TCNTEXTILE

CONSERVATIONNEWSLETTER

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Number 17 Fall 1989

TCNTEXTILE

CONSERVATIONNEWSLETTER

FALL 1989 ISSUENUMBER 17

TABLE OF CONTENTS

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PAGE

FROM THE EDITORS ............................................ 1

MILDEW, COLLECTIONS AND THE WORK ENVIRONMENT: ............... 2AN ATTACK OF ASPERGILLUS FUMIGATUS,

Vicky KruckebergA PROPOS DE COSTUMES ........................................ 6

Mme Marie Masson-SchoeferON COSTUMES 8

Marie Masson-Schoefer

SHOE CONSERVATION ...... ..................................... 12June Swann

TREATMENT OF AN EXTENSIVELY CORROSION STAINED ............. 14

UNIFORM JACKET USING A VACUUM SUCTION TECHNIQUE -Doreen Rockliff and Elizabeth Tait

CANADIAN MUSEUM OF CIVILIZATION ........... 16

Julie HughesGLENBOW MUSEUM NEWS FROM THE .......................... .... 18

TEXTILE CONSERVATION LABJan Mulhall

UNIVERSITY OF ALBERTA ....................................... 21Karen Myrholm

QUEEN'S UNIVERSITY 22

Krysia SpirydowiczCONFERENCE REPORT 24

Elizabeth A. Richards

FELLOWSHIPS/INTERNSHIPS .. ................................... 26

SMITHSONIAN COURSES ......................................... 27WORKSHOPS . 28ROYAL ONTARIO MUSEUM 29

NEW MUSEUM FOR TEXTILES OPENS IN TORONTO..................... 30QUERY 32NEW PRODUCTS . 32EXHIBITIONS 32INDEX OF TCN BACK ISSUES 1-15

TCN COVER

Detail of Curtain

Painted and dyed cotton, Coromandel Coast,18th Century

Photo, courtesy of Royal Ontario MuseumHarry Wearne Collection, gift ofMrs. Harry Wearne. Acc.934.4.50

TCNTEXTILE

CONSERVATION

NEWSLETTER

Kimbr, 97 Fall /989

'ROM THE EDITORS

We are pleased toannounce that the index is

finally completed: In the

time it has taken to sort

through and categorize eightyears of TCN publications, werequired the expert assistanceof several people. We wish to

thank: Alicia Prata, HeadLibrarian, Vicki Davis,Librarian, both of CCI; JasonHiemstra, whose task it was ofword processing, endlesslyupdating and correcting;Dorothy Burnham who recentlymoved to Ottawa, helped in thefinal stages. It has been our

intention to see through eachstage that this index wouldturn out as comprehensive anduseful for all our TCN

readers.

In order to simplify theentries in the index, anumbering system was devisedfor all the existing issuesand will be continued with all

subsequent issues. You mayhave noticed that· the Spring1989 issue appeared as number16 and the Fall issue as

number 17. Below is a list of

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

No.

the

the

index

Issue

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

numbers corresponding toback issues:

September 1981February 1982September 1982February 1983October 1983

March 1984

Fall 1984

Spring 1985Fall 1985

Spring 1986Fall 1986

Spring 1987Fall 1987

Spring 1988Fall 1988

The next update of thewill be published inNo. 20 (Spring 1991)

The TCN Spring 1989supplementary accompanies thisissue and is called Warning:Dichlorvos Resin StripFumigation, written by SharonHammick trom the Conservation

Division of the Royal BritishColumbia Museum. It is her

thesis for the completion ofher Master of Science degreefrom the University ofAlberta. She studied cultural

resource management, museumsstudies and archaeologicalconservation at the Universityof Victoria and has an honours

degree in visual art. Sharon

is presently working astextile conservator at the

Royal British Columbia Museum,job sharing with ColleenWillson.

Gail Niimimma has steppeddown as Western editor. The

original reason for havingWestern and Eastern editors

was to spread out the workloadof collecting and typing thearticles for each issue.

Since the word processing isnow done professionally in

Ottawa, and mailing continuesto be done there, it seemslogical and should be lessconfusing to our subscribersto have only one mailingaddress for subscriptions andenquiries. We are pleased andgrateful that Gail willcontinue to be involved as an

advisor to TCN. We thank her

for her dedication to TCN and

look forward to working withher in her new role.

We would also like to

thank Carol Dignard of CCI fortranslating Marie Masson'sarticle and Carl Schlichtingfor the diagrams drawn fromphotographs.

Eva Burnham

Ruth Mills

MILDEW, COLLECTIONS AND THEWORK ENVIRONMENT: AN ATTACK

OF ASPERGILLUS FUMIGATUS

Clean, adequate storageis often a luxury for very fewmuseums, historic houses andhistorical societies. The

Detroit Historical Departmentrecently tackled this problemand as a result faced a series

of unexpected problems.

The Detroit Historical

Department is a municipallyowned and operated urbansystem with a staff of 65 anda collection of approximately125,000 objects. For manyyears much of our collectionhas been stored in 19th

century buildings, constructedfor the U.S. Army, that rangefrom barracks to a former mulebarn. Most of these buildings

2

have suffered from leakyroofs, falling plaster, andother deterioration. Inaddition Detroit is known for

its unsavory industriesincluding: fat rendering,salt mines and coke ovens.

Except for the costume storagebuilding none of thesefacilities have air

conditioning or humidificationsystems.

In 1986 the DHD director

convinced the City of Detroitto make the building of aclimate controlled storagefacility a Departmentpriority. A long term projectto renovate four .World War IIArmy warehouses will becomethe Collections ResourceCenter with an eventual total

of 93,000 square feet. The

first warehouse to be

completed will house theSocial History, Costume andWoodland Indian collections.It will also include office

space for eight members of thecuratorial staff. The projectis funded by the City ofDetroit and the State of

Michigan. This type of majorfunding must be staggered overseveral years and work hasbeen divided into severalcontracts. This is how our

problem started.

The first phase ofconstruction ended in the

spring of 1987. The

contractor removed the roofmonitors to close off natural

sunlight, then repaired andinsulated the roof. Finally,they installed sealed windowsfor future offices and

thoroughly washed the floor toremove the last of the debris

from the past 40 years. This

construction finished in Maybut the new contracts could

not be processed until thenext fiscal year. Once

processed it took the normalthree months before work could

begin. The summer of 1987 was

unusually hot and thewarehouse sat there dark, dampand undisturbed. By Augustthe mildew was visible on the

wooden beams and joists and astrong musty smell was quiteapparent.

During the summer thecontractor noticed the mildew

and became concerned that the

specified paint would notadhere to the walls and

ceilings covered with mildew.Since mildew is a common

problem in constructionprojects, no one becamealarmed and assumed the

contractor would take care ofit. Amendments could be made

to the original contract toinclude mildew removal and theconstruction would continue asusual. Also, since nocollections objects werestored in the building, themildew was not considered. a

curatorial problem. At this

time there was no one on the

DHD staff who had anyconservation training, nor hadanyone thought to consult aconservator.

There was minor concern

to identify the mildewspecies, on the theory thatdifferent fungicides might beused to cover up the residue.A consultant was finallycalled in on the project forthe mildew problem.

This consultant raised

the issue of mildew being ahazard to human health. Due

to questions·concerningresponsibility and liabilitythe contract for testing took

3

eight months to process. The

end result was a fee of almost

$7,000 (U.S.). This

compensated the consultant forthe risks he took in assumingresponsibility to determinethe extent of the problem. Italso meant that if he under-

estimated the problem, hewould be liable for damages.

It is important toremember that at this time no

one knew for sure if anyhazard existed and cityengineers felt the sooner themildew was killed the better.

There was no reason to haltconstruction and the

contractor continued to

install ductwork.

Chlorine bleach had been

suggested as a "quick anddirty" solution to theproblem. However, as this

solution was researched by theDHD staff the mildew problembecame even more complex.Conservators were consulted

concerning the chlorine bleachtreatment and the responseswere quite varied. Less than

half of the conservators asked

if we had tested the mildew

and only a few were concernedwith the effect of the

treatment after the staff andcollections had moved into the

facility. However, thechlorine bleach was soon ruled

out when we realized it couldbe absorbed into the wooden

beams and re-emit later in the

presence of moisture ashydrochloric acid. · This wouldof course deteriorate the manymetal artifacts destined to be

stored in the building.

The contract for testingthe mold was finally let inApril, 1988 - nine monthsafter the mildew became a

concern for the architect. A

preliminary verbal and writtenreport was received but it wasnot until late June that the

final report was given to theDHD. This report identifiedfour species of mildewincluding one that isconsidered pathogenic:Aspergillus Fumagatus var.ellipticus. Under highconcentrations this particularstrain can attack the mucus

membranes of the lungs, causechronic irritation and affectthe middle ear. Under certain

conditions it can also befatal. All work on the

warehouse was immediatelystopped.

The next step wastreatment; however, this couldnot occur until a solution hadbeen determined. The

consultant identified the

scope of the problem and nowthe DHD staff had to determine

the solution. Two possiblefungicides were identified bythe consultant:

Pentachlorolphenol and CopperNapthanate. The Pentachlorol-

phenol raised concerns becauseof the carcinogenic effect ofphenol on the constructionworkers and the staff who

would later work in the

finished building. Uponfurther investigation we foundthere was no company licensedin the state of Michigan touse pentachlorolphenol in aninterior space. Therefore, it

was eliminated as a possibletreatment.

Copper napthanate had nosuch regulations because it isnot considered a toxicchemical. It is normally usedto retard mildew in tents,used as a wool preservativeand in very small amounts can

4

be used to kill algae in fishtanks. In normal

concentrations, however, itkills fish, contaminatesdrinking water and is harmfulif swallowed, absorbed throughthe skin or breathed.

However, given the informationavailable this seemed to beour only available treatment.

The consultant specifiedin the final report that themildew must be treated bybeing sprayed with thefungicide and physicallyremoved from all the surfaces

it infects. This would allow

the chemical to penetratedeeply enough to thoroughlykill it. This treatment,along with the clean-updisposal of all solid andliquid waste materials in anenvironmentally safe mannerwas specified in the contract.The clean-up contractor had toprovide the workers with self-contained, full face breathingapparatus operated on pressuredemand, gloves, disposableclothing and goggles. The

toxic fumes from the coppernapthanate in the 27,000 sq.ft. warehouse would be quitestrong.

Also included in the

contract was the requirementthat an independent lab testthe air to certify the safetyof the warehouse after

treatment. It was suggestedthat the air be monitored

before, immediately after thetreatment and again severalmonths later. Unfortunately,this recommendation wasreceived too late for the

contract and the only airmonitoring that occurred wasimmediately after thetreatment.

/

The contract for mildew

removal went out in August1988, was awarded in Septemberand treatment was performedfrom October 8 - October 29.The contractor was called back

twice to clean up oversprayand residue. Once the

building passed the airquality monitoring, thebuilding was certified as safefor human habitation and theconstruction could resume.

The Moral of this storyis the value of information.

The project was difficult todefine due to the three

perspectives required. First,the architect who wasconcerned with the

consequences of the building.Second, the consultant whoraised the issue of danger tohuman health. Third, thecurators who were concerned

with the potential harmfulresidual effect of the

treatment to the objects.

The second stage of thisproject proved to be evenharder: to find information

about possible and acceptablesolutions and the consequencesof different choices. This

area fell in the middle of

several expertises:microbiologists (like ourconsultant) know about mildewand chemicals but are not

knowledgeable about the realworld consequences of suchtreatment. Conservators are

more familiar with preventivetechniques than with moreintensive chemical solutions.

Rarely are conservators facedwith objects the size of ourwarehouse for treatment.Curators are prepared for noneof these problems. Yet it was

the responsibility of the DHDcuratorial staff to

5

assimilate, evaluate andcritique all the informationinto understandable languagefor our own staff and the cityengineers. We also had to

learn how to write elaborate

detailed bid specificationsthat would ensure whatever

company received the publicbid, would provide thetreatment in a safe manner.

The questions we facedwere numerous. When you areworking through a municipalbureaucracy with limited fundsfor a project, how can you getsecond opinions? How 'much

information do you need tomake the decisions concerninghealth and safety? How do youlocate qualified consultants?By short cutting oreliminating any of the stepstaken, we ran the risk ofplacing the workers and ourown staff in danger from themildew problem and from thetreatment.

We now understand citycontracts better and in the

future would phase contractsdifferently. We also now know

to give our full attention tosuch problems immediately andnot assume they can be writteninto an established contract.

There may have been bettersolutions to our problem,however, at the time we had tomake our decisions this seemedthe best solution.

The construction on thewarehouse is now back in

progress. The work is

expected to be completed thisfalls temperature and humiditywill· be monitored through thewinter and the move of

curators and collections will

begin in the spring. We hopethe knowledge we have learned

from this project will help uswith any future complicationsin the completion of theCollections Resource Center.

