Conserving, Installing, De-installing “Monumental” The Confederate Flag of Truce

July 12, 2023 By Julia 4 Comments

“The flag
we should know...”

You have probably seen and used a traditional American dishtowel – off white cotton ‘waffle weave’ with narrow red stripes at the long fringe ends. They are absorbent, durable and humble in appearance.

It was such a towel that General Robert E Lee instructed his staff to hold up as the flag of truce at Appomattox in 1865. This little known actual cloth ‘flag’ is housed at the Smithsonian National Museum of American History, donated by the family of General George A. Custer, who was present at the surrender. And yet, until artist Sonya Clark examined it and then re interpreted it, few knew this history.

Now imagine a traditional dishtowel the size of a room, rooted in American history. This is exactly what artist Sonya Clark imagined and created, but 10 times its original size.

Monumental Cloth: The Flag We Should Know, 2019, is 31 feet long by 15 ½ feet wide, woven in cotton yarn. Part of the Renwick Gallery’s exhibition “This Present Moment: Crafting a Better World” (now closed). It filled a whole gallery with its simplicity of weave and complexity of American history. It is a powerful commentary on America’s legacy of racial violence. Up close, it is a beautiful 3-dimensnional-weave pattern, each square like the center of a flower.

Sonya Clark asks the audience:

What if this flag of truce was the flag we knew, instead of the Confederate battle flag?

What if every time we used our dishtowels this symbol of the end of America’s Civil War,
we were reminded of that staggeringly brutal period, and the legacy of slavery and emancipation.

Preservation and display of such an enormous and stretchy textile takes a large team and a lot of planning. Our work involved carefully unfolding the flag, rolling it on a huge tube to accommodate the vacuuming of the entire surface front and back.

Using laser lights and taut strings, we aligned the cloth, so that the geometric grid of the textile was straight. Fringes were combed and laid out, and errant dust bunnies removed. At the end of the exhibition, we repeated this process over a two-day period.

I want everyone to know what this flag is,
so we can conceive of what truce really means.
—Sonya Clark

Until September 2023, Sonya Clark has an exhibition at Cranbrook Art Museum, “Sonya Clark: We Are Each Other”. https://cranbrookartmuseum.org/exhibition/sonya-clark-we-are-each-other/

https://www.pbs.org/newshour/show/sonya-clark-on-the-confederate-truce-flag-and-creating-a-collective-work-of-healing

photos by Julia Brennan, at Renwick Gallery, Smithsonian Institution

Conflict Textiles Tell Stories of War and Displacement

April 18, 2023 By Julia 3 Comments

Secret War Conflict Textiles Bear Witness, Telling Stories of War & Displacement

There was a time from 1965-1973, when I was a child living in northern Thailand, when 6.7 tons of bombs (including over 270 million cluster bombs) rained down on Laos, a small country not at war….but strategic for the US, during the US Vietnam War, where a Secret War was being waged.

A genre of hand-woven textiles interspersed with imagery of bombs, fighter jets, parachutes, and guns……. a little-known category of ‘conflict textiles’ bears witness, and tells the stories of war and displacement, in intimate personal narratives. They speak of the immediacy of the violence……..The war ‘ended’ 50 years ago, but these voices continue to speak. I honor and preserve these memories.

This Tai Lue blanket, below, from 1970’s is based perhaps on the weaver’s memory of the war. It was likely made for a temple or ceremonial use. The helicopter motifs appear to replace the traditional lion or singha motif, common to these blankets. (Tai Leu blanket, collection and photos Julia M Brennan).

...what appears like a fast swimming fish in the central band is a whizzing bomb.

At first glance the skirt appears traditional in color, form, motif………but it is a schematic of the Secret War. It depicts a mélange of life, good and evil; the necessities and aggressors…….ducks and buffalo mix with machine guns, helicopters and bomber planes…..what appears like a fast swimming fish in the central band is a whizzing bomb.

(1960’s phasin, private collection S. Stem)

And, for more coverage, explore the NBC News article published on April 17, 2023 featuring images from my collection.

Rahim, Saqib. “Textiles Show History of Secret War in Laos and How Women Perceived Conflict.” NBC News. NBC News, April 17, 2023. https://nbcnews.to/3L76AS7.

To learn more about the Secret War and how you can help to clean up the UXO in Laos, visit Legacies of War.

