of artists interested in
transmitting the art of tapestries do the rest. We might just remember the experimental tapestries made in Wissa
Wassef school in Cairo during the Fifties. Still alive are the “stories” about the experiences of the students who
built, without using a cartoon, but using a thread on woollen thread their personality. Of them are proud the
Contemporary Art Museum o f Paris that exhibit their works.
Not to be forgotten is what Enrico Accattino in the Sixties-Seventies did involving the students trained in many
different Art Schools in working at the Tapestry Manufactory in Penne (Pescara end in the Castelmassa
Manufactory (Rovigo).
The exhibition “Miniartextil 2000- On the thread of the Millennium” was held in Como from the 23rd
September to the 28th November 2000. Catalogue produced by Edizioni Gabriele Mazzotta.
55
NEWSLETTER
Fiber Art: a border line area Fiber art is a new realm of art. Many exhibitions which
have taken place in these last years all over the world,
of art
indicate the strong vitality and inventiveness of this
creative trend. Under fiber art goes all those works which
By Lydia Predominato,
refer to textile or twining procedures or hint at them.
artist, Rome
Natural, artificial fibers or any material in the shape of a
string, cord or rope can be employed. The reference to
Received May 2000
textiles can also be of a conceptual nature or even the
cloth can be used as row material. Paper is also
considered as deriving from fiber. Born on the wake of American Abstract Expressionism,
this type of art has gained in the years its own freedom of expression and its wide range of
expressive possibilities – which is its deep strength and fascination.
The Triennale of Lodz, Poland, the International Symposium in Gratz, Austria, the
Skandinavian Triennale, the one in Kyoto are the key points where one can follow the
manifold developments of this art which is only about 50 years old!
The latest exhibition in Italy (Fiber Art – Art Outside the Loom) was held in Rome, in the
premises of San Michele a Ripa, under the Cultural Properties Ministry’s auspices, last
May. There, all the different trends were presented: from historical masters to the newest
experiments – all strictly Italian. Among the various participating artists we would like to
outline the most advanced attempts which lead fiber art much further toward border line
areas.
Roberto Mannino, Rome, is an experienced paper maker artist, an expert in Italy. Of Italian/
American studentship, internationally known, he has chosen paper as his own medium. He
makes paper himself at a highly experimental and innovative level (e-mail:
[email protected])
Lydia Predominato, Rome, is on the fiber art scene since 1976. She uses highly
sophisticated media (computer, video, cinema, photography, thermo-images, etc) to process
the traditional textile image, or employs them as an aid to her textile interventions (e-mail:
[email protected] -www.geocities.com/lydiapredominato )
Teri Volini, Potenza, has chosen the cloth to make her interventions. Ethnic and
anthropological forms are selected to mark the land and the environment. The photo shows a
gigantic web (web as a communication means and referring to the art of weaving) pulled up
with numerous difficulties and efforts but whit great dedication and enthusiasm from the
artist. (Viale Adriatico 20, 85100, Potenza, Italy)
Photographs on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
NEWSLETTER
56
The Carpets Corner
9th International Conference on Oriental The 9th edition of the ICOC congress organized for
the first time in Italy, was a remarkable cultural event.
Carpets (ICOC)
On the one hand, the exhibition was a rare occasion to
Milan - Florence September 24 -27-1999 admire beautiful and mostly unknown public and
private Italian collections of oriental carpets. On the
other, the academic session offered a vas range of
topics and views, covering artistic, historical,
archeological, technical and scientific sectors as well
as conservation. Speakers from 16 different nations
Received: January 2001
between them gave 86 contributions in the form of
lectures and posters.
Whilst waiting for the publication of the papers which were presented during the academic session, a complete
list of the abstracts is provided below.
by Cecilia Di Nola, carpet restorer, Italy
Serife Atlihan: Flat Woven Camel Covers in Anatolia.
Adriana Augusti: Representation of Carpets in Venetian Painting.