Vicky Kruckeberg, CostumeCurator, Detroit HistoricalDepartment, Detroit, Michigan.

This article has beenrewritten from a paper givenat the American Institute forConservation, Cincinnati,Ohio, 1989, prepared by MaudMargaret Lyon and VickyKruckeberg.

A PROPOS DE COSTUMES

C'est des costumes et

surtout de leur presentationdont j'aimerais parler. Ceproblame s'est en effet poseau Musfe Historique des Tissusde Lyon depuis la cr@ation del'atelier de restauration,celle des nouvelles roserveset depuis le reamonagement dessalles d'exposition.

I Le Musfe Historique desTissus de Lyon est dote depuis1985 d'un atelier deconservation, restauration destissus anciens et de nouvellesreserves.

a) L'atelier est installe dansun espace lumineux d'environ100 m2. Il est compos* d'unezone sache et d'une humide.

b) Les reserves sont amfnagOessur 4 @tages et couvrentenviron 400 m2. Les meubles

de rangement des tissusanciens comme la plupart desmeubles de l'atelier ont ft#

6

dessin@s par l'architected'interieur Monsieur Rolf

Lemberg, spocialiste dans cedomaine. Ils sont rOalisOs

dans des matOriaux adapt@s ala conservation (bois neutre).Je ne parlerai pas plus ici dece sujet qui pourrait fairel'objet d'un autre articleplus developpe.

II Les mannequins depr@sentatlon des costumesanclens au Musee Historlquedes Tissus de Lyon

Il est Otonnant de voir

que peu de gens encoreattachent de l'importance a lafaton dont se portait uncostume. Une robe de 1750 ne

se portait pas de la mamemaniare qu'une robe de 1900pour ne citer que 2 exemples.Il est donc impossible depr@senter des costumesd'*poques difforentes sur desmames mannequins standards denotre *poque. C'est pourquoinous pratiquons un systamesimple et variable que nousallons vous exposer.

a) le mannequin adaptable:

Les mesures et le patrondu costume a exposer sont pristrOs prOcisOment. Unmannequin ordinaire de supportet guide est prOvu si possiblede taille inferieure au

costume, le nouveau mannequinva §tre forme a l'aide d'un

grand nombre de bandes depapier "Kraft" adhesifd'environ 284cmde large etde longueurs variables. Le

support est protege auparavantpar une feuille de "melinex"ou polyester ou d'un materiauimpermeable de ce genre. Les

bandes de papier s'amincissentet se raccourcissent lorsqueles arrondis et les creux se

1,

4

1

The dress and itssupport: an English-styledsilk taffeta dress withembroidery and prihtedappliques. France, -end, Of the

. - XVIIIth century. Alteredthree times.

1

r

La robe et son support.Robe a l'anglaise, Taffetas de'soie brodi, avec gravuresappliquies. Frahce,·fin duXVIIIe siacle. Transform6e a'trois reprises.

L.

Z

E

2U)

precisent. Ces bandes sont

colloes en superpositionjusqu'a obtenir environ 2a3mm d'@paisseur sur l'ensemblede la forme; lorsque cetteforme est encore humide, elleest decoupee en 4 partiesselon 2 axes de symOtrie. Les

4 parties sont recolleeslorsqu'elles ont complatements*chees en retr@cissant ou

elargissant certaines zonesselon les besoins du costume.

La base du nouveau mannequinest alors posee sur un pied enforme de T en bois ou enmetal. Ce pied donnera labonne hauteur au mannequin.Grace a cette operation, ilest possible d'avoir un corpsdont les principaux elementssont plac@s aux bons endroits.Mais il convient encored'affiner les rondeurs etsurtout d'isoler l'acidite du

papier "Kraft" encoll@. Une

gaze de coton d@cati estdecoupee en bandes et recouvretoute la surface du mannequin.Il est ensuite possible derecouvrir la gaze d'un tissude decor ou visible, audecollet@ et aux bras.

b) Les sous-vOtements

appropries:

Afin de donner la

rigidit@ du maintien despremiares ann@es du xVIIIesilcle par exemple et dedonner l'ampleur nOcessaireaux hanches, il convient defaire les sous-vetements

adaptes. Ils sont ex@cut@s

fgalement en coton dfcati. Le

corset est balein@ de carton

sans acide et les coussinetsdes hanches sont bourres de

ouate legare en polyester(voir les photos). Le jupondonne ensuite le tombe de larobe et la supporte

7

legarement. Il peut atresuffisament rigide et gonflepour donner un plan demaintien a une @toffe fragile.Le mannequin et les sous-v6tements constituent aussi un

support de conservation et nonplus une source de tensionsdiverses, contribuant al'affaiblissment du costume.

III Le mannequinage ducostume anclen

La mise en place ducostume sur le mannequinpr@par@ avec les sous-vatements est la tache la plusdelicate. Elle devrait atre

faite en une fois et sans

retouche. Aussi faut-il

prOvoir un certain nombre demesures avant la pose.L'ordre de mise en place desbras est important. Ils

peuvent @tre moules de la m&mefaqon que le corps. Ils sont

ensuite cousus aux @paules.La difficultf reside souvent a

la pose du 2er bras, lorsquele docollet@ est presque enplace. Pour cette operationil faut la prusence de deuxpersonnes.

Conclusion

L'avantage de cettemothode dont la base m'a *t#

communiquoe par Madame UrsulaStrate, responsable del'atelier de conservation du

"Kunst und Gewerbe Museum" de

Hamburg, roside en lamodulation des formes

possibles.

En effet cette mothode

peut s'adapter non seulementaux costumes feminins, commeje l'ai expose ici, mais aussiaux formes masculines etenfantines.

a

Il est possible de fairede ces mannequins deconservation de longue durte,sans acide ni 01@ments

instables chimiquement. Cette

mothode est fgalement tris bonmarchf. Bien entendu, il estevident qu'une protection estnocessaire pour l'ensemble,costume et mannequin. Unevitrine ou une armoire aux

conditions climatiques etlumineuses ad@quates serait laprotection indispensable.

Marie Masson Schoefer

Responsable de l'AtelierMuste Historique des Tissus

de LyonLyon, France

N COSTUMES

I would like to talk

about costumes and in

particular, how they aredisplayed. The Mus@e

Historique des Tissus de Lyonhas been faced with this issue

since the construction of its

conservation laboratory andnew storage areas and therenovation of its displayareas.

I Le Musre Historique desTissus de Lyon has since

1985 a textile conservation

and restoration laboratory andnew storage facilities.

a) The laboratory: itconsists of a well-lit area

measuring 100 m2, divided in awet and a dry section.

b) The storage areas: these

are located on four floors andcover a total of 400 m2. The

cabinets and storage unitsalong with most of the

8

laboratory furnishings havebeen designed by the interiorarchitect, Rolf Lemberg, aspecialist in this field.They are constructed ofmaterials well-suited for

conservation areas (i.e.

neutral wood); this subject,which may be discussed morethoroughly by the author inanother article, will not bedealt with here.

II The mannequins used forthe display ot historiccostumes at the Musee

Historique des Tissus de Lyon

It is still surprisingthat few people consider how acostume was worn as important.A 1750's dress was not worn as

a 1900's dress, two of manyexamples. It is thus

impossible to exhibit costumesof different periods ofhistory on the same standardmannequins of today. For this

reason, our museum has

developed the simple, all-purpose system describedbelow:

a) The adaptable mannequin

The pattern andmeasurements of a costume tobe exhibited are taken veryaccurately. A common

dressmaker's mannequin andstand is chosen if possible ofa smaller size than that of

the costume; a new mannequinwill be shaped from it usingKraft paper adhesive.strips 2to 4 cm wide and of variable

length. The base support mustfirst be protected by apolyester sheeting such asMelinex, or any other similarwaterproof material. To form

the curves and contours more

precisely, the paper stripsbecome narrower and shorter.

Layers of strips are adheredto obtain a thickness of up to2 to 3 mm over the whole

support. When the support isstill damp, it is cutvertically along both axes ofsymmetry into 4 sections;these 4 pieces are trimmed orenlarged where necessary toreproduce the shape of thecostume and glued backtogether when completely dry.The lower part of the newmannequin is then placed overa T-shaped wood or metal standof appropriate height. This

system of mannequinconstruction allows for a bodyshape with the principalelements placed in exactly theright places for the costume.However, at this stage it isstill necessary to round thecurves of the mannequin andespecially, to isolate theacidic kraft paper. A desized

cotton cheesecloth is cut in

bands and wound around the

whole surface of the

mannequin; the gauze can laterbe covered with suitable

display fabric at the areaswhich will be visible, such asthe neck and arms.

b) Appropriate undergarments

In order to have the

rigid posture as was common atthe beginning of the XVIIIthcentury and to obtain thefullness around the hips, itis necessary to custom-makethe undergarments. These are

made again using desizedcotton. The boning for thecorset is made of acid-free

matboard and the padding forthe hips consists of polyesterbatting (see photographs).The petticoat then lightlysupports the dress and givesit the correct drape. It maybe sufficiently stiff and

9

shaped to properly support aweak and fragile fabric. Such

mannequins and undergarmentsare also excellent

conservation supports,reducing the stresses andtensions which lead to the

weakening of the costume.

III Dressing the mannequin

Putting the undergarmentsand the costume on the

mannequin is the most delicateoperation of all. It should

be done in one step withoutthe need of further

alterations to the support;consequently, certain stepsshould be planned in advance.Attaching the arms, forexample, requires certainsteps to be followed in order.The arms can be cast in the

same way as the rest of themannequin, and later sewn ontothe shoulders. The most

difficult step often occurswhen the second arm is beingattached and the bodice is

almost in place: for this

step two people are required.

Conclusion

The advantage of thismethod, described to me byMadame Ursula Strate, head ofthe conservation laboratory ofHamburg's "Kunst und GewerbeMuseum", is that a variety ofshapes and contours can easilybe created. The mannequins

can be adapted not only towomen's dress, as described

above, but also to men's andchildren's costumes. They canbe made of chemically stableand acid-free materials for

the long-term preservation ofthe costumes. They are alsovery inexpensive. Of course,

additional protection is

necessary for the costume onceon the mannequin: a cabinet

or a display case withsuitable environmental andlight conditions would bevital for its protection.

9

1 in

1 1, i

10

Marie Masson-SchoeferHead of Textile Conservation

Muste Historiquedes Tissus de Lyon

Lyon, France

Le mannequin de support recouver=d'un film protecteur va Btreenvelopper de bandes de papier"Kraft".

A support mannequincovered with a water-proofprotective sheeting; it isready to be shaped with theKraft paper strips.

When the support isstill damp, it is cutvertically along both axes ofsymmetry into 4 sections;these 4 pieces are trimmed orenlarged where necessary toreproduce the shape of thecostume and glued backtogether when completely dry.

Lorsque laforme est encore humide, elleest dfcoupee en 4 partiesselon 2 axes de symetrie. Les4 parties sont recolleeslorsqu'elles.ont complatementsOchfes en retrecissant ouflargissant certaines zonesselon les besoins du costume.

.f

--4 »--

1591

11

The Kraft paperstrips are covered wlthdesized cotton bands.

The lower part of the newmannequin is then placed overa T-shaped wood or metal standof appropriate height.

Le papier Kraft estrecouvert de bandes de cotondOcatis.

A display fabriccovers the cotton bands. The

corset and the crescent-shapedpadding are then put in placeto support the dress. Apetticoat(not shown on this photograph)is added later.

Un tissu de decorrecouvre les bandes de coton.Le corset: les demi-lunes

sont alors mis en place pourrecevoir la robe. Un jupon' a#te ajot,te, non photographieici.

l

HOE CONSERVATION

I was concerned to see

the article on Support Paddingof Textile Shoes at the Bata

Shoe Museum, in TCN, Spring1988. As a student over the

last forty years of thehistory of footwear (Keeper ofthe Boot & Shoe Collection,

Northampton Museum, 1955-88),I am well aware of theinformation needed for

cataloguing a shoe, andassessing its date andhistory. In order to do this

as accurately as possible, itis essential to be able to see

not only all of the outside(including the sole which manydisplays obscure), but alsothe inside. Here are revealed

not only technical details:construction, care or

shoddiness of lining, butfrequently the maker's labelor stamp survives, withdetails of his address and

business, invaluable fordating when checked withstreet directories. There mayalso be numbers, hand-writtenor stamped, indicating stylesor sizes, helpful in decidingcountry of manufacture and forproviding evidence of the size

12

of the population at any givendate, and there may be othernames inscribed. In the 17th-

early 18th centuries, thecustomer's name, size andother detail were written in

ink by the shoemaker on thevamp lining, unfortunately forus, frequently close to thetoe, where it would not beimmediately visible once theshoe was made. I am slowlybuilding up evidence that thisinformation includes not onlythe length of the shoe (size 3and 4 are the most common for

Englishwomen's shoes), butother figures or letters, M, W(for medium, wide) arebeginning to suggest that someshoemakers may have had asystem of widths long beforeit became common in this

century.