My Very Sentimental Journey: Kentucky Bluegrass & Blue Brocade

March 1, 2023 By Julia 3 Comments

I took a visit to Louisville, Kentucky to see my family, and a new exhibition showcasing a 19th century wedding dress that Caring for Textiles conserved…

“History, like a mighty river, is both constant and changing” and the stories flow forth…

My mother’s family is from Louisville, KY, and I’ve been visiting since I was a wee one. My memories are all sentimental and loving—all about family. My great-grandfather owned the Louisville Paint and Varnish Co, and I am named after my great-grandmother Julia Cahill. But our family didn’t pass along a wedding dress such as this one. So, it was truly an honor to conserve a piece of Kentucky history and see the revived 1857 dress splendidly exhibited at the Filson Historical Society.

That piece of history is the only textile on display—aperfectly fitted on a dress form and silhouetted against a hand-painted historic wallpaper background; it holds a pride of place in the fascinating new exhibition People, Passage, Place: Stories of the Ohio Valley. The monumental hand-painted map of the Ohio River is the backdrop for a range of stories about family, art, craftspeople, indigenous heritage, religion, food and agriculture, water use, music, bourbon…of course. “History, like a mighty river, is both constant and changing,” and the stories flow forth.

The blue and gold silk brocade dress, 1857, was worn by a German immigrant, Wilhelmina Lucia Schuckman, who married a cabinet maker. Wilhelmina was practical and had a fancy dress that she could wear for many special occasions over her lifetime. At 165 years old, the brocade still glimmers in the low light, accented with sassy bright blue tassel fringes. She must have looked radiant.

Caring for Textiles did extensive treatment to stabilize the dress so that it could be displayed 3 dimensionally. The silk was brittle, browned, and split throughout. After a careful wet cleaning and blocking to remove acids and humidify the silks, the splits were stabilized with a combination of fine hand stitching and subtle tulle net overlays. In some areas too fragile to puncture with a needle, a few reversible adhesive-coated silk supports were applied.

Photo courtesy of the Filson Historical Society

I was so grateful to spend time with the Filson’s Curator Maureen Lane and Assistant Curator and Exhibition Preparator Brooks Vessels. And to share my work with some of my extended family before the dress was placed on the mannequin.

Not a textile, but a most exuberant painting, is Laundry Day – showing quilts out drying while women stir the pot of washing, draw the water, and tend to the farm work. Painted by Helen LaFrance (1919-2020) of Graves County, KY, she mixed her paints from plants, berries, and Bluette laundry detergent.

No matter where we lived around the world, my mother’s KY crockery went with us—tea was always savored from a mug with a thoroughbred image on the outside and ‘whoa’ when you got to the last drop at the bottom. The Filson exhibit honors M.A. Hadley, who began her pottery works in 1945 with some iconic pieces.

If you happen to be in Louisville, check out the Filson Historical Society.
They have marvelous public programs.

Our Threads and Needles, Scissors and Pins, Stitched and Snipped Through A Brilliant Year of Textile Conservation and Restoration

January 9, 2023 By Julia 6 Comments

2022 is a Wrap. Here’s to 2023, and to you—
our wonderful textilian friends!

2022 was peppered with covid, but in between we conserved, surveyed, examined, dressed, and prepped over 200 textiles thanks to our dynamic team of Julia, Kaitlyn, Katherine, Emilee, and Peyton. 3 wedding veils, 12 samplers, 2 Folk Art dolls from the 1960s, 3 christening dresses, 2 kimono, 2 Chinese temple banners, 3 Medieval fragments, 80+ quilts, 40 Dior dresses, 5 political pennants, an Asafo flag, and a Steelers banner!

Here are some of our highlights from 2022

How about starting the year with the SHROUD OF TURIN? Exquisitely woven and imprinted facsimiles for an exhibition at the Museum of the Bible took 3 of us to press out creases. We had to keep checking our emotional reactions to these ‘powerful’ copies.

And then a Jolly Roger Pirate flag – shiver me timbers!

1968 Poor People’s Campaign Pennant, salvaged after the rally, now conserved and mounted.

Justice Brandeis Robe, circa 1930, which arrived in the studio the day after the Supreme Court Roe v Wade “memo leak.” What an honor to preserve this piece of American jurisprudence.

Some of our favorite quilts were these three, made by our client’s great-grandmother.

Quilts inside of quilts, fabrics from 1900 to 1960s, embedded with secrets and stories and so much love.