Siawosch Ulrich Azadi: Kaschan Carpets of the Neoclassic Period.
Youssef Azemuoun. The Chuwal as a New Term in Turkmen Carpet Technology.
Belkis Balpinar: Ethiopian flat-wowen rugs (weft-twined tapestry-compound weft-twining).
Cristina Bellini:Silks and Carpets: the Sasanian Syndrome.
Rosalind C. Benedict:A Fresh Look at Ghiordes Rugs.
Beata Biedronska-Slota: A Cairo arpet from the mid - 16th Century - preserved in the Krakow National Musem.
Carol Bier: Symmetry-breaking in Oriental Carpets.
Michael Bischof: The Textile Repertoire of a Mountain Village West of Konya.
Gebhart Blazek: Carpet and Textile Culture in Eastern Morocco
Gerard Boely: Introduction to the Mats of the Middle Atlas
Irina Boguslavskaya: On the History of the Russian Museum’s Turkmen Carpet Collection
Harald Bohmer: The Karakoyunlu Yoruks and their Kilims
Luca Emilio Brancati: Italian Figurative Witness for the History of Carpets at the Beginning of the Renaissance
Alessandro Bruschettini: Siena 1338: An Oriental Carpet in a Public Sienese Fresco by Ambrogio Lorenzetti
Cigdem Cini Senturk: Design Relationship between Turkish Carpets, Textiles and other Handicrafts
Thomas Cole: Chinese Rugs & Textiles - Art from the Steppes
Susan Day: The Tree of Life: A Perennial Symbol
Cecilia Di Nola: Conservation Project of an Historical Turkish Rug - Usak 16th century - Palazzo Barberini
Collection - Rome
CNR Istituto di Ricerche e Sperimentazione laniera “ O. Rivetti” - Biella and Cecilia Di Nola - Conservation
project: Quantitative Analysis and Removal of Organochlorine Pesticides in Ancient Historical Artistic Wool
Textiles.
Nejat Diyarbekirli: Two Celebrated Carpet Centres Near Konya: Aksaray and Kiçimushine
Murray L. Eiland Jr.: 17th-18th c. Carpets from Astarabad. From the Reports of Thadeus Krusinsk
Thomas J. Farnham: Bardini and Carpet Collecting in the United States
Michael Franses: An Early Animal Rug in the Orient Stars Collection
Olga G. Gordeeva: Central Asian Textiles in the Collection of the State Historical Museum, Moscow
Anette Granlund: The Oriental Influences on the Carpets and Textiles of Marta Maas-Fjetterstrom
Gloria Granz Gonick: A Collection of 13th-18th Century Chinese Carpets from Silk Route
Mustapha Hansali: The Berber Carpets of Azilal
Ali Hassouri: Carpet Weaving Signs from the Bronze Age in Iran
Martha Henze: Oriental Kilims and Carpets in Ethiopia: A First Look
Eberhart Hermann: Establishing Format and Layout in Carpet and Textile Art by Triangular Geometry of the
Sun and Moon Movements to the Horizon of Heart. Demonstrated on 15th C. Blue Mosque Carpet from Tabriz.
Udo Hirsch: Traditional Tuschen Fabrics
Eva Hoffmeister: Conservation or Restoration?
Anatol A. Ivanov: A Collection of Oriental Carpets from the Museum of Central School of Technical Drawing of
Baron A. N. Schtieglitz
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NEWSLETTER
Christine Klose: Reconstruction of a Pair of Important Vase Carpets
Marcel Korolnik: Flatweaves and Carpets from the Haouz of Marrakech
Annette Korolnik-Andersch: Identifying an Anti Atlas Weaving Tribe
Irina Koshoridze: Borchalo Rugs
Marina Kouznetsova: Oriental Textiles in Russia: Collection of the State Historical Museum, Moscow
Patricia T. Leiser and Susan York: Mosaics: The Missing Link ?