As mass productiondeveloped in the 18th centuryand more shoes were made for

sale shops, it becamenecessary to be able to see ata glance which were bespokefor a special customer. Sofrom the 1760's the customer's

name is written instead on the

quarter lining, and is ofcourse invaluable for checkingagainst a shoe's reputedhistory. The sizes are then

often put here too.

So obviously it isessential to show such detail

when a shoe is displayed. Andwhen stored, if the shoe is tosurvive handling, it ispreferable to have stuffingwhich can easily be removedand replaced. Another problemwith the Bata (TCN Spring1988) method of stuffing witha ring of fiberfill is that itis continually trying tounroll, and thus createspressure on the upper, rather

than just provide support. Itis also very difficult to

mould to the shape of theshoe, which can better be donewith acid-free tissue: a

small piece in a narrow toe,and then one piece for therest of the vamp satisfiesboth support and student. Somany old shoes retain theshape, the character of thewearer, it is much moreinteresting to retain this,rather than force the moulded

shoe to look like new.

Inspired by JeanneBrako's paper on Wear Patternson Navajo Textiles at CostumeSociety of America's EthnicDress Symposium, May 1989,where she showed how well-

meaning conservation hadobscured wear on one edgewhich proved where the textilewas worn at the neck, or holeswhere elbows rubbed (evidence

which differentiated the earlytextiles from those used as

blankets or wall-hangingsetc.), may I put forward asimilar plea for notdestroying evidence of wear onshoes. We are all aware that

display assistants preferobjects in pristine condition,but they must be educated notto request the destruction ofthe history of the object. Itis essential if the study ofthe history of footwear is toprogress beyond a briefsummary of what styles wereworn in what year, to be ableto tell, for example, whichare worn indoors and which

Out. So please do not removestreet dirt. One of

Northampton Museum's mostuseful 1740's shoes, with darkgrey wool upper, are mud-bespattered all over, whichhelps convince our modernworld that such flimsy shoes

13

were indeed worn outdoors, andtells us a lot about life in

the 1740's in the process. Itis even more enlightening whenthere is horsemuck on the sole

of a very expensive silkbrocade shoe. The young areno longer familiar with suchproblems, which only ceased inEnglish towns after the lastWar. The manure may createconservation problems in thecenturies to come, but pleaseleave it to be recorded.

Most shoes were made as

straights (not shaped rightand left) between 1600 and1800, and some women's,especially the French,continued straight to the endof the 19th century. To keepthem smart longer, and indeedto make them last, it wascustomary to wear the shoes onalternate feet on alternate

days. As a consequence, ahole was often worn where the

big toe joint rubbed on bothsides of the shoe.

Northampton Museum has someshoes of the 1720's with

contemporary patches here,which doubtless matched

reasonably well when firstdone, but are more conspicuousnow. Please do not remove

such evidence of a thrifty wayof life, which has temporarilypassed. Babies, before theywalk, have the habit ofcrawling, and as a resultscuff holes across the upperover their toes, instead ofwearing the corner of the heellike the rest of us. I

recently found some tinybaby's shoes dated 1837, whichhad been labelled "Statues",as the holes had been

carefully disguised until nolonger visible on the blacksilk. Surely they would bemore appealing in their worn

condition. Incidentally,straight shoes swopped dailyend up with even wear rightacross the back of the heel

top piece -again a feature weare not familiar with.

But we are all familiar

with clothes being altered, asthe wearer changed, grewfatter or thinner, or fashionschanged. What few costume

students realize is that the

same applies to footwear, andmany have as complex a historyof two or three modifications

as any dress. So pleasebeware of "tidying up" anddestroying this evidence. One

custom we no longer practiceis the complete recovery of ashoe upper, for mourningpurposes or to cover wear.This was done on many of thetextile shoes of the 18th

century, and especially on theflimsy ballet-type styles ofthe 1830's-40's. The clue is

a neat row of stitches close

to the sole, because it wasnot economical to remove it

and re-last, work only ashoemaker could do. Later

trims, to modernize, too arenot lasted in, nor edgebinding when it failed. Inthe later 19th century, shoeswere altered for fancy dress,frequently with the narrowvamps cut to enlarge, and thendisguised with a trim over it.This is all part of thehistory of the shoe, and Iwould prefer no attempt bemade to put it back to theoriginal. Most needlewomenwould not attempt to alter theheel. So if required formourning, it was paintedblack.

As well as home repairsand alterations, the practiceof "translating° shoes was

14

also carried on up to aboutthe First World War at the

lowest level in the shoe

trade: old shoes were boughtup, the good bits salvaged,and "new" shoes made from

them. (We call it recyclingtoday, though no one in thedeveloped world appears tohave rediscovered it for shoes

yet). Some very curiouscombinations can result, andit is easier to work out the

history if not complicated byconservation stitching. I do

not envy conservators theawesome responsibility theyhave, but can only commend to ·them the International Council

of Museums Guidelines for

Costume: remove pests, and asfor anything else, if indoubts leave it alone.

June Swann, M.B.E.Consultant

History of Shoes andShoemakingNorthamptonUnited Kingdom

1 REATMENT OF AN EXTENSIVELYCORROSION STAINED UNIFORM

JACKET USING A VACUUM SUCTION

TECHNIQUE

The Government Historyprogram of the PMA recentlyacquired a World War II summeruniform jacket for itscollection. It is an

important acquisition becauseof the relative scarcity ofthis type of jacket andbecause of its significance toAlberta history. The jacketformed part of the tropicaluniform worn by Captain VictorSims, an officer in the

Edmonton Fusiliers, a militiaregiment disbanded after WorldWar II. The Sims family had along history of associationwith the regiment.

The light khaki, twillweave, cotton jacket arrivedat the museum crumpled andheavily stained with ironcorrosion products. Its

condition was consistent with

having been totally wet atsome point and then slowlydrying out. It was obvious

that a major culprit in thedamage was a wire coat hangerbecause the encrustations onone stain carried a clear

impression of the curved endof a hanger. In addition,

several metal rings forholding on buttons wereheavily corroded and stainstransferred to many parts ofthe garment because of itscrumpled condition. Many ofthe stains were heavilyencrusted. Also marking thegarment were the tan stains ofoxidized cellulose formed atthe air/water interface as thejacket dried out. Apart fromedge abrasion at the collarand cuffs the fabric was in asound condition.

All buttons and insigniacapable of removal were takenoff and cleaned separately.Before attempting any stainremoval samples of stainedfabric were prepared fortesting. A search on CIN

proved disappointing,providing only two references.A further literature search

suggested oxalic acid orsodium hydrosulfite as 'treatments. Preliminarytesting showed that sodiumhydrosulfite would beunsuccessful as a treatmentfor this situation while

15

oxalic acid was likely to besuccessful. Oxalic acid is a

mild reducing agent whichforms soluble complex saltswith many metals includingiron. A 1.0% solution has a

pH of 0-1 therefore it isimportant to minimize the timein contact with the fibres tolimit potential damage.Fabric must be thoroughlyrinsed, not only to neutralizethe pH but also to remove allresidual oxalic acid since itcrystallizes to form needle-like crystals which can piercefibres leading to furtherweakening. Rinsing in warmwater is necessary due to thelow solubility of oxalic acidin cold water. Testing wasdone firstly on preparedsamples and secondly on seamallowances and facings insidethe jacket.

Prior to stain removal

the encrustations were removedfrom the surface mechanicallyand the jacket was wetcleaned. With the fabric wet

out the stains were positionedover a localized vacuum fortreatment. This was created

with a funnel attached to a

water vacuum apparatus.Testing had indicated that 3%and 5% solutions of oxalicacid heated to 80C werenecessary to remove thestains, the 5% solution beingused only on the heavieststains. A few drops of thesolution were dropped into thecentre of the stain andallowed to act for up to5 minutes with the suctionrunning continuously. The

fabric was then rinsed, againwith the vacuum on, until aneutral pH was reached usingindicator strips. After

treating all stainsindividually the whole garment

was rinsed thoroughly for 10minutes and a neutral pHreading was obtained. Some

stains were impossible toremove totally but wereconsiderably lightened. Therewas no loss of colour from the

fabric and no apparentweakening of the fibres. .

References:

Rice, J.W. "Principles ofFragile Textile Cleaning", inTextile Conservation, Leone,J.E. Ed. WashingETnT D.C.Smithsonian Institution Press.

1972.

Fulton, George F. "AppliedScience for Drycleaners",Maryland: National Instituteof Cleaning and Drying, 1951.

Doreen Rockliff

Elizabeth Tait

Provincial Museum of Alberta

LANADIAN MUSEUM OFCIVILIZATION

The pace of activities inthe Textiles Lab at C.M.C. has

barely slackened since theopening of the new building.As well as the usual work -

preparing for upcomingexhibits, working on loanmaterials, doing moth checks,etc., - we are also goingregularly to Parc Laurier todo "housekeeping".

Dust monitoring hascontinued and the environment

of the new building hasimproved to acceptable levels.However, a regular vacuumingprogram has to be maintained

16

for textiles on open display.Most textiles get vacuumedabout once every two weeks.This work is done before

opening hours (Mondays theMuseum is closed all day),using either the HooverPortapower and hand-brushing,or the Mini-Vacs. The latter

are great in that they areonly the size of a smallflashlight, haveinterchangeable, small brushattachments, and are battery-operated so there are no cordsto cont6nd with. However,they are only designed forvery lightweight work (photoequipment, computers, etc.),so the motors burn out

relatively quickly. (They areavailable from Efston Science

Inc., 3350 Dufferin Street,Toronto, Ontario, M6A 3A4,416-787-4581; $26.95.) Anyonehave any suggestions for othersuitable equipment?

The following are itemsof interest regarding currentdisplay techniques fortextiles at Parc Laurier.

a) "Shall We Dance? SpecialExhibitions Gallery; June 29 -October 1989.

For this exhibit,

featuring dance costumes frommany countries, "Bendie"mannequins were selected(530 Edouard, Granby, Quebec,J26 326.

Advantages:

- extremely flexible(essential for this

exhibit)

- lightweight- small proportions- easy to attach

accessories (can stitch

through head, etc.)

relatively inexpensive($400.00)

Disadvantages:

flock fabric finish (verydifficult to mount

costume; holds dust;fibrils adhere to inside

of costumes). Note: A

prototype silkbodystocking was made toprotect the costumes andto make mounting easier,but funds did not allow

for this project tocontinue.

polyurethane foaminterior degrades fairlyquickly, volatileemissions can be harmful

to artifacts (Note: This

was a four-month exhibit

only.)mannequin is mounted ontobase by a rod insertedthrough the heel. (Note:

Prop shoes were used,with holes drilled

through the heels, whereappropriate. Where

accessioned shoes were to

be used, a leg-brace wasdevised to secure the legto a rod mounted throughthe exhibit floor.)attaching the arms to theshoulders was awkward

owing to the design ofthe socket.

b) "Beyond the GoldenMountain: Chinese TuTTural

Traditions in Canada". Arts

and Iraditions Gallery; June29, 1989 - May 26, 1991.

Plush-covered, paddedaluminum rods (inserted

through tubing) formed thesuspension mechanism for thelargely square-cut garmentsshown in this exhibit. Large,

17

flat, silk hangings were sewnaround three sides to (50-50

cotton-polyester) fabric-covered stretchers.

c) "Masters of the Crafts:Recipients ot the SaidyeBrontman Award tor Excellence

1n the Crafts, 19//-86" Arts

and Iradlttons Gallery, June29, 1989 - October 8, 1990.Velcro mounts for quilts;custom mounts for uniquetextile sculptures.

d) "In the Shadow of theSun: Contemporary CanadianIndian and inult Art". Indian

and Inult Art Gallery; June29, 1989 - August 31, 1991.

Velcro mounts

exclusively, for hangingtextiles.

e) Millinery Shop HistoryHall (Permanent Installation)

A variety of standardtechniques were used - paddedand covered Ethafoam mounts,acid-free mat board covered

with fabric and textile

stitched to front, etc.Custom-made stands were

crafted on contract for the

fans in this display.

f) "Treasures" History HallMezzanine

The 1884.wedding dress ondisplay is mounted on anEthafoam disc mannequin(previously made for thisgarment when it wasphotographed for the C.M.C.publication on which this showis based). Two-dimensional

silhouette forms were paddedand covered for the Paisleyshawls also included in thisexhibit.

Present Work

We are now preparingthirty-seven flags for the"Maple Leaf Forever New"exhibit (Special Exhibitions,December 15, 1989 - March 11,1990). This exhibit will

celebrate the 25th anniversaryof Canada's Maple Leaf flag.Many of the flags are modernnylon flags (phew'). Several

are extremely large woollenflags, but generally are ingood condition. A few are inmore fragile shape. With few

exceptions, the flags are allloan pieces. Vacuum-cleaning.only will be done. Where

necessary, as a 'first-aid'measure, weak areas will be

backed with crepeline, andcouched minimally to securethem. The flags will all bemounted by stitching ontorigid supports. (These are

Gatorboard, padded withfibrefill and covered with

100% cotton canvas. Largerflags have a basswoodframework in addition to the

Gatorboard.) All the flagshave Plexiglas covers.