Spring Blossomed as we worked on the Hillwood Grace Kelly Dior exhibit.

Re-dressing the dancing dollies of Possum Trot for Smithsonian American Art Museum with Leah Bright.

Speaking of the stories woven into textiles, these three large Guatemalan embroideries are from a dynamic cooperative called Multicolores. We prepared them for display in the US Embassy in Guatemala City. (See more of the collections at Amy Kaslow Gallery)

These rare and exquisite silk brocade temple banners 18th c were extensively treated by Peyton during her summer internship.

Installing the tour de force 30′ x 18′ MONUMENTAL by Sonya Clarke, at the Renwick Gallery

Kaitlyn visited the MET to see the Fannie Criss dresses she conserved, in the exhibit In America: An Anthology of Fashion.

A chance to examine and document the most stunning collection of Amish quilts, ever.

This reminds us why we really love our work…because we get to pause, look deeply, hold and touch, repair, and care for such extraordinary pieces of textile art conveyed through the ages from those hands to our hands.

The Fantasy Doll Show and Possum Trot

November 17, 2022 By Julia Leave a Comment

Caring For Textiles finds the delicate balance between original work and restoration

In 1977, filmmakers Allie Light and Irving Saraf released the documentary Possum Trot: The Life and Work of Calvin Black with a grant from the National Endowment for the Arts. It’s a treasure and a treat; take a few minutes and watch it. In it, you’ll see the fantastic, obsessive, tenderly-animated, and articulated creations that Calvin Black made and his wife Ruby Black dressed and accessorized. You’ll understand quickly why Caring For Textiles was thrilled and honored to have the chance to preserve and restore several of those works of art.

Our colleague, Leah Bright, wrote about our project, and we are pleased to share it with you here.

Julia and Kaitlyn re-dressing Gladys. Photo by Leah Bright

Gladys’s blouse during treatment. Photo by Caring for Textiles.

The Possum Trot Midget Doll Theatre, ca. 1950-1972. Wood, wood paneling, laminated Masonite, nails, bolts, paint, electrical components, and carved and painted wooden dolls, via The Michael and Julie Hall Collection of American Folk Art. Image courtesy of flashbak.com

This was a wondrous conservation project that took us deep into folk art, visionary art, intuitive art, The Fantasy Doll Show, and the world of Calvin and Ruby Black. And, as a bonus, we also traveled through desert life in the 1950s and ’60s.

Most of our conservation treatments require us to leave holes and damage as-is—badges of wear and tear and history, bearing witness to the passage of time. In this project, however, we shaped our treatment to honor the original vision and aim for the beauty of Calvin Black’s vision. To be sure, we honored the trajectory of time from conception through neglect and exposed rough times to the present day. We ensured that these works of art authentically show their wear, yet made them whole, stabilized, enlivened, and aesthetically beautiful.

We think Calvin and Ruby would be singing along.

Read the blog about our restoration at the Smithsonian American Art Museum. The museum itself is open daily, 11:30 a.m.–7 p.m at 8th and G Streets, NW Washington, DC 20004.

Sparkling Smart Smithies Share Textiles Studio Time

October 17, 2022 By Julia 1 Comment

By Julia M. Brennan

We always look forward to the annual fall studio visit of the Smith College Museum Studies students, and this year was a dynamic group!

Group photo of Smith College Museum Studies students in studio

Our hope is to inspire the next generation by sharing our conservation hand work and enthusiasm for cultural heritage.
—caring for textiles, october 2022

Every fall, a group of Smith undergraduate students spend a semester in Washington DC doing internships at various departments of the Smithsonian Institution. Broad interests and diverse areas of study were reflected through their curiosity, keen observations and provocative questions. Discussions touched on repatriation, re-defining and interpreting American history through material culture, people vs object based conservation, analysis of fabrics and clothing structure, the surge of protest textiles, the ethics of public wearing items of historic clothing…for example the recent Met Museum Gala, how textiles as a second skin carry intimate stories…and more.

Their focus is primarily American history, and it just so happened that the textiles we laid out to discuss were all “American stories.”

The National Negro Opera Company, founded by Mary Cardwell Dawson, drew us into discussions about costume, the efforts to fundraise and preserve the Mystery Mansion home of the opera in Pittsburgh, and the need for rural preservation projects—a dedicated community conservation corps—across America.

On our studio table, above, and details, below: carefully preserved costumes from the first African American opera company in the USA, 1941-1962.