Marla Mallett: Some Enigmatic Knotted Motifs and their Slit-Tapestry Ancestors
John Mills: Animal Carpets in Italian Paintings
Annamaria Morassutti: Technique and Methodology of Carpet Cleaning
Brian Morehouse: Westen Anatolian Carpets - Central & Southern Areas
Mary Moser: The Eagle and the Lion, Musing on the Significance and Lineage of Raptors and Felines Depicted
in the Woven Surfaces of Various Trecento and Quattrocento Italian paintings (14th and 15th centuries)
Soren Neergaard: The Development, Interrelationship and a Possible Interpretation of Primary and Secondary
Gòls in Turkmen Torbas, Chuvals and Main-carpets.
J. Barry O’Connell: The First Mughal Carpets
Penny Oakley: Spanish Admiral Carpets
Sumiyo Okumura: The Origin of the “Cintamani” Motif and its Use in Ottoman Carpets
Didem Ozhekim: Original Reasons for Geometrical Motifs in Anatolian Rugs from Bergama and Environs.
Cyrus Parham: Mythologic Origins of Stylized Birds
Dietmar Pelz: The Red and Green Saf Kilims from Dazkiri Area
Herr Plòtze: The Inner Signs of Memling-Gùls in Correlation with the Pattern Conception
Larisa Popova: Embroidered Felts of Southern Kirghiz
Josephine Powell: Some Asymmetrical Figures in Anatolian Flat-woven Textiles
William Robinson: 18th Century Carpets from Persia
Valentina Roccella: Typologies of “Sui Generis” Carpets in Italian Painting from the XIV to the XVI Century
Valentina Roccella: “Large-Pattern Holbein” Carpets in Italian Painting
Taher Sabahi: Man and Carpet: Anthropomorphic Portrayals on Oriental Textiles
Alfred H. Saulniers and Suzanne Smith Saulniers: Design Origins for Aìt Bou Ichaouen Weavings
Sarah B. Sherrill: East-West Design Metamorphosis in 16th Century Spanish Wreath Carpets, Conservative or
Subversive ?
Eleanor Sims: “Once More into the Breach”
Franz Sindermann: A Mughal Animal Carpet as Reconstructed from Fragments and its Implications
John L. Sommer: Central Asian Felts (Conservation of Materials)
Wendel R. Swan: Shasevan Pile Weaving
Wendel R. Swan: Constructing the Lesghi Star Design
Parviz Tanavoli: The Role of Botteh in Persian Rugs and Culture
Jon Thompson: A New Find of a Dragon and Phoenix Carpet Fragment
Martin Tscher: Harmony or Tradition?
Nikita Tzrev: Felts of Early Huns in Collections of the State Hermitage
Elena Tzareva: Felts of Northern Eurasia
Raoul Tschebull: Simple Truths: Lessons from Fieldwork in Rural Iranian Azarbayjan
Nalan Tùrkmen: An Old Tradition: Funeral Rugs
Dario Valcarenghi: Decoding the Symbolic Value of an Ancient Anatolian Kilim and Representation of the
Myth it Embodies
Markus Voigt: Khotan Carpets for Tibetan Market
Daniel Walker: Early Anatolian Animal Carpets
Nicholas Wright: How Shall We Date Tibetan Rugs?
More information on ICOC is available via the internet: http://www.icocinternational.org/9thicoc.
htm
For further information contact: Cecilia Di Nola - Voc. Albano, 46. Fraz. Collelungo, 05010 San
Venanzo (TR) - Italy Tel/Fax 39 - 75 – 8749915 e-mail [email protected]
Abstracts on the web at the URL: http://www.icr.arti.beniculturali.it/icom-txt
NEWSLETTER
58
NEWS
Exhibitions
ITALY
Milan
During the ICOC Conference (September 24 -27-1999) many exhibitions
took place:
- Regal Carpets, Oriental Carpets from the 15th to the 19th Century.
Palazzo Reale
- The Turkmen Wedding. Turkoman Rugs and Trappings from the Collection of the Russian State Museum of
St. Petersburg.
