A Ukrainian Boudoir Doll

by Nicolette Cook, SAC Conservation Technician

Recently, while working on a striking Ukrainian doll, it got me thinking about the function of dolls and why they hold such fascination for many of us. The doll was affectionately named "Katya" by the current owner's grandmother. Her grandmother lived near the cultural center of Lviv in western Ukraine and was given Katya in the 1890s. Katya's cloth body joins together her head, hands and high-heeled feet of composition, a material made mostly from the mixture of sawdust, glue and wood flour. She is still wearing her original hand-embroidered traditional costume and is adorned with a beaded floral and velvet headdress with embroidered silk ribbons flowing down her back.

Up-close of "Katya" before treatment.  The owner wanted the make-up substantially toned-down to be closer to the original that she remembered as a chi

However, according to her owner, the bold make-up she wore was not original, as she informed us the doll was restored in NYC in the 1960s. This was evident by the way the dark brown eyeshadow was inexpertly applied. Otherwise, she was in remarkable condition for an antique over 120 years old and only came to the studio to repair the garishly applied make-up as well as her detached foot.

Katya, after treatment.

Close-up of Katya, after treatment.

Children have played with dolls and doll-like toys for millennium. The first were simple, vague figures made of clay, wood, stone, bone, cloth and other natural materials, presumably for ritualistic purposes. In contrast today, dolls are made out of modern plastics and porcelain composites and are barely more than commercial novelty products of a materialistic world. 

Unlike our conception of dolls today, especially the "baby doll", the oldest dolls were "lady" dolls representing well-dressed women, such as Katya. Not unlike the notion of dolls today, "lady" dolls were not only play things but were also meant to prepare young girls for their later roles as wives and mothers. However, beginning in the early 20th century, doll-making strayed away from the conservative towards the risqué, with the growing popularity of the boudoir doll. Before the 1900's, dolls wore the latest costumes and followed the fashionable trends of European courts and represented the proper European woman. They were not toys, but instead were carried by fashionable women of the time. They were posed on sofas, chairs, beds and carried at balls, dances and other social events.

Antique Boudoir Doll, Wax Over Composition
Lady Doll, Circa 1860's

Yet the traditional style did continue into the early 20th century. Consider the boudoir doll we treated in 2011. This example of a lady doll, also dating to the early 1900's, shows a figure in a conservative silk gown, but her hair and make-up are distinctly modern with dark red lips and bright blue eyeshadow. Though from an later era than Katya, this doll was in worse shape when she came to us. Her composite face was flaking away and several holes were present in her silk garment. We consolidated and inpainted her face, filled in where her hair had thinned and mended the tears.

Boudoir Doll, Composite, silk and cotton,
early 20th C

Even though this conservative style survived into the new century, the modern woman, as well as her boudoir doll, was rapidly changing. The new contemporary aesthetic of shortening hairstyles and skirts, the freeing of the body from the constricting corset, as well as striking cosmetics, gave rise to the flapper and smoking dolls of the era. Their popularity grew as symbols of the provocative life of the 1920's when Prohibition was in full swing.

Flapper with her boudoir doll, circa 1920s

However while dolls in America were following the styles of the modern age, European dolls somewhat maintained their traditional roots. Like Katya, with her conservative dress and her bold make-up, the European doll did not reflect the temptations of modern society as daringly as their New World counterparts. Europe did not experience Prohibition, nor the economic boom that led to the excesses of the "Roaring Twenties." Europe was recovering after the Great War and the aesthetic followed the lines of art deco, which shared similarities to American 20s style. But Europe's dolls, in a limited sense, with their bold make-up, coquettish eyes and a provocative expression, also tested the boundaries of the ideal image of a proper lady. Despite their differences, modern boudoir dolls across the globe allowed even the everyday girl to vicariously live the lifestyle of a free modern woman.

Antique French Boudoir Doll, Composition,
silk, cloth, circa 1920s

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Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.

September 11th and a flag that survived.

Image from The NY Times

by Barbara Owens, SAC Staff

What you may not know is that the New York State Museum in Albany is the largest repository of artifacts from the September 11, 2001 attack on the World Trade Center buildings in New York City. If you do know about it, and you've had a chance to visit, you have seen a poignant exhibit that covers the event, the response, and the recovery in a way which comprehensively tells the story of not just a single date, but the time that followed when artifacts were uncovered from a massive debris field. The exhibit tells the story of an event that none of us will ever forget.

Trade Center towers.  Image from Google images.

One object found in the debris was a United States flag.  While not the only flag found, this flag was one which flew from a world trade center tower, although which tower is unknown.


Finding a flag in the debris is truly amazing. Picture an unending amount of twisted metal, dust, dirt, and unknowable objects. Now imagine coming across a flag like this (see image below), virtually intact and minimally soiled.  It must have been an incredible find for recovery workers.

An overall view of the flag after it arrived at SAC.

The flag measured 7' 6" high and 11'6" in length. It had many scattered tears, the largest was 16"x5" located at the top white stripe. It had 40 mid-sized tears, and approximately 30 small tears. See the images below.

The largest of the tears

Holes in the canton

smaller tears

Unlike many flags that come through our doors, keeping the damage to this flag prominent and unaltered was the priority, yet equally important was making the intactness of the flag evident. How could a flag endure an explosion and a building falling on top of it? Imagine a thin nylon flag buried under tons of rubble, coming out of the dirt and debris with bright colors of red, white and blue, the flag damaged, but intact. The symbolism was not lost on rescue workers, and the effect was not to be lost on exhibit goers. Head Conservator, Gwen Spicer, knew this was an important juxtaposition. Her task was to conserve the flag, yet allow it to show all of its tattering along with its majestic color. The flag would be hung prominently at the center of NYS Museum's exhibit, so it would require a hanging system to allow it to flow freely, yet not create stress on the holes and tears it suffered that fateful day.

The flag as it is seen in the exhibit at the NYS Museum.  Image from the Museum's web site.
You can see this image in a panoramic display of the permanent 9/11 exhibit here:
http://www.nysm.nysed.gov/exhibits/longterm/wtc/panorama/wtc3_flash.html

Twelve years has passed since that day in September, yet the objects and the memories of that day live on at the NYS Museum in their permanent collection and ongoing exhibit, visit it if you can.
If you are unable to visit this exhibit, the museum has made much of this information available on its website: http://www.nysm.nysed.gov/wtc/. Included are panoramic views of the exhibit space.

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Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.