Marjorie Merriweather Post’s flapper era claret-colored velvet party dress (below) introduced the group to the Post legacy including the invention of the Postum drink and Grape Nuts, the Hillwood Estate and Museum’s Russian and French decorative arts and Faberge collections, and of course her famous home ‘Mar a Lago’.

General John Hartwell Cocke’s (1780–1866) wool military jacket (below), shiny gold bouillon epaulettes and beaver bicorne – worn during the War of 1812 and pictured in the famous 1859 portrait of him painted by Edward Troye. The Smith visitors wanted to probe what aspects of this man’s life are we learning about and does some of his history affect/shape our conservation work? Can or should conservation be “neutral?” A farmer, slave owner, amateur architect, author, friend of Thomas Jefferson, military officer, leader of the Temperance movement, ‘reformer’ and purportedly anti-slavery but a chief organizer of the rather unpopular colonization project to repatriate formerly enslaved people to Liberia…all of these complex personal story lines and American history embedded in his 200 year old uniform…

Contemporaneous with Cocke’s uniform is a magnificent shadow log cabin pattern crazy quilt (below) executed in tiny ¾” strips of silk and velvet, is a mastery of light, shade, and technical stitching. Hard to imagine the 1850’s woman who labored on this exquisite show quilt. How was it stitched, the cloth obtained, or used in the household? What conservation principles guide the methods for stabilization and then framing?

A tender little 1803 American sampler embroidery stimulated conversations about authorship, and the rarity of ‘signed’ textile artworks, how young women were ‘schooled’ this detailed craft.

The right to privacy laws, Roe v Wade, women’s health, social movements in the US today unraveled through the examination of Supreme Court Justice Brandeis’s black silk gown (below). Perceived not just as a somber dark robe, the influence of this man’s decisions was palpable in his garment and among our visitors.

As a product of single sex schooling (Miss Porters School and Barnard College) and an advocate for women’s education, I recognized myself in these students. It was not only personally gratifying to recognize myself in these students, but also an honor to host the Smith students. Our hope is to inspire the next generation by sharing our conservation hand work and enthusiasm for cultural heritage.

Thank you to professor Dr Anne Nellis Richter, who makes Caring for Textiles an annual pilgrimage.

Learn more about the museums concentration program at Smith.

Preserving The Clothing of Diplomacy

August 25, 2022 By Julia 4 Comments

Celebrating French/American Relations Through These and Other Objects in the U.S. Ambassador’s residence in the Hôtel Rothschild

Collaborative blog by Elizabeth Wise, Kaitlyn Munro, Katherine Hill McIntyre, Julia Brennan
All images are courtesy of Caring for Textiles unless otherwise noted.

interior shot of Hôtel Rothschild — Photos by E. Wise

The Lights that Guide Us: A Celebration of Hôtel Rothschild et son
Jardin Pontalba & the Franco-American Legacy
An exhibition celebrating 50 years of U.S. Ambassadors’ residence in the Hôtel Rothschild, as the house is known today.
The exhibit is open June 10, 2022–October 1, 2022

On a site chosen originally by the Chancellor to King Louis XIV, the 1842 residence was built by the Baroness de Pontalba of New Orleans. Minutes from the Louvre and just yards from the presidential Elysée Palace, the house’s gorgeous gardens are a park in the center of Paris.

After the Baroness’s death, it was bought by Baron Edmond de Rothschild of the banking family. The family was forced to flee to Switzerland during World War II, and the US Government purchased the building in 1948, becoming the residence of the American Ambassador in 1972. With considerable help from the Rothschild family, the residence has regained the splendor of that era.

The show celebrates that era and French American relations through a mixture of historical and contemporary objects, including the clothing of diplomacy. Among the items on display are the World War II uniform of a Monuments Man, representing the Allied effort to recover works of art looted by Nazi Germany. The exhibit also highlights the rich exchanges in popular culture, featuring art by the painter Ellsworth Kelly and, of course, the American-born singer and dancer Josephine Baker, who adopted France as her homeland and was just last year (2021) interred in the Panthéon, France’s temple to its great heroes.