- The Carpets of the Painters. Pictorial Evidence from the 15th to the 19th Century in the Paintings of the
Pinacoteca di Brera and the Museo Poldi Pezzoli in Milan. Pinacoteca di Brera and the Museo Poldi Pezzoli
in Milan.
- Oriental Textiles and Carpets of the Museo Poldi Pezzoli. Museo Poldi Pezzoli in Milan.
- Russian-Afghan War Rugs (1979 - 1988) Palazzo delle Stelline.
Ancient textile art, Alberto Levy Gallery, until May 2000.
Florence
During the ICOC Conference (September 24 -27-1999) many exhibitions took place:
- Stefano Bardini and the Antique Carpet. The Renowned Masterpieces of the Museo Bardini and the
Extraordinary Carpets of the Eredità Bardini. Fortezza da Basso.
- Islamic Silk: Themes and Cultural Influence. Museo Nazionale Bargello
Venice
During the ICOC Conference (September 24 -27-1999) many exhibitions took place:
- The carpets of the Doge. Safavid Carpets and other Precious Textiles and Historical Tapestries of the San
Marco Treasury Chiesa di S.Marco
- The gift of shah Abbas. A figurastive Panel in silk velvet and gold donated to Venice in 1603. Museo Correr
- An important mid 16th Century Mamluk Carpet. Scuola Grande di San Rocco
- Carpets and Tapestries of the Ca’ D’Oro Museum. Cà d’Oro Museum
Como
Navigations in search of silk, 12 April -30 July 2000, Fondazione Antonio Ratti, Lungo Lario Trento 9. For
informations: F.A.R. Tel (+39) 031-233111
Six hundred years of silk and colour, 21 April-11 July 1999, Fondazione Antonio Ratti, Lungo Lario Trento 9.
For informations: F.A.R. Tel (+39) 031-233111
Genua
Acquisitions of the National Gallery of Palazzo Spinola, Palazzo Spinola, October 2000.
Turin
Soffreh and Namakdan, Galleria Ghalidaf, May 2000.
Aosta
Textilia Sacra,Textiles from the valdostan churches from the 15th to 19th century. Tour Fromage, 15 July-8
October 2000
Caltanissetta
Magnificence of textile art in Central Sicily, Museo Diocesano, 12 Dec.1998-28 Feb. 1999.
Chieri
Trame d’Autore, inedited weavings and research on the thread of history (Fiber Art). Imbiancheria del Varjo,
Palazzo Opesso. 15 April-2 July 2000.
THE NETHERLANDS
Tilburg
Historische Amerikaanse quilts, 9 Dec.2000-18 March 2001, Nederlands Textielmuseum, Goirkestraat 96,
[email protected]
FRANCE
Lyon
Les tissus coptes d’Antinoé, Musée du Tissus, 28 August-14 November 1999.
Paris
Cotton and fashion. Musée Galliera (catalogue),
Playing the light. Musée de la Mode et du Textile (catalogue is due this month),
59
NEWSLETTER
From Alexander the Great to Gengis Khan. Musée Guimet (catalogue),
Andalous, from Damas to Cordoue,Institut du Monde Arabe (catalogue),
Kerya, mémoire d'un fleuve Espace Electra (catalogue),
SPAIN
Terassa -Barcelona
Entre fils i lligams, una exposicio’ de Cesc Biosca. Centre de Documentacio’ i Museu Textil, Until 25 March
2000.
Look at me. Moda y fotografia britanica desde 1960 hasta nuestros dias. Centre de Documentacio’ i Museu
Textil, Until April 2000.
Art Tèxtil de corea, una exposicio’ de heiyoung ahn. Centre de Documentacio’ i Museu Textil, Until January
2000.
De lin e de lan. Centre de Documentacio’ i Museu Textil, Until October 1999
Punt de condensacio’. Centre de Documentacio’ i Museu Textil, Until November 1999.