Besides the flags, the"Maple Leaf Dress" worn byQueen Elizabeth II to areception at Rideau Hall(residence of the Governor

General), in October of 1957,will be on exhibit. An

Ethafoam disc mannequincovered with silk jersey, hasbeen made for the dress, aswell as an underskirt to givethe dress its intended shape(as per directions from theQueen's Dresser, on file).

Towards Christmas, wewill be starting work ontextiles for "A Coat of ManyColours: Two Centuries of

18

Jewish Life in Canada"

(Special Exhibitions Gallery,April 5, 1990 - September 23,1990).

A final note (the best

news:) - Anna Jakobiec became

a permanent member of theTextiles Lab in August. (Anna

received her 'conservation

training in Poland andFrance.) Eva Kaczkowski and

Donna Butler continue on

contract.

We're all keeping ourfingers crossed that oursubmission. for the .Spring 1990issue of TCN will inc.lude a

report of our move to our newlab in Parc Laurier.

Julie HughesTextile Conservation Lab

Canadian Museum of

Civilization

Ottawa

LnENBOW MUSEUMNEWS FROM THE TEXTILE

CONSERVATION LAB

The past year inGlenbow's Textile Lab has been

a busy one. Work has been

done on twelve exhibits, therehas been an ambitious loans

programme, severalpresentations for college anduniversity students, and Careand Handling Sessions forstaff and Special Projects.Treatments have included a

late 18th Century JainMandala, Wedding Dresses,Costumes from Papua New Guineaand an Austro-Hungarian Man'sCourt Dress.

Special Exhibits

Two exhibits were

particularly challenging asthere were special curatorialrequirements. Brava: Brava:

The opera costumes of NormaPiper Pocaterra had costumeswhich varied in styles,silhouettes, sizes, ages andcharacterizations. The

request was to modify thetheatrical license of the

gowns so that viewers couldeasily perceive that thesecostumes belonged to oneindividual. The requisite of"Modesty and Safety", anexhibit on side saddle ridingcostumes, was to present thecostumes in a manner which was

evocative of their use yetmeet the requirements ofconservation dictated by thegarments. Both exhibits were

curated by Marijke Kerkhoven.

Exhibit- Projects:

The Textile Lab has

developed some forms to make

19

life simpler, one of which isthe "Test List for

Exhibition/DecorativeFabrics". Its purpose is toserve as a checklist and

record of evaluation offabrics used for exhibitioncases and panels. Theintention is for the Test List

to be used early in the designprocess, checking it againstthe exhibit artifact list tonote possible problems whilethe design plan is on paper.If the Textile Conservator is

involved in exhibits duringthe early stages, problems canbe avoided or minimized.

Comments or suggestedadditions to this list wouldbe welcomed.

Maintenance on the

permanent galleries is beingdone by Debra Reeve, whoseefforts with the textiles are

very noticeable andappreciated.

Tests For Case "Decorative- Fabrics

|Each bolt of fabric used even if they appear to be the samematerial and colour, may in actual fact be different. and eachshould be examined individually.

'Checklist

Wet-faetness

Crockins (rub-off)

pH level

Fiber ID

warpweft

Rough/abrasive surface

Particle/duet shedding

Nap or direction

Other

(auch ae permanent pressfinish and the presence offormaldehyde)

Sample:

Summary:

JM/1988

GORE-TEX c Humidification

The exhibit Art in the

Religions and Myths otMankind: The BumperDevelopment Corporation Ltd.Gallery, featured a JainMandala from Gujart, India,

which posed problems formounting and exhibition. The

late 18th to early 19thcentury Mandala is composed ofwater soluble pigments oncloth. It had been repeatedlyfolded as part of its ritualuse and is very weak along thefold lines. As well, the

ridges of the foldlines arevery pronounced when theMandala is laid flat, makingit very difficult to read thesymbols and imagery.

As the fibers are quitebrittle, the paint very watersensitive, the planes of thesurface numerous and uneven,

it was necessary to use amethod which would gentlyhumidify and relax the fibersover a period of time.Utilizing the properties ofGORE-TEX c, which involve oneside which sheds moisture and

one which encourages moisturetransfer, one can achieve aslow, gentle and controlledmoisture exchange rate. Inthis instance, a layer of wettowelling was laid on thewashtable with a layer ofGORE-TEX c placed above it, sothat the GORE-TEX c would

release moisture Upwards. Theback of the Mandala was placedon top of the GORE-TEX c andclosely monitored for anymovement of the paint layer.The GORE-TEX c worked well inthis case as the Mandala is

42" square and the GORE-TEX cwas 60", so a smooth even

underlayer was achieved. This

20

process was repeated overseveral days and by the timethe backing support was readythe Mandala was relaxed on a

more uniform plane. The

Mandala was attached to the

backing mount with a series oflaid silk stitches and the

whole unit was encased in a

plexi-mount case. The GORE-

TEX c "method" has been used

in paper conservation for sometime, but its special featureswill be helpful for manytextile treatments.

Polarizing Microscope

The Conservation

Department has obtained apolarizing microscope whichhas already helped in theidentification of a wide rangeof fibers from mink to

pineapple. A project has beenstarted in the textile lab to

establish a reference set of

slides consisting of knowndegraded fibers from differenttime periods and in variousconditions. Maura Hamill who

is working with the textilecollection in Cultural Historyhas aided this project bysecuring samples.

Products

The Canadian Rights forthe Rowenta Steamer, a productwhich was first introduced to

me by the Textile ConservationWorkshop in New York, has beenpurchased by Sunbeam CanadaInc. It is now in productionand available under their name

for Canadian sales. For those

not familiar with the steamer.,it is hand-held, works well atall angles and can give avariety of pressures andvolumes of steam. There are

fewer problems from water

spotting with this model thanothers that have been on themarket.

"RIGILENE R", a polyesterboning material that is rigid,yet flexible and durable, canbe joined to form varioussupport structures using a hotglue gun or stitches. Scot

Bullick, our CollectionMaintenance Technician, hasrealized this potential andthe material has been used

quite successfully for innerMounts on a variety ofobjects. "RIGILENE R" is

available from most fabric

stores.

Seminar Attendance

The U.S. Institute of

Theatrical Technology'sconference, held in Calgary,had several sessions on

costumes which overlapped thefields of conservation andresearch. I found the

presentations to beinformative. Extremelyinteresting and thoughtprovoking was an AlbertaMuseums Association sponsoredseminar - "Canada's Native

Communities and Museums: A

New Dialogue and NewInitiatives" which was

attended by many Tribal Eldersand members of several

museums. New insights and anunderstanding of differencesin concepts towards materialculture within the two groupswere gained. Ideas were

presented which asked for areassessment of the work ofmuseums and conservators.

The staff of the Glenbow

labs have been very involvedorganizing the newly formedAlberta Conservators

Association. This group will

21

meet twice a year to discussissues of common concern toConservators of the Region.At our third meeting, held onOctober 3rd, we had a group ofapproximately forty.

Jan MulhallTextile Conservator

Glenbow Museum

Calgary, Alberta

MIVERSITY OF ALBERTA

The Faculty of HomeEconomics at the University ofAlberta is in the fourth yearof operating the TextileConservation Service. The

purpose of the Service is toassist local museums and the

public with the cleaning,repair, mounting, and storageof textiles, whether they behistoric, or ethnographic innature, or contemporary worksof art.

Some of the work

presently being done in thelab includes the cleaning of atheatre costume donation givento the Historic CostumeCollection. This consists of

hats, a variety of clothing,and a parasol c. 1900. Theparasol presents the mostinteresting conservationproblem. Made from a lightweight, plain weave, silkfabric trimmed with a looselywoven silk gauze the objectpresents a challenge due toits poor condition. Some of

the damage contributing to thedeterioration of the silk are:several tears throughout thetextile, some of which havepreviously been repaired

crudely with heavy cottonthread, and gauze which has amajority of its warps andwefts distorted and largeportions missing. The parasolhas heavy soil deposits givingit a dark grey appearancerather than the original off-white colour. Many of thesilk areas which had

previously been attached tothe ribs of the umbrella have

separated. The textile also

had a relatively low pH of4.6, however,f upon completionof the washing procedure thepH level was 6.8.

The conservation

treatment, still in progress,consists of removing thetextile from the skeleton of

the umbrella, leaving only thewooden point attached to thetop of the fabric. Anyattempt made to detach thepoint would have caused thesilk to tear due to its

fragile nature. This pointwas wrapped in mylar andbatting and secured in a clampstand to prevent it frombecoming wet during thewashing procedure. The

Umbrella was soaked in

distilled water after which it

was washed in a 0.02% ShurgainSolution and.rinsed several

times. The textile was still

very grey so the procedure wasrepeated. Eventually themajority of the soil wasremoved. (The reason for the

slow release of soil was the

fact that an oily residue hadthinly coated the silk.) The

textile was then removed from

the wash by its net support,placed on a net rack and driedquickly with fans. Repairsare presently being done bylining the tears with silkcrepeline and couching thesilk in place. The warps and

22

wefts of the gauze are beingrealigned and the holes in thegauze will be replaced with asimilar fabric. After

completion of the repairs andreattachment to the skeleton,long mylar cones will be madeand arranged between the ribsand the fabric to eliminate

any sharp creasing of thesilk. The closed umbrella

will be supported around theoutside with loosely tiedtwill tape, and stored pointdown in an ethafoam stand.

Other treatments that

have and are being worked onare the mounting and repair ofseveral Burmese embroideries

from Mandalay, the mounting ofa painted Indian textile and aGuatemalan textile, and the

cleaning and repair of an1898, bisque and leather doll.The cleaning and repair ofseveral Asia-minor carpets,and the conservation of an

extremely brittle samplerc. 1880 are future projectsawaiting treatment in thelaboratory.

Karen MyrholmFaculty of Home EconomicsUniversity of Alberta

QUEEN' S UNIVERSITYIn recent years, the Art

Conservation Program atQueen's University hasincreased its invol-vement inthe area of textile

conservation. Through acombination of lectures,

workshops and practicallaboratory work, studentsbecome familiar with

techniques as diverse as fibreidentification and patterndrafting in addition tostandard textile conservation

procedures. Projectscompleted during the past yearinclude washing of laces andstain removal, cleaning andapplication of fabric supportsto linen samplers and Orientalembroideries and theconstruction of an Ethafoam

display mount for a 19thcentury military helmet. Inaddition several students had

the privilege of working onlate Victorian and Edwardianwomen's costumes from theQueen's Costume Collection.

Further specialization ispossible within the Program ifstudents select topics fortheir second-year researchprojects which will havedirect application to textileconservation. Some recent

research projects haveaddressed the problems ofstain removal from woollentextiles and the influence ofrelative humidity cycles onbacking fabrics.

Special events this yearincluded a one-week visit byDr. Nancy Kerr from theDepartment of Clothing andTextiles, University ofAlberta. As Scholar-in-

Residence, Dr. Kerr presenteda workshop on theidentification of historictextile fibres to all of thestudents in the Program aswell as a public lectureconcerning her work on theburial textiles fromFranklin's last Arctic

expedition. Later in the

term, Eva Burnham, SeniorConservator of Textiles atCCI, delivered a guest lectureon the topic of the

23

conservation of Lucy MaudeMontgomery's wedding dress anda hand spinning workshop wasconducted by Chris Adams, arecent graduate of theProgram.

Queen's University isfortunate to possess one ofthe most significant costumecollections in Canada.Compiled through the generousdonations of many prominentKingston families, thecollection is a unique recordof fashion and lifestyles in19th century Upper Canada.The Art Conservation Programhas utilized the Costume

Collection as a teachingresource for a number ofyears. It has importance as astudy collection as well asfunctioning as a source ofchallenging textileconservation projects. Future

plans include an increasinginvolvement with the CostumeCollection, particularly inthe area of preventiveconservation.

Krysia SpirydowiczAssistant Professor ofArtifact Conservation

...... 24

ONFERENCE REPORT

Joseph V. Columbus TapestrySymposium

A tapestry symposiumhonoring Joseph V. Columbuswas held at the National

Gallery of Art on October 9and 10 in Washington, D.C.Over 200 persons, conservatorsand curators, attended theseminar. Eight papers werepresented. Abstracts for the

papers were made available toregistrants and a book ofpapers from the seminar is tobe published next year. Three

papers were curatorial incontent: Madame de

Pompadour's GobelinsTapestries (Edith Standen),Charles de La Fosse's Ovid

Fables - a Tapestry SeriesDesigned for the Leyniers-Reydams Workshop in Brussels(Candace Adelson), and Marksand Signatures on AncientFlemish Tapestries - APreliminary MethodologicalEnquiry. I found the last

paper by Isabelle Van Tichelenparticularly interesting.Beginning in 1981 the MuseaKunst en Geschiedenis

undertook a drafting of alexicon of marks, monogramsand signatures related toFlemish tapestries. The goalsof the project were to analyzeexisting archives ontapestries, study theevolution and location ofmarks from different centers

and to interpret the problemsof the marks themselves.