Mr. Mason’s suit holds pride of place on display in the Ball Room. The Minister Plenipotentiary would no doubt be pleased to see evidence of the continued friendship and cultural exchanges between his home and host countries.

jacket and pants on display — Mr. Mason’s suit holds pride of place on display in the Ball Room. The Minister Plenipotentiary would undoubtedly be pleased to see evidence of the continued friendship and cultural exchanges between his home and host countries.

display case in museum exhibit — Mr. Mason’s suit holds pride of place on display in the Ball Room. The Minister Plenipotentiary would undoubtedly be pleased to see evidence of the continued friendship and cultural exchanges between his home and host countries.

Our subject John Y. Mason (1799–1859), was probably a larger-than-life personality. This Virginia-born man served as Representative from Virginia, Secretary of the Navy, and Attorney General of the US before serving as the US Minister (called Ambassador today) to France. Posted in Paris from 1854–1859, during the period of Napoleon III, he wanted to look as debonair as the other international diplomats, so Mason had this stylish uniform made in Paris. Candice Nancel, Cultural Heritage Manager at the US Embassy in Paris, tells an amusing story about the suit: “The US government, aka US Secretary of State William L. Marcy, thought it was too ostentatious, and reprimanded Mason for it. They thought that he should be wearing what an American would wear, and he wanted to wear what was worn here. He was reprimanded for dressing up too much!”

before shot of tricorn hat — The uniform includes a beaver bicorn from Rouart Rue Richelieu, Paris, blue wool tailcoat jacket, white trousers, elegant braces (suspenders) from Charles Guyot, and white kid gloves

after shot of tricorn hat — The uniform includes a beaver bicorn from Rouart Rue Richelieu, Paris, blue wool tailcoat jacket, white trousers, elegant braces (suspenders) from Charles Guyot, and white kid gloves

He was reprimanded for dressing up too much!

To celebrate Mr. Mason’s ‘individualism’ and style, the ensemble was conserved before being shipped to Paris for display on a custom-made mannequin. While each uniform piece required gentle surface cleaning and some sprucing up, the tailcoat was the focus of more extensive treatment.

restored jacket with buttons — The silk lining had seen better days….it was torn, frayed, and ‘un wearable’ (even by a mannequin). The powdery silk and fleeing wool batting were depositing soiling all over the dark wool broadcloth.

silk lining of jacket in need of resortation — The silk lining had seen better days….it was torn, frayed, and ‘un wearable’ (even by a mannequin). The powdery silk and fleeing wool batting were depositing soiling all over the dark wool broadcloth.

Using a typical textile conservation technique to stabilize shattering linings and slips, sheer fabric overlays (like silk organza) were secured over the whole lining using fine hand stitching. This overlay protects the damaged lining from further abrasion and loss. And the translucence of the fabric allows the original lining material to be seen.

jacket fully open during textile restoration

For display, the jacket needed to be fully buttoned. Horizontal cuts aligning with each button slit were made through the new silk repair lining. Raw edges were then bound with tiny pieces of adhesive-treated sheer silk. The edges of the bound buttonholes (Jacket and new organza overlay) were delicately stitched together. An elegant, long-lasting functional solution and one that any tailor will admire.

A 19th-century uniform requires a carefully made custom mannequin. The goal was to show the suit in the most dapper way possible while carefully supporting delicate parts and disguising a rather large waistline.

Let’s take a peek at what’s underneath:

Using various archival padding and building materials – ethafoam, high loft polyester batting with no resin, polyester felt, cotton stockinette (used for covering casts), and cotton jersey – the body form was shaped and styled to support the jacket and trousers. Removal of arms and legs makes the mannequin easy to assemble and take apart for its journey back to the United States.

https://oboculturalheritage.state.gov/exhibitions/the-lights-that-guide-us/

Thank you to Candice Nancel, Cultural Heritage Manager at the Embassy of the United States in Paris, Curator Joseph Angemi, and the staff of U.S. Department of State Bureau of Overseas Buildings Operations.

All images are courtesy of Caring for Textiles unless otherwise noted.

Silk, Voile, Ruffles, Tiers and Lace Fill Hillwood’s “Grace of Monaco, Princess in Dior” Exhibition …and We Fell in Love Each Day

July 19, 2022 By Julia 11 Comments

Sometimes there is a crystallization, a special synergy in one’s life of work, art, inspiration, friendship, collaboration, beauty, and possibilities…that was Spring 2022 for our CFT team at Hillwood.

Each day a new dress, a journey into Grace Kelly’s elegant, understated style, personal story, and her relationship as muse for Marc Bohan, the designer of the house of Dior. The clothing was in excellent condition, so well cared for by the Palace. (Photo by Hillwood Estate.)