SWITZERLAND
Riggisberg
Fabulous Creatures from the Desert Sands. Abegg Stiftung Foundation, Riggisberg, from April 29th 2001 to
November 4th 2001
Basel
Tibetan art. Museum der Kulturen, Augustinergasse 2, Basel CH-4001, May 6th. For further information
contact the museum on: Fax: 061 266 5605 or email [email protected]
UNITED KINGDOM
London
British Art and Design from 1500-1900. Fifteen new galleries (one tenth of the entire Museum) of British Art
and Design will open at the Victoria and Albert Museum, London, UK in November 2001.
State Beds – Work in Progress at the Historic Royal Palaces Agency, Hampton Court Palace.
information please contact either Val Davies or Jenny Band at the Historic Royal Palaces, Textile
Conservation Studios, Apt 37, Hampton Court Palace, Surrey KT8 9AU, UK. Tel: +44 0208 781 9812
GERMANY
Frankfurt
Frankfurt-Macht-Mode 1933-1945. Historisches Museum Frankfurt, 18.03.99-30.05.99
Berlin
Variety Theater and Musical Show – The Stage Costume Designer and Costume Collector William Budzinski
(1975-1950). Kunstbibliothek, Staatlische Meseen zu Berlin Kulturforum.16.03.-02.05.99
Hildesheim
Der Schatz von St. Viktor. Medieval treasures from Xanten Cathedral. Dom-Museum.20.03-30.05.99
Potsdam
With Gold Thread, Embroidery Exhibition. Schloß Sanssouci. 15.10.99. Contact. Christa Zitzmann. Stiftung
Schlosser und Garten. Postfach 601462, D-14414 Potsdam
USA
Chicago
Clothed to rule the Universe. Ming and Qing Dynasty Textiles at the Art Institute of Chicago. The Art Institute
of Chicago. November 2000. 111 South Michigan Av at Adam Str.Chicago Illinois 60603-6110. For
information (312)443-3680
Taoism and the Arts in China. The Art Institute of Chicago. November 2000. 111 South Michigan Av at
Adam Str.Chicago Illinois 60603-6110. For information (312)443-3680
ITALY
Florence: New opening for the Costume Gallery at Palazzo Pitti.
Focusing on a selection of costumes and accessories from 18th to 20th
century, Feminine fashion between the two wars.
Genua: New section of the Galleria Nazionale of Palazzo Spinola with a Textile Collection.
(catalogue edited by Marzia Cataldi Gallo for Sagep Editrice)
Museums
NEWSLETTER
60
UNITED KINGDOM
Southampton
Ma Textile Conservation. A professional education in the care and
conservation of textile artefact. Textile Conservation Centre. Faculty of
Arts. For informations about the University, funing and postgraduate opportunities in the Faculty of Arts:
School of Research and Graduate Studies. Faculty of Arts. University of Southampton. Hapshire SO17 1BJ. Tel
01703 593406, Fax 0173 595437, Email [email protected] www.soton.ac.uk/~srgs/ www.soton.ac.uk/
~prospect/forms
Continuing Professional Development Programme: Short Courses & Summer School 2000:
- Dyeing support fabrics for conservation 28-31 March
- Forum:Issues in conserving archaeological textiles: 17 April
- Testing Materials for use in storage and display: 18 April
- The Textile Conservation Centre Forum: 5 July
- Solvent-activated adhesives: 6-7 July
- Chemistry for textile conservation: 10-12 July
- Fibre identification:Identifying problematic fibres:13 July
- Fabric and fibre cross-sections;14 July
- An introduction to advanced analytical techniques of fibre identification:14 July
- Plastic and modern fibres:17 july
- Using enzymes in textile conservation; 18-20 July
Informations: TCC, University of Southampton, Winchester Campus, Park Av. Winchester, Hampshire SO23
8DL UK. Tel +44-23-80597100, Fax. +44-23-80597101, email [email protected]
Courses
-Rosalia Varoli Piazza (ed) Interdisciplinary approach to the study and
conservation
of medieval textiles. Interim meeting of ICOM-CC Textile
Publications
Working Group in Palermo, 1998, il Mondo 3 Edizioni, Roma, 200pp., ill.
