by Tegan Kehoe

This lovely sample of wartime-era yarn was recently donated to the Museum Textile Services study collection by Mig Ticehurst of Keswick, Cumbria, England. Ms Ticehurst emailed us about her old yarn, saying "It seems wrong to throw it away. Is it possible that it would be of interest to you?"
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The company that made this yarn has gone by several names, but at the time, it was Robert Glew & Co, Ltd.
We love the slogan on the label of this yarn – “Reliable rayon for dainty garments.” Mig quipped that she had this on hand and unused because she’s:

“...not that keen on making ‘dainty garments'. As children, knitting was taught in school and we were all obliged to knit as part of the war effort. Our family thing was scarves for merchant seamen which were garter stitch and at the time seemed absolutely huge but probably were about two feet wide and about six feet long. I learned to knit and read  by the time I was eight as it was the only way to do any reading. There was also a great deal of inventive making of things."
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The pink rayon yarn we were given would be perfect for this toddler dress, in a pattern sold by Robert Glew & Co.The robin on this leaflet cover is the symbol of the yarn company.
This pastel yarn is not just for baby clothes--any women who wanted to make “dainty garments” for themselves could afford rayon. The pattern below is probably from the 1940s or 50s-–note the milkshake glass in the woman’s hand! The pattern specifies Robin Perle, which is what’s in our little yarn stash. “Perle” describes any high-sheen, two-ply twisted yarn like this or mercerized cotton. 
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The hand-tinted black-and-white photo on the front of this pattern leaflet uses a common style of the time, in which only the brand information and the garment are colored.
The company logo on our donated yarn indicates that it was manufactured in Bradford, West Yorkshire, England. Bradford has been a textile hub for centuries but became a boom town early on in the Industrial Revolution, achieving prominence as the “wool capital of the world” by the mid-nineteenth century. Products included mohair, alpaca, cotton, and silk textiles. By the early twentieth century, however, Bradford’s hold on the industry had begun to slip, so some companies stayed current by producing the new synthetics.
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Robert Glew & Co. later spawned Robin Wools Ltd. of Greengate, Bradford. This pattern features two-ply "Ny-lona," another remarkable 20th-century synthetic fiber.
Rayon is still being modified and produced today, and it shows up more places than you might think. Stay tuned for the next two weeks for more blogs about rayon and some other remarkable 20th-century fibers that MTS has been conserving.
 
 
At the dawn of the 19th century, a young English woman by the name of Miss Grimshaw created a self portrait out of precious silk and watercolors. In the tradition of memorial embroideries of that time period, a piece of thin silk was first painted, then backed with a stiffer cotton, and finally embroidered through both layers.  
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Miss Grimshaw's portrait before conservation
The textile underwent quite a journey before arriving at Museum Textile Services. It was brought to America by Miss Grimshaw's son, D. Grimshaw, in 1838. This may be when the embroidery was placed in an ornate fluted frame over a wood board. Later, a paper mat with an oval cut-out was glued directly on top of the painted silk. The frame was again disturbed in the 20th century, as evidenced by some scotch tape holding the layers of board together.
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Before conservation, the textile was acidified and brittle from age and contact with the wood board. The frame was weak, had been overpainted, and was losing its plaster. 

The first step was to unframe and disassemble the embroidery to get to its core components.  What we found inside was a layer of impossibly-fragile silk being held together entirely by the stitching and paint.   
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During desassembly
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Reverse of embroidery
The silk to which the cardboard mat was glued had long since separated from the center. This allowed the mat to be lifted off, leaving behind a rough oval of silk and silk embroidery threads. Cracks were present in the painted areas and some chunks of silk had detached, revealing the cotton backing fabric.
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Damage to the painted silk along the right side
The proposed treatment was an aggressive one; lining the back of the silk was not possible because the embroidery stitching passes through both the silk and the cotton backing fabric. Instead, a sheer conservation fabric treated with an adhesive film would have to be placed on top of the embroidery to ensure the self portrait remained intact. Adhesive treatments of this kind are not reversible, so they are used only when other treatment options are exhausted.
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Printed silk being inserted behind losses
Before the sheer overlay went on, losses in the silk were addressed using a unique procedure.  A photograph of the intact foliage on the left side of the image was flipped horizontally in Photoshop to match the foliage on the right side of the picture. This reverse image was then printed on silk fabric using a color laser printer. (Print-on fabric is available at  http://www.dharmatrading.com). 
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Damaged area after compensation and adhesive overlay, and before new mat was applied
The new silk was placed carefully underneath the shattered edges of the textile to camouflage losses. The adhesive overlay was then completed, locking the old and new layers together. The embroidery was hand stitched to a fabric-covered archival mat board. 
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Miss Grimshaw's self portrait after conservation
A computer-cut oval mat was provided by our frame supplier and a new fluted frame was found that matches the old one almost perfectly. The textile was framed and the frame was sealed with Marvelseal barrier film. 

Now that this fragile piece of history has been stabilized and preserved, it lives on to be enjoyed by its owner, Miss Grimshaw's great-great-great-great-great granddaughter!