The spring of 2022 was a dream come true for Caring for Textiles—spending our days at Marjorie Merriweather Post’s Hillwood Estate preparing 40 of Princess Grace’s drop-dead gorgeous dresses and outfits for display. Icons of elegant and fun ’60s and ’70s haute couture design were like tactile time traveling through fashion history.

…tactile time traveling through fashion history…

Just the rare opportunity to gently handle and hold these icons was heady enough. Our team—Julia Brennan, Kaitlyn Munro, Katherine Hill McIntyre, and Emilee Koss worked intimately and collaboratively to fit carefully and tailor each mannequin to the dress, becoming skilled at shaping, accentuating, highlighting, and safely supporting each delicate silk, lace, voile, ruffle or tier or cuff.

Every day, we fell in love again…And our knowledge and enthusiasm were feathered by the inspired team at Hillwood, led by the spirited exhibit curator Megan Martinelli.

…shaping, accentuating, highlighting… safely supporting each delicate silk, lace, voile, ruffle or tier or cuff…

Just the rare opportunity to gently handle and hold these icons was heady enough…

The gallery transformed from empty decks and shrouded hangers to platforms full of life, color, and the spirit of Princess Grace.

This special exhibition is presented for the first time in the United States on special loan from the Palace of Monaco. Take a friend or two, tour the exhibition, glorious Hillwood gardens, Mrs. Post’s house, and have lunch at the charming café. There is no other place like this.

Grace of Monaco, Princess in Dior, is open until early January 2023
https://hillwoodmuseum.org/exhibitions/grace-monaco-princess-dior

In closing, here are some of our favorite dresses…

Through the Onlooking Glass: A View to Open Conservation

July 8, 2022 By Julia 2 Comments

By Peyton Bramble

Peyton Bramble in Heinz History Center Conservation Lab

In the field of history, there is a subsection that is less known: Public History. As a recent graduate from Shippensburg University with a BA in Public History, I was able to experience Public History first-hand through the lens of open conservation.

The concept of open conservation is to “pull back the curtain” on all the detailed actions that go into preserving artifacts and preparing them for exhibition. Traditionally, the work of conservators was exclusively secreted in labs and private ateliers. Conservators were put in windowless labs (to prevent light damage, of course; we are not monsters) where a multitude of scientific and hand skills are employed to analyze, clean, repair, and prep objects, extending their lives for the generations to come.

The goal of open conservation labs is to “connect with art, science, world cultures, and history in ways that engage and delight,” as explained by the Museum of Fine Arts in Boston, Massachusetts which opened its public access conservation lab in 2020. This initiative is one with roots in 2000 that began with the opening of the Lunder Conservation Center at Smithsonian American Art Museum in Washington, DC after a six-year construction process with its official opening in 2006.

As a public historian,
I think open conservation is great.

– CFT Intern Peyton Bramble

As a public historian, I think this initiative is great! It takes ideas that interpretive museums have been trying to achieve and does it on a large scale. By creating a looking glass into the lives of conservators, it shines a beautiful light on what it means to be in the museum studies field, handling and caring for the objects that the public enjoys. That being said, in practice open conservation manifests in different ways, some more successful than others.

At the University of Penn Museum in Philadelphia, there is an artifact lab that provides visitors with in-person tours of what is being worked on. Guided instruction and thorough explanation are available. This is good interpretive history. By having a knowledgeable person from the field right there to take questions from curious children or inquisitive adults, the experience is enhanced for all. It is a conversation; it helps bring to life the human stories centered around the repair of these artifacts and the profession. The conservator has a direct way to share their own messages around the importance of conservation, and the visitor gets the scoop as to what goes on behind closed doors, and hopefully learns something too.

Another good example of an open conservation lab is The Conservation Center in Chicago, IL. As the largest laboratory in the country, it has certainly earned its name as The Conservation Center. The Conservation Center schedules private tours in which the CEO Heather Becker takes guests behind the scenes. “Guests are encouraged to engage with conservators and learn about the latest conservation techniques in each discipline. Conservators will introduce a current project and share insights on preservation and care of artwork.” While not a museum, The Conservation Center in Chicago handles the topic of open conservation effectively, providing both guests and conservators with an engaged and unique experience. Coming back from the pandemic, the Conservation Center has slowly started resuming its private tours on a case-by-case basis but prior to the pandemic, they averaged about two tours per month.