Two conservation paperswere presented: Study andTreatment of Tapestries atInstitut Royal du PatrimoneArtistique and Conservation ofthe Courtiers in a Rose

Garden: a Fifteenth-Century

Tapestry Series. Dr. Liliane

Masschelain-Klerner commented

on the continuing work at thestate laboratory in Brusselson analysis of historicdyestuffs. Their laboratorywet cleans tapestries using asmall amount of non-ionic

detergent and rarely reweaves.Fragile areas are relined withthin linen fabrics which aresecured with silk threads.

When asked privately about thechange in philosophy oftechniques in theirtreatments, from reweaving inthe early 1980's to stitchingat the present time, sheanswered that as their

knowledge of dyeing andtapestry conservation hasincreased, their approach hadchanged. Ms. Nobuko

Kajitani's paper showed howprevious repairs on TheCourtiers in a Rose Garden

tapestry had distorted thetextile. Rationale for dyeingof yarns and partial reweavingwere given. It was veryobvious to the audience that

Ms. Kajitani's knowledge andexperience were importantfactors in the treatmentchosen.

Two papers were generalin nature: Textiles as

Documents of History and ThoseWho Care for Them (KarenFinch) and Curator andConservator: Their

Relationship as Seen by aCurator (Wendy Hefford). Thelatter paper was especiallyinteresting because ofMs. Hefford's knowledge andobvious love for her work. In

light of proposedreorganization at the Victoriaand Albert Museum allconservators should be

concerned that people of Ms.Hefford's experience may

0

U

0r

r-10UZ

0 0

C +

11

become divorced from workingclosely with both thecollections and those who carefor the collections.

In the evening there werereceptions at The TextileMuseum, Anderson House and TheNational Art Gallery. This

gave participants anopportunity to visit with eachother, to discuss mutualconservation problems and tosample marvelous food.

ZS>-

11

25

11

j

Tilpid'Jel-td 3&. Hailte, I idse. 'Ije<r Gobellilr

Although the number ofconservation papers waslimited, the people I talkedwith felt it to be a wellorganized, successful seminar.Elizabeth A. Richards

University of Alberta

Attendance at this symposiumwas made possible throughpartial funding from anIndividual Training Grant fromthe Alberta Museums

Association.

4

U

7

11 t

JJ 261 ELLOWSHIPS

I HTERNSHIPS

CANADIAN CONSERVATIONINSTITUTE FELLOWSHIPS

The Canadian Conservation

Institute (CCI) is pleased toannounce the availability ofConservation Fellowships inFine Arts, Textiles,Archaeology,. Furniture, Worksof Art on Paper andConservation Research.

These fellowships are foran initial period of twelvemonths (April 1, 1990 toMarch 31, 1991), with theoption of renewal for afurther year at the discretionof the Institute. They aredesigned to give furtherpractical experience to therecent graduate of aconservation or conservation

research training programmewith up to three years ofexperience followinggraduation. For the

fellowship in Furniture,consideration will be given toapplicants with equivalentqualifications.

Application forms, aswell as further information

and assistance may be obtainedby contacting:

A. DorningChief

Extension ServicesCanadian Conservation

Institute1030 Innes Road

Ottawa, CanadaKl A OC8

(613) 998-3721FAX/Telecopieur:(613) 998-4721

SMITHSONIAN INSTITUTION

CONSERVATION ANALYTICALLABORATORY

POSTGRADUATE CONSERVATIONINTERNSHIPS

The Conservation

Analytical Laboratory (CAL)and the Office of Fellowshipsand Grants announce theavailability of sixSmithsonian postgraduateconservation internshipsbeginning the fall of 1990.Two internships will be in theconservation specialitylaboratories of CAL. Four

internships will be atSmithsonian conservationlaboratories in other

facilities.

The purpose of theinternship is to provideadvanced training inconservation. Application isopen to recent graduates ofrecognized conservationtraining programs or personswith comparable training andexperience.

For more informationcontact:

Internship SecretaryCAL/MSCSmithsonian Institution

Washington, D.C. 20560

Tel: (301) 238-3700

SMITHSONIAN INSTITUTIONCONSERVATION ANALYTICALLABORATORY CONSERVATIONINTERNSHIPS

The ConservationAnalytical Laboratory (CAL) isoffering third-year, pre-

program, and summerinternships in conservationfor 1990-1991. Postgraduateinternships are described inseparate announcement.

CAL is the Smithsonian'scenter for research and

training in the conservationand technical study of museumobjects and related materials.More than forty specialists inconservation; archaeology; arthistory; organic, inorganic,and analytical chemistry;materials science; andinformation acquisition worktogether in laboratories well-equipped with analyticalinstrumentation.

Prospective applicantsmust first contact the seniorconservators listed below forfurther information on the

possibility of an internshipwithin a particularspeciality. The applicationpackage must include a coverletter specifying theinternship applied for, astatement of expectations forthe internship, and acurriculum vitae includingreferences.

Furniture:

Objects:

Paintings:

Paper:

Paper:

Textiles:

Science:

Donald Williams

(301) 238-3729Carol A. Grissom

(301) 238-3732Roland Cunningham(301) 238-3728Timothy Vitale(301) 238-3725Dianne van der

Reyden(301) 238-3725Mary W. Ballard(301) 238-3792Marion F.

Mecklenburg(301) 238-3722

a

27

Applications should besent to the conservator at the

following address:Conservation AnalyticalLaboratory, MSC, SmithsonianInstitution, Washington, D.C.20560, (FAX: 301/238-3709 or238-3667).

SMITHSONIAN COURSES

COLOR: THEORY AND PRACTICALMEASUREMENT /C009

Color is an importantcomponent of works of art.Twentieth century science hasanalysed not only how the eyeperceives color but also howcolor - absorbed, transmitted,or reflected - can bemeasured. Richard Harold,head of Research and Educationat Hunterlab, will review theeffect of light sources onperceived color, along withcolor differences. Color

evaluation tests for textiles,paper, and paints will beoutlined. Yellowness and

bleaching formulae for colormeasurement will be described.Students will learn aboutvarious visual andinstrumental assessmentmethods and be expected topractice with different colormeasurement devises provided.The application of colormeasurement to art, research,and conservation works will be

outlined briefly by CAL staff.

Who should attend:

Conservators from any fieldinterested in the non-destructive evaluation ofcolor on art work.

Dates: January 9-11, 1990fC009 or

July 17-19, 1990 /C 014

DISPLAY MATERIALS WORKSHOP

/C012

Purpose: To review

appropriate qualitative,analytical tests useful inevaluating the variety ofcomponents used in theconstruction and finishing ofdisplay cases in museums.

This course will be

primarily a workshop forhands-on practice withstandard test methods for case

materials, including paint,wood and fabric. It will be

open to qualified, practisingmuseum conservators on a first

come, first accepted basis.Conservators should have

demonstrable need for such

practical analytical work.Each participant will beresponsible for evaluating avariety of samples which willdemonstrate typical results.

Initial lectures on

methodology and developing anapproach to analysis will begiven. In addition, shorttalks on laboratoryprocedures, dyes, paints,wood, plastics, laboratorysafety and toxicity will beincorporated into the weeklong workshop. In addition,information on sources of data

and previous evaluation ofdifferent materials will be

reviewed.

Dates: March 12-16, 1990

28

DYE WORKSHOP /CO08

Purpose: To build up aset ot dichfomatic andtrichromatic dye swatchrecipes for color matching inthe repair of antiquetextiles.

This course will be

primarily a workshop forhands-on practice with dyeingsmall skeins and swatches on

wool, silk, cotton, andpolyester. It will be open toqualified, practicing textileconservators on a first come,first accepted basis.Conservators should have

demonstrable need for dyeswatch recipe sets. Each

participant will beresponsible for making part ofeach set and the sets will

then be traded, distributed toall.

Some short talks on

dyeing procedures, dyes, colortheory, clean laboratorypractices with dyes, andtoxicity will be incorporatedinto the week long workshop.

Dates: April 3-6, 1990

For further information

on all courses, write to:

Training SecretaryCAL/MSC Smithsonian

Washington, D.Cor call:

Mary Ballard(301-238-3792)

Francine Hall

(301-238-3700).

HE COSTUME AND TEXTILEGALLERY OF THE NEW SAMUELEUROPEAN GALLERIES OPENSOCTOBER 12, 1989, AT TORONTO'SROYAL ONTARIO MUSEUM

Measure for Measure, the firstexhlbltion ln the ROM's new

permanent Costume and TextileGallery, examines traditionalmethods of constructingfashionable European dressfrom the 17th century to thepresent day. The pieces areselected from the 39,000 itemsin the ROM's permanent textilecollection, which is thelargest and most comprehensivein Canada and among the finestin the world. Over 50

costumes and accessories

survey four basic methods ofmaking clothes: draping;straight-cutting; tailoring;and making-to-shape. These

techniques have been used,individually and incombination, to produce thewide range of silhouettes andstyles that make up thehistory of dress.

Outstanding piecesinclude: a 1949 Charles James

"Butterfly" ball gown ofchiffon and tulle; a 1950'shot pink Chanel cocktail suit;a 1982 Alfred Sung coatcommissioned by The Bay; aBent Boys' jacket and dressensemble from their fall 1988-1989 collection; a late 19thCharles Frederick Worth tea

gown; part of a man's 18thcentury woven-to-shape silkjacket with gold and silverthreads; a pair of 17thcentury Elizabethan leathergloves with cuffs heavilyembroidered with metal

threads, beads and seedpearls, and matching purse;and an early 17th century

29

English needle lace cuffshowing Adam and Eve in theGarden of Eden.

The costumes are

juxtaposed to illustrate themany uses and interpretationsof the same technique. For

example, a mid-18th centurysacque dress is compared to amid-1950's evening dress byCastillo for the House ofLanvin. The design focus ofboth is the draped flowingfabric from the centre back,though each is realized in adifferent manner to achieve a

silhouette that is unique toits period. Through thisdevice the visitor isencouraged to compare costumefrom various eras and to makeconnections between seeminglydifferent designs.

"Measure for Measure"survey's mankind's imaginationin creating coverings for thebody over the centuries," saidAlexandra Palmer, theexhibition's curator. "You'll

learn how cloth can be used toachieve all sorts of differentshapes using the fourtechniques that have beenconstantly, yet distinctlyreinterpreted over time".

Most of the costumes willbe mounted on headless formsso you focus on the garment.In a section entitled

"European Dress," fully-costumed mannequins completewith wigs made from whiteribbons are displayed withEuropean furniture to give thewhole ambience of the waythings were really worn.

The new 2,048 square-foot(190-square metre) Costume andTextile Gallery will rotateexhibitions of the ROM's

permanent collections everyfew years. For the

preservation of the delicatetextiles, costumes within eachexhibition will be rotated outperiodically and replaced withsimilar examples.

English sacque dress, 1750-1760

On displcry at the new Costume

and Tertlle Galery, RoyalOnt=no Museum. Toronto,

1 .1

30

EW MUSEUM FOR TEXTILES NOWOPENED IN TORONTO

The Museum for Textiles'

new $8.2 million, 24,000square foot state-of-the-artfacility opened its doors onOctober 1st with shows in five

of its 11 galleries. The

CONTEMPORARY GALLERY is

presenting DIRECTIONS: FROM

HISTORICAL SOURCES featuringthe work of six experimentalartists working in fibremedia, andBASKETRY:INTERPRETATIONS which

explores the boundaries ofcontemporary basket making inCanada. In the ALBERT AND

HILDA ALIMAN GALLERY, anexhibition of antique orientalrugs features rugs originallybought from the S.J AlimanCompany and donated to theMuseum by Toronto collectors.The CANADIAN GALLERY is

showing 19th Century quilts,coverlets and hooked rugs.And in the WEST GALLERY,HEAVEN ON EARTH showcases

antique·tribal weaving fromCentral Asia. Located at 55

Centre Avenue in downtown

Toronto, the Museum forTextiles is open six days aweek. Admission is free but

the Museum depends ondonations and grants for itsoperating budget.

One of seven textile

museums in the world, and the

only museum of its kind inCanada, the new Museum forTextiles houses a collection

of 15,000 items includingpieces from Indonesia, CentralAsia, India, South and CentralAmerica, Canada, China(including Tibet), Africa andeastern Europe.

0

It boasts one

of the largest and mostaccessible collections oftextiles, carpets, garments,tapestries and handmade clothin the world. Furthermore, asa recognized educationalinstitution, the museum willcontinue to conduct courses

and assist students in their

study of textiles and thecultures which created them.

