By Courtney Jason
On December 10, 2012, a shipment of 20 flags arrived at the MTS from Fort Knox, KY. These flags have a particularly interesting history, as many hail from the personal collection of General George Patton. They belong to the General George Patton Museum of Leadership, which is undergoing a major renovation and reinterpretation.
The Ft. Knox flags range from a 11.5" x 17" Confederate Calvary guide on to an 80" x 130" Nazi flag. The collection also includes several WWII Army flags, and a North Vietnamese flag that was recovered from a booby-trapped location. The collection is here to be cleaned, stabilized and mounted for display when the Patton Museum reopens later this year.
So far we have vacuumed the flags with a HEPA filtering vacuum to remove any particulate matter. Next we will humidify those with planar distortions using the Gore-Tex system described in a previous blog about the Orra White Hitchcock textiles from Amherst College.
The majority of the flags will be mounted on aluminum solid-support panels manufactured for us by Small Corp, Inc in Greenfield, MA. Each panel will have a layer of 1/4-inch Polyfelt from University Products in Holyoke, MA, covered with khaki-colored cotton poplin from Phillips-Boyne in Farmingdale, NY.
All of the flags except for the Nazi flag will be pressure mounted on a solid-support panel. They will be centered on the panel and hand stitched to the cotton using a curved needle. Only minimal stitching around the perimeter, along several strategic points in the body, and along the fringe, is required.
A sheet of UV-filtering acrylic will provide the rest of the support for the mount. The museum has chosen Small Corp's powder-coated aluminum frames to complete the mount system. The first batch of eight flags will undergo this process through mid to late April, before being shipped back in early May by US Art of Randolph, MA.
The Nazi flag will receive a different treatment due to its large size. A future blog will highlight this highly-technical process. We hope you're looking forward to seeing more of these flags as much as we're looking forward to working on them.
By Camille Myers Breeze
The latest in our series of MTS Handouts is called Displaying Textiles, and is designed to help you choose the best locations and methods for displaying your textiles.
By the time you see visible changes, such as color fading, yellowing, tears, or insect activity, your textile has already been irreversibly damaged. Continuing to display a textile under poor display conditions will accelerate deterioration and shorten the textile’s useful and/or decorative lifespan. Having a textile conservator stabilize the textile can allow it to be displayed again, but only if sensible precautions are taken.
Displaying a textile in a frame with no glazing, or with non-filtering glazing, is harmful to the textile. Anything framed prior to the 1980s will have plain glass or acrylic with no ultraviolet-filtering capacities. All framed textiles should be retrofitted with UV-filtering glazing or stored safely. Even with UV-filtered glazing, a framed textile can be harmed by light, particularly sunlight, which heats up the fibers causing harmful expansion and contraction.
Tapestries, quilts, and other large, flat textiles, can be safely displayed on a wall without a display case if the conditions in the room are suitable. Once a safe location has been determined to hang your flat textile, a conservator can provide a Velcro hanging system. Ideally, two textiles, such as two similarly-sized quilts, will be rotated to allow each one six months on display followed by six months in an archival storage box kept in a safe location.
For more information about this important subject, read the entire Displaying Textiles Handout, which is available with all of our free handouts in the resources section of the MTS website.
by Camille Myers Breeze
For nearly a week, the Beard & Weil Galleries at Wheaton College in Norton, MA, was the scene of great collaboration and ingenuity as students of ARTH 335 Exhibition Design installed their Fall 2012 show, "100 Years 100 Objects." The exhibit showcases an object for each of the 100 years since Wheaton Female Seminary became Wheaton College.
Camille Breeze was hired to participate in two days of teaching and exhibit prep thanks to funding from the Art/Art History Department and the Evelyn Danzig Haas '39 Visiting Artist Program. After a short presentation about careers in conservation, Camille broke students into teams according to what remained to be done to install a pair of priceless textiles conserved by MTS.
The first team underwent the final framing of a silk embroidery depicting "Hagar and Ishmael are Cast Out by Abraham" (Genesis Chapter XXI), by Eliza Wheaton Strong (1795-1834). This exquisite textile is very fragile but together the team cleaned the framing materials, placed the embroidery behind the custom mat, and backed the new frame with Marvelseal before hanging it in the gallery.
The remaining student teams addressed tasks related to the mounting of the c 1780 costume of the Duchesse de Choiseul, which had been conserved at Museum Textile Services in 2012. You can read about this project in intern Gabrielle Ferreira's first and second blogs.
Josephine Johnson '13.
The bust of the custom manikin was covered with show fabric by senior Josephine Johnson, who is planning for a career in conservation. The base for the manikin was assembled by a team including senior Morgan Bakerman, who is writing her thesis about the dress.
A third team addresses the skirt support, which originally was accomplished with rigid paniers. Students started with a replica of the skirt made by Cara Jordan from cotton muslin. Next, they machine sewed 3-inch twill tape in two rows across the skirt and threaded flexible polypropylene tubing through the channel. The tubing provided the shape of the paniers, and additional pieces of twill tape tied across the underside created the correct, flat silhouette.
During the final push on Saturday afternoon, the base was attached to the exhibit platform, the manikin bust was installed, the paniers were tied to the manikin, and finally the costume was dressed.
Working with an academic institution like Wheaton College is one our favorite jobs at Museum Textile Services. Many thanks go out to Leah Niederstadt, Museum Studies Professor and Curator of the Permanent Collection, and Zeph Stickney, Archivist and Special Collections Curator, for asking Camille to help in this intense and rewarding project.
By Camille Myers Breeze
Our 18-month-long project to conserve the Abraham Sacrificing Isaac tapestry culminated in its reinstallation last week at St. George's School in Middletown, Rhode Island.
With the help of school staff, the tapestry was easily installed in under 30 minutes. This left plenty of time for a trip to the archives, where a historic garment awaited assessment. Worn by the school's founder, Father John Hugh Diman,
this fur-lined wool overcoat is part of school legend. Father Diman would take the train from Providence to Newport, Rhode Island, every week year round, and wrote that he could not have made the walk to St. George's School in winter without his trusty fur coat. Inside the coat is a large breast pocket ample enough to accommodate a bible.
The St George's School archives also has a collection of sports memorabilia, including jerseys, football pants, sweaters, jackets, cleats, footballs, soccer balls, and baseballs. Painted on many of the balls are the dates of victories and the opponent's name. It turns out that the arch rival of St George's School is Middlesex School in Concord, Massachusetts. Just this year an Olympic hockey uniform belonging to Middlesex School was conserved at MTS.
At the end of the day, I gave a public presentation about the conservation of the Abraham Sacrificing Isaac tapestry. In attendance was Chad Loebs, the grandson of the tapestry's donor, and benefactor of the tapestry conservation project. Mr. Loebs descends from the Safe family, who owned the mansion where the tapestry hung, Ocean Lawn, until 1946.
Also among the crowd who came to celebrate the unveiling of the newly conserved tapestry was the son of the chapel's benefactor, also named John Nicholas Brown. The grand- daughter of Elizabeth Parke Firestone, wife of the Harvey Firestone, Jr. and owner of Ocean Lawn from the 1950's to 1990, also introduced herself to me. Evidence of the hard work of the development department can be seen throughout the furnishings, buildings, and landscape at St. George's School, as well as in the strong relationship between the school and its generous alumni.
You can also see more photos from this project on the Museum Textile Services Facebook page. While you're there, please "Like" us!