In June I joined the Caring for Textiles team to work onsite at the Heinz History Center in Pittsburgh, PA. Our focus was a really large textile – a 1970 banner celebrating the Pittsburgh Steelers. It was hand-painted by a fan and depicted the four defensive linemen that made up the ‘Steel Curtain’. To have a space large enough to treat this banner, we set up shop in the Grace M. Compton Conservation Lab. One long wall of glass windows faced a huge exhibition space. This perspective was like being in a fishbowl; we had suddenly become our own exhibit.

Our first day was a bit of an adjustment—glancing up from hand stitching to see camera flashes and an audience. Eventually, the outside world just faded away and we were alone and absorbed in our work. But I noticed a recurring pattern over several days: people would simply stand at the glass for a minute or so, observe, and then move on. It seemed a bit like reading a label. While our work was easier not being interrupted to answer questions, I was a little bothered by it, this passive encounter. Granted, the Heinz History Center does not have a permanent conservation team, but the lab is used for many object-based purposes, and it seems that signage, or scheduled open question sessions would make the reality of open conservation a lot more dynamic and informative, and to serve its purpose.

This particular example of open conservation had no two-way understanding or communication. From a distance, the repairs and treatment we were doing on the banner were nearly impossible to see, much less comprehend. The most audiences would glean was that we were probably fixing the banner in some way. With conservation being fairly invisible over the last century, the average museumgoer has no real idea of what the work or profession entails. With no one to explain it, no signage, walkie-talkie with conservators, or active film clips…it will remain that way.

A majority of the general public does not realize this profession exists; I did not even know about
open conservation until I did an internship in a museum.

Open conservation is an exciting initiative for both worlds of conservators and public history. Shining a spotlight on the details of preservation work provides a window into how important conservation is to the long-term success of museums and their collections. A majority of the general public does not realize this profession exists; I did not even know until I did an internship in a museum. What a discovery for me. Our field is significant and integral to preserving cultural heritage for all, and allowing public access is really important.

In conclusion, the design and management of open conservation needs to be thoughtful in order to be successful. Having signage or someone knowledgeable onsite is necessary for the success of an open conservation program. Giving visitors that access and conversation is a necessary component. A glass window is not enough. If done well, open conservation labs or planned public art restoration projects are a large step forward in supporting successful public history.

Sources:

http://www.theconservationcenter.com

https://www.heinzhistorycenter.org/museum-conservation-center/preservation

https://www.nytimes.com/2020/01/21/travel/Open-conservation-art-preservation.html#:~:text=The%20Lunder%20Conservation%20Center%20at%20the%20Smithsonian%20American%20Art%20Museum

https://www.mfa.org/collections/conservation-and-collections-management/conservation-center

https://www.latimes.com/archives/la-xpm-2006-jul-02-ca-smithsonian2-story.html

https://americanart.si.edu/art/conservation

Spot illustrations from Adobe Stock.

Restoring The “Star-Spangled Banner” of Frederick Maryland: Part Two

March 1, 2022 By Julia 4 Comments

By Kaitlyn Munro

If you missed the first part of this two-part series, click here to read that post.

Our introduction to Mrs. Shawbaker’s flag began with an initial assessment in 2020. It was mounted and framed in the 1980’s. The flag was puckered, distorted and wrinkled, with hundreds of disfiguring and damaging stitches done with thick nylon thread. Working closely with City Hall and the Frederick Art Commission, we all agreed that it was time for a preservation overhaul.

Mrs. Shawbaker’s flag, 2020 in its ‘original’ frame at City Hall.

The conservation work began in earnest in 2021 and would take eight dedicated months with five professional partners, to complete. Once the unframed flag was in the conservation studio, our first step was to carefully clip and remove all the nylon thread stitches and delicately and gingerly detach it from its heavy cotton lining. The process was painstaking and laborious, but what emerged was the soft and supple wool bunting.

Gallery below: Summer intern Peyton Bramble and Julia carefully remove nylon threads.

Now we could access the front and back in order to carefully surface clean, humidify, press, and weight the flag to reduce creasing.

Kaitlyn and Peyton vacuum the flag through a protective fiberglass screen.

The array of vellux blanket sponges at the bottom of the photo shows how much dirt and soiling was extracted.
Astonishing! We could only wonder if some of this soiling harkened from Matilda burying the flag in soil or ashes?