A non-profit educationalinstitution incorporated in1975, The Museum for Textiles

formerly maintained galleriesout of cramped quarters in theBloor and Bathurst area. The

new premises, scheduled to be

totally completed by January1990, will house an extensive

library, auditorium, members'lounge, book store, gift shop,conservation laboratory, twoterraces, offices and meetingspace in addition to theeleven galleries. The

facility features high-techmobile storage, occupancysensor-controlled incandescent

lighting and a specializedenvironmental system designedto protect the fragile cloththat lives in the Museum.

Kalter,J."The Arts and CraftsThames and 11udson.1984

31

The development of thenew Museum for Textiles was

made possible through thecooperative efforts of theCommissioner of Planning andDevelopment, City Hall; FredBraida, Chairman of CarltonInternational Hotel and

Resorts who donated the space,and the Museum's board of

directors. The Ontario

Ministry of Culture andCommunications also made a

significant contributiontowards the completion of themuseum.

Situated on the lowerfive floors of the 25-floor

Chestnut Park Condominium

Complex, and connected by aninterior corridor to the 522-

room Chestnut Park Hotel, TheMuseum for Textiles offers

visitors rare opportunities toexperience the work ofhistoric and contemporarycultures from around the

globe. For more information

call 599-5321.

-2-\ rl'Z01*I': 4;4'J+Y//-1

Se) 1 ld0*iGEST.A.th Q

of Turkestan"

QUERYQuilt Made from UniformFabrics

We have a beautiful

mariner's compass guilt in ourConservation laboratoryawaiting treatment. It is

reportedly made of woollenuniform fabrics from the

Crimean War, and was probablyproduced in England. Ifanyone has information onquilts made from uniforms oruniform fabrics we would

appreciate hearing from you.

Elizabeth Richards

Karen Myrholm301 Printing Services BuildingUniversity of Alberta,Edmonton Alberta, CanadaT66 2 Nl

EW PRODUCTS

'Au Ver A Soie'

Hand Creams for Textile

Conservators

The "AU VER A SOIE" hand

cream, made in France,undertaken by professionals in-the silk business. It is

particularly effective inpreventing yarns from stickingto fingers. It is especiallyrecommended for use in textile

plants, but it is generallyrecommended for all needlework

such as embroidery, handknitting or sewing. It isgreaseless, unscented, quickdisappearing cream designedfor silk-workers - it does not

grease spot.

32

Available from: Needle

Arts, Attention: Barbara

Christie, Heritage Plaza,1007-11th Avenue S.W.,

Calgary, Alberta T2R 061

The price for a 60 gramtube is $19.50.

The other cream is "Acid

Mantle" which is similar to"AU VER A SOIE" and is

available from a pharmacist.It is almost as good and about$10-12 a tube. It is

unscented and feels just asnice to use.

XHIBITIONS

"Amish Quilts from theCollectlon ot the Museum of

American Folk Art"

Allentown Art Museum,Allentown, Pennsylvania untilDecember 31, 1989

"Textile Arts of the Caucasus"

until february 25, 1980

"Molas of the Cuna Indians"

The Textlle Museum,

Washington, D.C. until January21, 1990

"The Opulent Era: Fashions ofWorth, Doucet and Plngart"Brooklyn Museum, Brooklyn,N.Y. until February 26, 1990

"The Age of Napoleon: Costumefrom Revolution to Emplre"Metropolltan Museum of Art,Costume Institute, New York,N.Y. opens December 13, 1989

The Textile Conservation

Newsletter is published twicea year in the spring and fall.A two year subscription is:North America $26.00 CdnOutside North America

$36.00 Cdn

Back issues of Textile

Conservation Newsletter and

SupplementariesNorth America $3.50 CdnOutside North America

$5.00 Cdn

Manequin Supplement $7.00 Cdnpostage and handling,included.

We welcome submissions

on:

Textile Conservation

HistoryTechnologyAnalysis

and information on upcomingcourses, conferences andexhibitions.

Submissions, address changesand correspondence should beaddressed to:

33

Textile Conservation NewsletterP.O. Box 4811, Station E

Ottawa, OntarioCanada Kl S 5 Jl

EditorsEva BurnhamRuth Mills

SubscriptionsEva Burnham

Treasurer

Ruth Mills

DISCLAIMER

Articles in the TextileConservation Newsletter 'arenot intended as completetreatments of the subjects butrather notes published for thepurpose of general interest.

Affiliation with the

Textile Conservation

Newsletter does not implyprofessional endorsement.

Deadlines for 1990 are:31 March

30 September

TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION

SURNAME, GIVEN NAME:

MAILING ADDRESS:

SUBSCRIPTION YEARS 89/90INSTITUTIONAL SUBSCRIPTION

BACK ISSUES (Please Specify)

Please make cheque, money order or bank draft payable to:"Textile Conservation Newsletter". Mail -to TCN, P.O. Box4811, Station E, Ottawa, Ontario,' Canada KlS 5J1.

TCNTEXTILE

CONSERVATIONNEWSLETTER

INDEX 1-15, 1981-1988

This inder covers the first 15 issues of the TEXTILE

CONSERVATION NEWSLEITER, from September 1981 toFall 1988.It is organized into two sections-Subject and Author.

In determining the categories for the Subject Indel, the editorsrelied entirely on the contents of the newsletter to dictate Utetopic headings Because Ihc publicadoo 8 a neIciter andmany of [he submissions are 'newse,, it is not possible tocross reference all entries to specific topics. All entries arehowever, listed under the institution and author (if known).Titles of articles arc not generally indexed but certaincreptions occur. 0* submissions that contain technicalinformation are cross referenced. ne mere mention that an

artifact has been treated 13 not sumcient to list the artifact ortreatment of the artifact. The Author Index lists both authorand amliated institution.

A

Abegg-Stiftung: 13:21Adhesives: 22; 4:El; 5:34; 7:16; 11:12-13; 12:23-24;

13:17-19

•An Adhesive Testing Program Updated11:12-13

.Annotated Bibliography on the Use ofAdhesives Used in Tertile

Conservation": Supplementary1987

Actyloid FlO: 4.9P.VA: 12:12

removal: 12:7

starch paste: 12:21Adolph S. Cavnlln- 14:3

Analysis

"Analysis of 'Host' Rug DrycleaningProduct•: 122+25

•Study of Volatile F.mkxions from Displayand Storage Materials": 1223-24

mineral weighting of flags: 12:22-23Neutron Activated Analya (NAA): 14:33

Anderson House Museum: 14:13-14

Archaeological Sites:Hesquiat Burial Site 8:8; 9.1Red Bay: 4:3-7; 11:10-11Spitsbergen: 9.1Sugar Inaf Burial Site &12

The format for each entry is issue number, followed by a colonand page numbers. Consecutive pages are separated by ahyphen, non-consecuuve pages by a comma- entries by asemicolon.

In order to simplify the entries in the indcx„ a numberingsystem was devised ror all the existing issues and will becontinued with 811 subsequent issua The following tablecorrelates cover date and issue number

No. IllNo. 121No. [ 3]No. 1 41No. 1 51

No. [ 61No. 171No. [ 81

September 1981February 1982September 1982February 1983October 1983

March 1984

Fall 1984

Spring 1985

Beginning with the Spring1989 each issue is numbered

consecutively.

SUBJECr INDEX

Svalbard: 9.1

NO. [ 91

NO. [10'No. [ll]No. 1121No. [13]Na [14]No. [15]

Artifact, Archaeological:Bamberg Cathedral: 15:4-7Basque clothing: 8:17-19, 11:1041

Artifact, Naiive 6:3

'Chilkat Blankets". 6.3; 7:2"Micmac Chiefs Costume": 6:54

"Micmac Cradle": 6:6

cedar bark mal: 127

Chilkal Tunic 14:19-21

Cowichan indian Knitting: 13:28Dance Screen: 5:2-3; 6:2

Malecite Chiefs costume 8:15-16Micmac cradle 6:6

O'Halloran: 6:5-6

smoking cap: 6:3Tsimshian hnt: 13:5

B

Bannem

distortion: 7:17

painted: 7:15-19Ban Shoe Museum:

-Support Padding of Textile Shoes:14:15-17

Bicaching 4:11

Fall

SpringFall

SpringFall

SpringFall

1985

1986

1986

1987

1987

1988

1988

Bleeding; 11:6haloes: 11:6

British Columbia Fabricare Institute 9.5

British Columbia Provincial Museum (see also:

Royal British Columbia

Museum): 22,11-12; 3.2-3.8-11;

4.1 5:2-3; 6:24,11.15; 7.1.2,20-

24;8:7425-27; *24; lj.1-3,14;

11:1, 125-6,24.25,2647

C

Canadian Conservation Institute

Anhaeologf 4:2-7; 7:11-14; 8:17-21;11:10-11; 13:20

Conservation Processes Research: 3:5;leo-31

Environmental & Deterioration Research:

9.24-25; 11:12-13

Ethnology: 121143; 13:5-11; 14:74Tatiler 4:7-9,22; 5:3-5,14; 6:44,10,17;

7:9-11; 8:1446,23-24; *24;1.23-27; 11:7-%129-11; 13:20-

22; 14.5-7»31; 15:23-24

Works on Paper 11:9-10Canadian Heritage Information Network (CHIN):

13:13; 14:30

Canadian Museum of Civilization (see also: NationalMuseum of Man): 10.28-29,11:13-14; 1214-20, 14:18-23;15:25

"Chilkal Tunic": 14:19-21

Tiorama Ballroom Scene": 11:13-14

Mannequins for the ROM Costume

Galle,y: Supplcmenta,y 1988Canadian Parks Service (sce also: Parks Canada):

14:24-30„39, 15:16-17

Canadian War Museum: 9.22-23; 14:23-24Centre de Conservation du Quebec 1:1; 2:2; 3:3;

4:9-15; 5:5-78-1 6:64; 7:15-

18; 9:25-27.38; 15:7-9

Cleaning (sce aiso: Treatment)analysis of dry cleaning product: 12:24-25bcaded dress: 6:4·5; 13:14

detergents: 1:% 28-9dry-cleaning: 4:74938; 10.1-3,20, 14:22-23mechanical: 11:11

preliminary: 4:4.5solvent: 9.3; 15:12-14

steam. 9.25-27

washing of beaded dren 6:4-5

wet, in fleld lab: 4:4-5; 11:10wet: 4.11; 9.27; 10.20-21

Collection:

catalogue records: 9.9documentation: 4:6; 14:11

inspections: 14:34

poli(¥ 3:3registration: 3:3

survey: 14:14Conferences, Courses, Lictures, Tours, Workshops

213-14; 3:17-18; 4:19-21; 5:12-13; 6:16-17,7:31,32.34; 8:27-28;9:32-33,30. 1033-35,38; 11:21-

22; 1229-32; 13:22.24; 14:43-

44; 15:34-38

repons: 212-13; 3:18-1 5:2,13-14; 6:6,17;7:231-435; 8:n-27;9.28-31;11:17-20; 1225* 13:16-22;14:36-3 15:26-31

uips: 117-18; 11:7- 15:21-22Conservation Bibliographic Database (BCIN): 14:30Conservation information Network (CIN): 14:30Conser,ation Materials Database (MCIN): 14:30-31Conservation Product/Supplier Database (ACIN):

14:31

Conservation:

documeniation: 4:6

ethics: 5:2; 7:1; 8:25-27; *1; 11:4

policy: 3:3Costume (sce also: Uniform and Treatment): 8:22

18th Century dress 129-10

Basque 16[h Century 11:10-11beaded flapper dress: 6:4-5dry-cleaning: 4:7girl's 18,11 Ccntury dress: 11:6-7girl'& 1820's dress: 5:4gtass beads: 4.22; 6:5hal: 15:16-17

Kaftan. 1223

Man's 18[h Century Chintz Coat: 4:7Mexican dance costume 12:20

Costume Society of Ontario: 10.29-30, 1228-29,13:19-20

D

Degradation:

plastics: 14:34silk: 14:31-34

Disaster (sce also: Emergency):"Report on: Disaster Planning for

Museums, Galleries and

Archives": 7:35

-Treatment of Teailes from Museum

Disastern 5:4-5

Display (scc also: Mounting, Mannequina): 9:13-14;12:23-24

"A Special Frame for a Special -rapisCrochett• (hooked rug): 5:5-6

"Improvements on the Construction of aProtective Plexiglas Case for an18th C Embroideir: 5:6-7

costumes: 7:3-5; 9:13-14;

14:9-13,19-20,24-28

display units: 9.9.10exhibit mount. oversized flat: 8:9-11;