b/n & col. English or French text. Abstracts in Italian. Orders to: Arketype
Bookshop, London Tel. +441713800800 FAX +441713800500 or to
ICCROM Library, Rome, Tel +39-06 585531
-Agnes Timar Balaszy, Dinah Eastop, Chemical Principles of Textile Conservation, Butterworth-Heinemann
ISBN 0 7506 2620 8, 460pp, 27 col.ill, 57 half tones, 123 line draw. Hardback, February 1998. £75.00
[email protected]
- La Manifacture des Gobelins dans la première moitié du Xxe siècle, 1908-1944.Beauvais, Galerie nationale
de la Tapisserie, 1999. Catal.expo. 128 pp., 63 nb & coul. Ill. Prix F 120.00
- Soieries médiévales, Numéro spécial de la revue Techniques et Cultures,(vol 34) édité par Sophie Desrosiers;
articles par Donald King, J.L. Merrit, H.Granger Taylor, R.Martin i Ros,G.Vial, etc. Textes français ou
anglais. Résumés français, anglais, espagnols. Environ 200pp., 40 ill bn.Novembre 1999; Prix F 90,0 +
Port. CID,131 Bd.Saint Michel, 75005 Paris (Fax +(0)1 4354 8073)
- Textile History, vol. 30, Nº 1., South and South-East Asian Textiles,Special Issue.Price £ 9.50.Subscription
Dept., Money Publishing, Hudson Rd., Leeds LS9 7DL, UK.
- La Verdure Eclatée. Tapisseries d’Audenarde du XBIe au XVIIIe siécle.Cataloge d’expo. Version
néederlandaise avec resumé anglais,version français avec résumé en allemand. Prix BEF 1.200. Office du
Turisme, Grand Place, Oudenaarde, Belgique.
- Leinendamaste, Produktionszentren und Sammlung. Riggisberger Berichte, Band 7. La Fondation Abegg
possède une des plus importantes collection existantes de damas de lin blanc du XVIe au XIXe siécle. Une
exposition en 1997 a été suivie d’un colloque et le présent volume publie le texte des interventions de ce
colloque. 300 pp., 190 ill, ISBN 3.905014.12.2, Prix sFr. 85. Abegg Stiftung, Postfach, CH-3132
Riggisberg, Suisse.
- Seidengewebe des 18. Jahrhunderts. 18th Century Silks The Industries of England and Northern Europe.
Riggisberger Berichte Band 8. 244 pp, 31 col. Ill., 104 b/w ill. ISBN 3-905014-15-7. Price sFr 85. Abegg
Stiftung, Postfach, CH-3132 Riggisberg, Suisse.
- H.C. Ackermann, Seidengewebe des 18. Jahrhunderts I. Bizarre Seiden.Sammlungkatalog.. Abegg Stiftung,
Postfach, CH-3132 Riggisberg, Suisse.
- K.Otavsky, A. Wardwell, Mittelalterliche Textielen II. Der christliche Westen, Zentralasien, China. Second
catalogue of the Abegg Stifting Collections. 1999. ISBN 3.905014.14.9. Price: sFr. 280.
61
NEWSLETTER
- Museo Poldi Pezzoli: Velluti e moda tra il XV e XVII secolo. Milano, Skira Editore, 1999. 208 pp., ill. b/n &
col. Exhib. Cat. Italian and Englishtext. ISBN 88 8118 515 6
- Irena Turnau, Slownik Ubiorów.A dictionary of terms concerning garments, textiles, colours, etc, known in
Poland from the Middle Ages to the Early 19th Century. In Polish. More than 200 pp.