Previously, the flag was stitched onto an ice-white lining and the holes and losses screamed out. The damages and losses still required extra support so a new lining was in order. This presented an opportunity to explore other fabric options. When it comes to color and opacity, the decision is truly aesthetic and must ultimately be decided by the stakeholders. Alison Cain and Donna Rosano, members of the Frederick Public Art Commission came to the studio to guide this important decision. From our carefully pre-selected conservation options, they chose semi-sheer fabrics that don’t fully disguise or hide the holes, but allow the viewer to understand and see the flag ‘whole’.

Peyton takes a selfie with Kaitlyn, Alison, Julia, Donna, and Mrs. Shawbaker’s flag.

The next big step was individually lining each stripe. Since the fine old wool was wiggly and dimensionally varied, the lining fabric was pinned in place and carefully cut to ensure a precise alignment of the two fabrics.

image of old damaged flag being repaired by hand — Aligning and pinning the creamy khaki-colored lining fabric to the back of the flag. Then the fabric is trimmed to the precise shape of each stripe.

hand stitching damaged flag with nylon thread — Hand stitching each stripe lining using monofilament polyester thread—the stitching is nearly invisible!

Next, the canton—a piece of very fragile fragmentary blue cotton with 34 heavily painted stars. The stars were all badly damaged, with large disfiguring chunks of stars missing, thousands of puncture holes from the previous nylon cord stitching, and torn and split cotton ground cloth. We may know a thing or two when it comes to textiles, but we need to collaborate with other conservators when working on textiles with mixed media. Nancy Pollak, an expert in painted textiles, spent time with us to give the stars their due attention. Nancy is a Frederick resident so it was exciting for us to have a community member work on the flag in such a direct capacity!

textile professionals Julia and Nancy discuss a repair plan — Julia and Nancy discuss the treatment of the painted stars.

close up of painted fabric star being repaired by hand — To prevent any flaking of paint in the future, the edges of each star were consolidated with Ethulose which creates a tough yet flexible film for protection.

Remember, our approach was to make the flag look ‘whole’ but not restored or new. Therefore, the treatment of the stars was discrete; filling in strategic areas of loss and stabilizing all the flaking, falling paint. We found commonality here with our colleague: painting conservators use textiles as a treatment material too! In order to align and stabilize the stars, Nancy mended the back of each break with adhesive supports of very fine polyester fabric called Stabilitex (We’ve used this in previous projects, too.)

damaged star is repaired with a tacking iron — Nancy uses a tacking iron to heat set each *Stabilitex* mend.

reparied star close up — Here is a star that has many *Stabilitex* mends. They blend in very well, can you see them?

The stars with huge chunks missing were visually distracting. These were elegantly filled with adhesive-coated polyester chiffon in shades that blended with the star’s variegated coloring.

With the stars stabilized, the blue canton was safely lined with custom-dyed cotton voile hand stitched in place. The final treatment step was to secure all the tears, splits, frayed and unraveling edges, and myriad holes throughout the whole flag. This was done using various stitches and stitching techniques, all going through to the new lining for dimensional support.

Before and after treatment of the stitch stabilization of a very delicate fragmentary area of the *canton*.

And with that, conservation treatment was complete! The flag was now stable enough to be re-mounted and framed. The mounting of the freshly conserved flag was done by hand stitching it to a padded fabric-covered archival mount; each stripe, all edges, delicately but firmly stitch tacked in place. Archival Arts Services in Alexandria, Virginia (who we highly recommend!) collaborated with the Frederick Art Commissioners to select an elegant new gilded and lacquered frame, and UV protective Plexiglas.

On November 16, 2021, we all gathered excitedly in City Hall for reinstallation day. We do not always get the opportunity to take part in a dramatic installation. So often our completed treatments leave the studio and we never see our hard work and handwork in person.

Restored flag now on display again in Frederic, MD. — The Caring for Textiles team poses with the Mayor of Frederick Mr. Michael O’Connor and the proudly installed flag. An important piece of Frederick Maryland’s historic identity is once again on display.

Oh, say does Mrs. Shawbaker’s “star-spangled banner” yet wave! It was an incredible honor to work on this flag and preserve Mrs. Shawbaker’s American legacy. These “broad stripes and bright stars” are shining once again!

If you ever find yourself in Frederick, Maryland, be sure to stop by City hall and visit the flag.

UPDATE: We were proud to have this project featured in the February 23, 2022, Frederick News Post. You can read that article online here.

“The flag we should know...”