15:20-21

exhibition techniques: 13.1,21-2123-25frame, small textiles: 24hals: 126

interactive 11.4-5

small artifacti 8:9

soap: 116travelling: 10:23-23; 123-6volatile emissioni from materials: 1223-

24

wigE 14:10Doll:

treatment. 7:1

Dugald Costume Museum: 119, 13:1-4

Dyes

"Dyeing Paper Pulp for L.£af Casting withSolophemi Dycs•: 11:9-10

Textile Dyeing Pr¥-lures": 4:10analysis: 2:10Bayer. 5:8CLBA-GEIGY: 4: 11:9

classification: 6.8

colour catalogue, Sandoz 4:10colour matching 5:4course: 41,10

equipment:launder-ometer: 6:10,1).26-27;11:10

polymat 15.7polycolour: 15:7

fabrics pre-scourcd: 4:10fugitive 5:4identification: 9:30-31

trongalk 4:7recipes, classification: 6:8Sandor 4:10

synthetic 13:20-21

E

Emergency (uc also: Disaster): 5:4-5damage, water: 5:4mildew: 5:4

mold growth, treatment or: 6:74smoke: 5:4-5

scot 5.4-5

Environmental Survey. 14.3Equipment 26-7,10

"A Small Vacuum System for theConservation Lab.: 6:34

adjustable ha[ block 13:.5-7; 14:.7-8colorimeter: 11:16; 15:7-8

continual waterflow bath: 8:19-20

dyeing machines: 15:7high-capacily humidifien 11:15humidifier, ultrasonic. 127

installation: 1:1; 4:9laboratory [acilities: 4:2,9-10, 1214launder-ometer: 6:10, 10.26-27; 11:10

lighting; 10.32leaf casting: 11:9microscope: 6:10-11photographic print wnshen: 4:5; 8:19-20portable Trisimulus Colorimeter: 11:16Scanning Electron Microscope 14:32Scott tester: 14:32

sink. stainless steel, converlable: 127sink, washing 4:2,9-10steam cleaning: 13:15sled washing table: 11:15slminer, aluminum: 4:12-13

strainer, flaible 4:11-12

tables: 3:14-15; 4:% 15:20Ultraviolet Colorimeter. 14:32

vacuum system: 7:16washing tanks: 4:2worm tables: 3:14-15

Evaluation Survey: 11:1Exhibition (sec also: Display):

'Garment Bags for Travelling Artifacts':8:11-13

case design: 4:13-16frame: 5.5-6

mount: 15:20-21

travelling: 125Exhibitioni 1:7-8; 214, 119, 4:17,11,13,16,21; 5:14;

- 6:9-10,17-18;7:8-9,15»37;8:9-17,2229,32-33; *34-37; 119/1-2237;11:23;1236;13:27;14:40-43

"Vatican Splendour Exhibition•: 10:23-25

13

Fibre Identification: 3:12; 8:18,25-27

Flagi 8:74; 9.25-27; 11:16; 13:16wool hunting: 11:16

Freeze Dging: 4:6; 9.1-2Fumigaiion (sce Pests)

G

Galleria del Cosiume (see: Palano Pim)Getty Conservation Institute 14:30

Glenbow Museum: 1:1; 23; 3:3; 4:16-17; 5:7-856:8-9;7:6; 8:9-13' %17-18: IC.17-1*11:44; 127-9

H

Harpers Feny. 11.17-18Health and Safety: 1:2; 2:10, 418; 6:7-8; 7:28-2%

8:31; 9:38; 13.21

'Armenic Found in Historic Textiles•:

14:44-45

"Fumigation at the British ColumbiaProvincial Museum": 6:11-15

"Lad Poisoning in an Art Conservatot3:15-16

ancnic 14:20,33,39,4445cellulose nitrate 14:34

DDT: 14:39

dye hazard warning: 7:28-29, 8:31physical conditions: 14:23

publications: 1.2; 4:18; 7:28Vapona: 13:14ventilalion: 4:9

I

ICOM:

textile group: 7:2Insects (see Pests)Institulo Cenuale Del Res[auro, Rome 11:74International Council of Museum (see ICOM)international institute for Conservation: 12:27-28; 13:7-12Internships: 1:1; 5:13; 6:6; 1235; 13:14Isabella Gardner Museum: 14:14

K

Kyoto Costume Institute 14:9

L

Laboratory: 4:2; 1414set-up on Bite 14:14

Lace 4:11

Lala, Synthetic 12:22Lcuer to Editorn: 8:1; 9.1-2; 13.1-3; 121

Light: 3:13; 14:4Lightfastnesx 11:9

M

Mannequins: 212-13; 5:7;· 8:9, 11:15-16;

14.9-10,23.24-30

"An Experimental Mannequin for the

Display of Heavy Garments:7:3-5

"BodyBuildint 3.8-11"Mannequins for the ROM Costume

Gallerr: Supplementary 19882-dimensional: 11:4-5,16

arms: 1214-16; 14:24-25articulated: 1214-19

childrens: 6:9

disk: 916,31dressmaker's: 14:28-30

ethafoam disc 11:14' 14:24-28

form for Militafy Coal: 11:15-16headforms: 12:16-19, 14:24-26

Pharaoh Industries: 11:14

pleglas base: 14:26-27stockinette: 5:7

Wacoat 11:14' 14:.9,10

wigs: 14:10Manufactures Nationates des Gobelins ct de

Beauvais, Paris: 6:6-7

McCord Museum: 8.22

Media Burial Cloths: 11:9

Metropolitan Museum of Art: 14:9Mounting (see also: Display; Storage Teaile,

Mounting): 3:734imensional: 8:21; 14:8acid free: 9-26-27

archaeological textiles: 7:6,11-14; 8:21beaded dress: 6,4-5

embroidery: 23,4; 5.6-7; 8:2·3

flat for display: 116,23; 14:3-6hat: 127

hat block: 13.5

heavy textiles: 6:9honeycomb panels: 14:6interior for display: 14:20padded free mount: 4:6; 8:21quillwork: 4.16-17

study mount 4:6-7shoes: 12:1142,12-13

tapia crochete (hooked rug): 5:54tatiles. small: 4:6-7

Munsell Book of Colour. 6:8

Museum of Fashion, Florence (see: Palazzo Pitti)Museum for Textiles: 9.19-20, 15:2-3Museum:

philosophy *19-20

N

National Galleny of Art: 14:14National Maritime Museum: 7:19

National Museum of Man (sce also Canadian Museum ofCivilization): 3:4; 7:26-27,922,23New Brunswick Museum: 14:5

Organization. Professional: 5:10

P

Palazzo Pitti, Galleria del Costume, Florence: 8:33;

11:7,8- 14:9-13

Parks Canada (see also: Canadian Par# Service):1:1; 8:5; 11:15-16: 12:21

Penuvian Textiles (see Tertilet, Archaeological: pre-Columbian)

Pens: 9.24-25; 15:26-29

fumigation, e:hytene mide 15:10-11fumigation: 3:5; 6:11·15insect damage 4:7

insect, sticky traps: 14:4insects: 23

microwave: 6.11-15

moth: 13:13

moth, frrnigg; 15:18-19moih, insecticide 15:18-19

non-chemical: 9.24-25

Vapona, Dichlonos' 11:2; 1314Photography: 4:.8

infra-red: 4:8

overa#/d textiles: 9:28

ultra violet: 4:8X-Radiography: 9.1

Policy:collection: 3:3

conservalion: 3:3

Prairie Costume Socicty: 1019Problems, Questions, information: 1:8-9, 215; 4:22;

619, 7:9-11,19, 9.20-21; 1222

Professional Development:

"Cultural Exchange 10 taly' 11:7-9exchange 6:6-7; 1211

trnining; 11:8Provincial Museum of Alberta: 6:9-10, 8:4; 10:4-13,21-22;15:10- 11,21-23New publications and book reviews: 1:7; 210-11,13;

3:1&17; 4:18-1% 5:10-124

6:15-16 7:29-30, &33; 9.4

10.32; 11:17,20-21 1227,28,35-36; 13:n; 14:4547; 15:32-34

reviews: 211-12; 5:12; 10.30-32; 1235;13:25-26

R

Red Bar.

16th Century clothing: 8:17-19, 11:10-11tetile discovery: 4:2.5

Reproduction:

Reproduction of an 18:h C MateciteCostume": 14:5-7

damask: 5:3-4

do[13: 7:7

drr...1- 7:7

rigging; 7.19usc of: 14:12

Research: 923; 11:7

Backing Research Projed: 7:9-11Doukhobor Textile Research: 7.7-8

"Environmental and Deterioration

Research": 9.24-25

backing of silk tatilei 7:9-11C-14 dating: 11:17[ibre resource centre: 8:14

graduate. 6:10Indian Thde Blanket *20-21

Indienne printed tatiles: 12:2-5parabolic reflector screen: 11:17Stella Blum Research Grant: 14:31

synthetic [atex. removal: 12:22ptighted sillos: 14:31-34

Royal British Columbia Museum (ze also: BritishColumbia Provincial Museum):13:13; 15:18-19

Royal Ontario Museum: 23; 3:4; 4:17; 11:6.7, 14:35Conservation: 8:5; 9:20-21; 10:22-23;

11:6-7

Tertiles: 7:7-8; 13:12; Supplementary 1988

S

Samurai, Japanese Annour. 7'.3-5Services:

pmfional: 1:46; 2:1 3:15; 6:11; 7:28Silk:

Save the Silbl Protection for WeightedSilb" 14:31-34

shattered: 7:19

weighted: 1222-23Smithsonian Institute

Conservation Analytical Laboratory: 9.27-28; 1116-17; 12:22-23; 14:30

Soil Historical Evidence: 9:6

Spotters: 9.6Stabilization: 9:23

Stitching: 6:6symposium: 14:36-38

Storage (sce also: Mounting): 1:2; 5:74; 11:5"Rolling Pallet For Storage Cabinet•:

7:26.27

cabinet, paint: 12:8

compact: 33containers: 13.7-12

costume 9:12-13; 128

ecziumes, ovenized: 9.12-13frozen: 4:5

fur, mounts for. 4:16fur: 15:10-11

grid system: 7:6hanging: 91243hats: 10:4-7,8-13; 11:2·3; 15:1647

headdres: 416

mats, cedar: 15:12-15

mounts accessible. 4:16; 14:6ornaments: 15:22-23

screening trays: 9.9shelving: 9-9shoes: 1211-124 14:15-17

textiles: 7:6

visible 3:5; 9.9-10,13.:2volatile emissions: 12:23-24

Supplies: 1:24; 6.10-11; 2:3,6-10; 3.13-15; 5:8-107.24-25; 8:34; *39, 10.32,36;

14:12-13,17; 15:34"Acid Free, Deacidincalion, Alkallne

Reserve - What'Do' We Mean":7:20-24

"Mannequirs for the ROM CostumeGallerf: Supplementary 1988

acid free product3: 14:17acidity: 7:2044; 8:1adhesives' 7:24; 14:28colorimeter: 11:16

complal: 13:10

costume patterns: 10:36

detergena 28-9

fabrics, pre-scoured: 4:10nuorecent, lights Vita·lite 3:13-14'Foam-cor': 3:8

Munsell Book or Color. 6:8

Orvus: 1:2-3.4:8

Passcpoil: 4:8; 14:6

pest control: 15:26.28plcnglas: 14:28polyester fibrerll: 14:17potyethylene 14:17polyvinyl acctate Morel cement: 14:13Reemay spun polyester. 6:11Spenoo: 14:30Stabiltec 7:25

surgical couon knit: 5:7Testfabrics: 7:24-25

vacuum twtezer. 2:10, 7.16,24

Swiss National Museum: 4:9

T

Tapestry"Diana". 14:13-14

Bernhard Van Oricy. 4:8; 15:23-24Bisham Abbey. 4:8; 15:23·24

Tarnish: 7:16-18

silver thread: 14: 16

Textile Conservation Centre. Hampton Court: 3:6-7Textile Museum: 8:29, 15:2.3

Tatile. Archaeological: 3:6.7; 4:2-5; 7:11-14; 9:26;12:22; 15:4·7

Bamberg Cathedral: 15:4-7pre-Columbian: 1:2; 3:6-7; 7:6; 9:11-12

storage: 15:4-7treatment 15:4·7

weave analysis: 15:4.7

Tertile, Identification: 3:12

Tertile, Mounting (sce atio: Mounting): 23.4;4:6.7.12-13:3:3:7:11·14:8:941;

12:12·13

samples. embroidery: 8.2-3sandwich: 4:13

storage. display: 6:3: 8:.2-3window mat: 4:6

windows. mounting: 6:3Textile

acidity: alanalysis: 1:2

baaque 4.2-5.5-7binder: 6:2

bleaching- 3:5; 4:11-12

blueing agents 4:11-12ecclesiastical: 5:6-7; 7:15-18; 10.23-25

embroidery. 5:6-7; 6:2; 8:.2-3ethnic 122-23

excavation prry„lures: 4:2-5Fibre Resourse Centre 8:14

*-2-drying; 4:6garment bag* Invelling artifacts: 8:11-13humidification: 3.5

intcrnships: 1.:1North West Coast: 8:25

packing: 4:1647painted: 6:2-3politics: 10.14-16pre-Columbian: 1:2; 7:6; 9.1142printed: 12:2-5removal of adhesive slains: 9:25-27

reproduction: 5:3-4ribbon: 126

treatment (see also: Treatment): 4:12; 6:5

Toy: 12:5-6Treaimeni (see also: Cleaning):