- Françoise Piponnier (ed), Les tentures dans la mode occidental et arabo-islamique au Moyen Âge. Acts de la
journée d’étude de Lyon (16 Mai 1994). Melanges de l’École française de Rome, Moyen Age, Tome 111,
1999.De Boccard éditions-diffusion, 11 rue de Médicis, Paris (6ème) France. Tel 01-43260037, Fax 0143548583.
- Andreas Schmidt-Colinet & others, Die Textielen au Palmyra. Neue und alte Funde. Deutsches
Arcaeologisches Institut Orient-Abteiling. Damaszener Forschungen. Band 8. Philipp von Zabern, 1999.
- Techniques & Culture: Soieries Médiévales.Numero 34 Juillet-decembre 1999. Prix F 90+ envoie F 25, CID,
131 Bd Saint Michel, 75005 Paris, Tel. 01 43544715, Fax 0143548073.
- Collezione Tessile di Palazzo Spinola. Exhib. Cat. Sagep Editrice.
- Chiara Buss, Silk, Gold and Silver. Collezione Tessile Antonio Ratti. In English
- Anna Maria Donadoni Roveri, Quibti, Collezione Tessile Antonio Ratti. In English.
- Irmgard Peter-Muller, Cravates. Collezione Tessile Antonio Ratti. In English
- Monique Levy-Strauss, Cashmere, Collezione Tessile Antonio Ratti. In English
- Chiara Buss, Velvets, Collezione Tessile Antonio Ratti. In English
- Chiara Buss, Silk and Colour, Collezione Tessile Antonio Ratti. In English
- Catalogo Multimediale dei tessuti antichi, Museo Tessile della Fondazione Antonio Ratti, -Carme Masdeu,
Luz Morata, Restauració i conservació de teixits,Centre de Documentació i Museu Tèxtil. C/ Salmeron,
25. C.P. 08222 Terassa – Barcelona, Fax 93 7856170, [email protected]
- Datatèxtil, Revista periodica semestral. Edicio n.0, n.1 Centre de Documentació i Museu Tèxtil.
- K. Gill, D.Eastop, Upholstery Conservation: Principles and Practice.Butterworth Heinemann, ISBN
0750645067, 224 pp. 16 col.pl., 71 ill., 40 line ill. Hardback, November 2000, £ 45.00. bhuk.orders@repp.
co.uk
- Dominique Cardon, La draperie au Moyen Âge, Essor d’une grande industrie européenne.CNRS Editions
ISBN 227105592 X, 664 pp., 222 ill, Prix F 350,00. La Librairie de CNRS Editions, 151 bis rue St.Jaques,
F-75005, Paris.
- Agnes Timar Balaszy, Wet cleaning of historic textiles, Reviews in Conservation, Vol.1, 2000, IIC
- J.Robinson, T.Pardoe, An illustrated Guide to the Care of Costume and Textile Collections, ISBN0 948630 95
7, Available from Resource, 16 Queens Anne’s Gate, London SW1H 9AA
- L.Hillyer, N.Gentle, D.Balfour, The reassembly of a seventeenth-century state bed, The Conservator. Issue
24, 2000, pp. 3-14.
- F.Nuttgens, Z.Tinker, The conservation of rubberised textiles: two case histories, The Conservator, Issue 24,
2000, pp.24-38.
- A.Lord, H.Sutcliffe, Combining cold-lining and solvent re-activation for the treatment of an embroidered silk
picture: a case study, The Conservator, Issue 24, 2000, pp. 89-95.
- Textiles revealed: object lessons in historic textile and costume research, London, Archetype. This volume
forms a Festschrift for Karen Finch OBE,FIIC, Litt. Edited by Mary Brooks. Archetype Publications.
Disclaimer
This Newsletter presents the views of its individual contributors, and not those of ICOM-CC
or its Textile Working Group. This is a Newsletter, not a peer-reviewed journal.
The Textile Newsletter is edited by Rosalia Varoli Piazza,
Dinah Eastop, Lindah Hillyer and Patricia Dal Prà
Editorial assistance Cecilia Malm
Web master Giancarlo Buzzanca