"Harmful Buttons and Buckles": 14:34-35

'Treatmenl of Two Dance Screens: 5:2-3

adhesive. 10.23

archaeologint: 3:6-7, 4:3-7, 8.8,12.17·21;

9:11-124 11:10-11' 15:16-17

backing: 4:7-8; 7:9-11banner: 7:16-17; 1211chilkat tunic 14:19-21

cosmetic 7:15-16

couume 6:4-5; 7:9; 8:5-7,15·16; 11:6-7;1220

decision for type of: 14:19-20differential precrvation: 11:11diornma, Poulin Ballroom Scene: 11:13·

14; 14:18-19doll: 7:.1

dress. cotton: 1028-29

dry-cleaning (SCC also:

Cleaning:dry-cleaning):14:19.22ecclesiastical: 6:74; 7:15-18; 8:5-7

emergency: 5:.4-5flags: 8:74; 9.25-27flame retardant: 12:21

hat: 10.20, 15:16-17lace: 4:11

mata, cedar. 127; 15:12-15

mechanical: 11:11; 14:18

minimal intervention: 9.1-2

mold growth: 6:7-8old repairs: 7:18

plans for. 11:11

preliminary, in the field: 4:2-5quilts: 10:14sequins: 13:14shaving nap: 14:7smoking cap: 6:3stains: 5:5; 9:25-27

tapestry: 4:8; 15:23-24tapia crochetd: 5:5-6teddy bears 125

textile, painted: 5:2-3; 6:11treatment proposal, two part: 4.8

Taimshian Hat: 14:7-8

union ribbon: 12:6

wall covering, damask: 5:34water/damage: 7:15-18

wedding veil: 10.20-21wet-deaning (see also: Cleaning:wer):

4:11,12; 5:5; 7:.1

Trondheim University: 9.1-2

U

Ukranian Museum of Canada: 8.2-3

Uniforms (see also: Costume): 9:22-23"American Officm Coat 1786': 4:7-8

hat: 10:20

lining: 7:19Sir Isaac Brock's Military Coat 7:9

University of Alberta: 6:10, 11:2-3Historic Costume and Textile Study

Collection: 9:15-17

Tertile Analysis Service 9.15; 10.20·21

University or British Columbia Museum of

Anthropologj 1:25 23; 3:4-5;7:33; 9.9-10: 12:7; 15:12-15

A

Alberta Museums RevieR 134-7

Anderson Houx Museum: 7:31-32; 14:13-14

Applebaum, Barbara: 8:lArt Hazards Ne*·sletter: 10.21

B .

Ballard, Ma,y. 3:15-16' 9.27-28; 11:16-17; 12:22-23Bata Shoe Museum: 14:15-17;

Bayerisches L.andesamt (Or Denkmalpflege 15:4-7

Beaudoin-Ross. Jaqueline 8:22Betts. Kathleen: 7:31-32; 14:13-14

Billings, Rebecca: 9:11-12Bilner, Ruth: 1:2

Bodnaryk. Randy. &2-3Boyle, Mark: 1223-24

British Columbia Provincial Museum (sce also:Royal British ColumbiaMuseum): 22,11-12; 3:2-3,8-11;4:2; 5:2-3, 6:2-4,11-15; 7:1-2,20-

24; 8:7-8,25-27; *24; 10.14;

11:1; 125424-28

Bullock, Marjorie 14:14Burgess. Helen: 5.5; 10.30-31

Burnham, Dorothy: 7:74Burnham, Eva: 4:74 5:34,8:24, 10.23-25; 13:21-22;

15:30-31

C

Canadian Conservation institute 1:24; 22,3-4,12-13;

6:44,17; 7:9-14; *24-25; 14:6-

7

Analytical: 5:5Archaeology: 4:2-7; 8.17.21; 7.11.14;

11:10-11

Conservation Processes Research: 4:5; 5:5;10.30-31

Environmental and Deterioration

Research: 4:18. 11:12-13; 1223-24

Ethnology: 6:6; 12:11-13; 115-11; 14:7-8;

15:23-24; 16:3-7

Paper: 11:9-10Taliles: 1:1-3; 23,12-13; 4:7B,22; 5:3-5;

6:44; 7:9-11.24-25; 8:14-16,23-

24, *24-25; 1093-27; 11:7-9,17-

18 12:9-11; 13:21-22; 14:5-7,3

15:22-24»31; 16:22-24,37

Canadian Museum or Civilization (sce also: NationalMuseum or Man):

Conservation: 9:22-23; 10:28-29;

11:13·14,18-19; 12:14-20;

14:18-23; 15:25

History: 7:26-27Canadian Parks Service (ze also: Parks Canada):

14:24-30,3 15:16-17

Canadian War Museum: 14:7-8,23-24

AUTHOR INDEX

Centre de Consczvation du Quebec 1:1.3-7; 22.13; 3:3,13-15;

4:9-1.5; 5:3-10, 6:684 7:15-18,28-8, *25-27.38, 15:7.9Charics, Susan: 13:14

Conservation Analytical Laboratory. 9.27·28Cooper, Pat: 15:12-15

Costume Society of America: 14:31-34Costume Sodely of Ontario: 10:29-30; it:19-20,

1228-2* 13:19-20

Cmwicy, Julie (see abo: Hughes, Julie): 5:.4

D

Daoust. Melissa: 13:15

Dawson, John E- 9.24-23

Detroit Imlitute of the Ans: 22; 3:15-16

Dexter, BarbarE 11:19-20

Donnelly, Jim: 7:26-27Douglat Jane L: 9.30-31Dugald Costume Museum: 11910, 13:14

E

Elherington, Robin' 10.18

F

Feniak. Christine 1:1: &31; 11:15-16; 1221

Florian, Marie.Lou: 7:20-23; 12:24-25Frame, Mary: 3:6-7

G

Galleria del Costume (sce Palazzo Pitti)Glenbow Museum: 23

Conservation: 1:1,24-6; 3:24,4:16-17;

5:7413,6:8 7:6; 8:9-13; *17-18; 10:1-3,17-18; 11:44; 127-9

Ethnology: 10.18Histom 1).18-19,11:6; 12:8

H

Hanington, David: 11:9-10

Henry Art Gallery: 121Her,mann. Hannelore 15:4-7

Hill, Lilian: 10.4-7

Hillman. David: 6:11-15

HoIL Helen: 23-4; 4:225 6:5; 9.28-29

Hood, Adrienne D.: 9:20-21

Horhota-Ritch, Ircnc: 8:2-3Homill, Merritt 14:31-34,4445

Hughes Julie (ace also: Crawley, Julie): 4:9, 5:4;617; 8:22-23; *22,31; 19.28-30,11:13-14,18-29,12:14-20,14:18-23: 15:25

Hutchins. Jane 5:12

Hyatt. Nicole 9.13-14

I

Internationd Center for the Resteuration of Cultural

Property ROM.:

29

International Ins,itute for Conservation,Group: 1212-13

Isabella Gardner Museum: 14:14

1

Johnson, Elizabeth Lominska: 9.9-10

Jongejan, Han: 9.22-23; 1418-23

9:28-

Canadian

K

Kaczkowski, Eva: 6:6

Kennedy, Barbara: 6:34Kerkhoven, Marijke: 10.18-1 12:8Kerr, Nancy 10.1-3; 14:34-35

Keyurlingk, Ela: 4:8-9, 5:14; 7:9-11,25;10:23-25,31-32; 11:17-18; 13:16-ll, 14:30-31; 15:29-30

Krasuski, Izabella: 4:17' 7:7; &5-7; 10:22-23; 11:6-7;13:12; 14:35

L

Lalonger, Louise: 15:7-9Lambert, Anne: 5:11

Little-Ragusich, Sharon: 1:1,3-5; 3:2-3,13-19; 4:9-15;

5:5-7,8-10;6:46-847:1548;*25-2138

Lfgan, Judith: 4:2-5; 8:17-19, 11:10-11

uwengard, Sarah: 14:36-38

M

Maliby, Susan: 1211-13McCord, Museum: 8:22

McDonald, Maureen: 11:12-13McWiliams, Wanda: 127

Meikle, Margaret: 27; 3:4-5; 5:10-11; 11:2-3; 13:28Mills, Ruth: 8:5; 14:28-30,39Mitchell, Frances: 7:3-5

Moquin, Jacinthe Supplementary 1987Morris, Margee 127Morton-Weizman: Sandra: 121-22; 13:27; 14:41Muir, Mrs N.T.: 7:19

Museum for Textiles: 9.19-20, 15:2-3

N

National Maritime Museum, London: 7:19National Muscum of Denmark: 2:8-9

National Museum of Man (sce also: CanadianMuseum of Civilization): 9:22-23,31

History- 3:4; 7:26-27National Park Service

Newton, Charlotte 11:10-11; 13:20

Niinimaa, Gail (see Sundstrom-Niinimaa, Gail)Norton, Rulh: 14:18-23

0

Oak, Arlene 10:8-13

P

Pagan, Michele 15:26-29Paiazzo Pitll: 14:9-13

Palmer, Aleandra: 13:12; Supplementary 1988Parks Caudn (see also: Canadian Parks Service):

Costumes and Tertiles Resource Group:8:5

Textile Conservation. Prairie Region: 1:10[lawa: 11:15-16,1221

Paulocil air 4:74; 5:4-5; 7: 8:14; 11:7-9,129-10, 13:20-21

Peacock, Elizabeth E-: .1-2Peterson, Suzanne 11:2-3

Piechota, Dennis: 8:21

Prairie Costume Society: *18; 10.19Provincial Museum of Alberta:

CAnsermtion: 6:9-1 8:4; 13.4-13,21-22;15:10-11,22-23; Supplementary1987

R

Reeves, Cara: &5-7, 1022-23

Reiner-Moffan, Saundra: 14:15-17Rich-Hohorta, irene 52-3Richarda, Elizabeth: 3:7

Rockliff, Doreen: 10.1-3; 15:21-22

RocID, Mountain Regional Conservation Center. 6:6Roote, Susan: 7:3-5

Rogot, Monona: 7:28-2* 14:4445

Royal British Columbia Museum (sce also: BritishColumbia Provincial Museum):13:13; 15:18-19

Royal Ontario Museum:Conservation: 4:17; 7:7; 8:5-7; 10).22-23;

11:6-7, 14:35

Textile: 7:7-8; 9:20-21; 13:12;Supplementary 1988

S

Saskatche•*Bn Museums Association: 1.2

Schlichting, Cari: 13:7-11Sepl, Martha: 4:3-7; 8:17-21Scranno, Gladys: 15:10-11,22-23

Shaw, Jane (Re also: Sirois. Jane): 5:5Shefrin, Sima Elizabe[h: 9.1243; 10.1,14-16Smithsonian Institution:

Conse:vation Analytical Laboratory9:27-28; 11:16-17; 1222-23

Sourakli, Judy: 121Slager, Joan: 15:12·15Starr, Lorrie: 15:16-17

Sundstrom-Niinimaa, Gail: 1:1: 2:3-7, 3:24; 4:16-17;5:2,74,1,6:8- 7:6; 8:9-13;

*17-18; 10:17-18; 11:4-5; 127:15:20-21

Swiss National Tourist Office 122-5

Sykes. Kimberly: 3:3

T

Tail. Elizabeth: 10.20-21; 11:16

Tatile Conservation Centre, Hampton Court: 3:6-7Tesaile Corucrvation Newsletter Supplementary: 121;

13:12

Thn,ierge, Lucie 11:1546; 1221; 14:24-28Trondheim Unive:lity: *1-2

U

Ukranian Mu,cum of Canada: 8:2-3

Univernity of Alberta: n 6:10; 9.15-17;10.1-3»21; 11:2-3; 1114-15;14:34-35; 13:26

University of British Columbia Museum ofAnthropology: 1:2; 23; 3:4-5;7:3-5; *9-1* 127; 15:12-15

V

Veuilleumier-Kirschbaum, Ruth: 12:2-3Vuort Jan: 44 7:11-14.24.25; 8:15-16,21;

1026·27; 14.5-7

W

Waer"nk„1 Simon: 9.19-20, 15:12-13Waterman-Bulgaretta, Maiy: 11:9; 14:9-13Western Development Museum: 1:2,6White. Philipe 13:5-7; 14:.7-8,23-24Wilson. Colleen: 2:11-12; 3:8-11; 4:2; 5:2-3; 6.2·3;

7:1-123-24; 8.7-8.25-2731; 9-2-8; 10.1-3.14; 11:5-6.25-28; 123·6.26-27; 13:13.25-26; 15:18-19

Winnipeg Art Gallery: 9.30-31

Y

Yardlcy-Jones. Audrey: 15:23·24