The Trouble with Velcro TM - Is there an alternative?

Since the 1970s, large textiles have been hung using hook-and-loop fasteners, also known as Velcro TM,  which was an improvement for hanging textiles from rings, loops or tacks along the upper edge. Each of these methods created small areas of stress along the upper edge and often a 'scalloped' look. The technique has little changed from the first instructional handouts produced by the Textile Museum and the Smithsonian Institution. The looped side of the hook-and-loop fastener is machine stitched to a fabric, typically wide twill tape. The fabric is then hand-stitched to the reverse side of the upper edge of a textile; the hooked side is attached to the wall or cleat.

Over the years disadvantages of Velcro have come to light. Concern with its use began in the 1990s when discoloration of the product was noticed. Several conservators became concerned and were suspicious of product alterations resulting in color change and hook breakage, especially after the patent expired in 1978, resulting in various other brands of hook-and-loop fasteners coming on the market. Even so, Velcro and other hook-and-loop fasteners are still used today. However, it needs to be evaluated and possibly replaced every twenty years or so.

Old hook-side stitched to the outer edges of a quilt.

Velcro was invented in 1941 by George de Mestal, a Swiss engineer whose patent expired in 1978. With the patent's expiration the precise formulation of the previously known 'Velcro' could no longer be confirmed. Velcro of varying qualities and durability started to proliferate. Research by Kim Leath and Mary Brooks found that in 1998, two companies held the Velcro trademark despite producing notably different products. 

The Mag-Slat; An aluminum 'L'-shaped strip with fixed counter-sunk disc neodymium magnets.

An alternative hanging system is the Mag-Slat from SmallCorp, Inc.  A sleeve made of twill tape or Tyvek is made by machine-stitch to receive the steel powder-coated strip. To read more read this link.

Of course, more about the use of magnets can be found in Magnetic Mounting Systems for Museums and  Cultural Institutions, 2019. Get your copy now!  

Joy Gardiner and Joseph Webber. " Failure to Bind: A Re-examination of the Aging of Hook and Loop Fasteners." Textile Specialty Group Postprints. Vol. 20, 2010. pp. 155-120.

Kim Leath and Mary Brooks. "Velcro TM and Other Hook and Loop Fasteners: A Preliminary Study of their Stability and Ageing [sic] Characteristics." Textile Conservation Newsletter. Spring 1998 . pp. 5-11.

A Safe Ride for the Sloop Clearwater Model

Last year, Spicer Art Conservation was asked to protect the model of the Sloop Clearwater for transportation from its home to New York City. The Sloop Clearwater is the floating icon for the successful citizen-driven environmental effort to clean up the Hudson River. The sloop is one of the first vessels in the U.S. to conduct science-based environmental education aboard a sailing ship.

Model on display at the Hudson River Maritime Museum

Here's a bit of its history:

In 1966, folk music legend and environmental activist Pete Seeger, in despair over the pollution of his beloved Hudson River, announced plans to “build a boat to save the river.” Seeger, along with many other concerned individuals, believed that a majestic replica of the sloops that sailed the Hudson in the 18th and 19th centuries would bring people to the river where they could experience its beauty and be moved to preserve it. 

Seeger and friends played dockside concerts up and down the river, passing the banjo case for donations to raise funds to build the sloop. As an awareness of Seeger’s vision grew, so did the crowds. In 1969, the 106-foot sloop Clearwater was launched at Harvey Gamage shipyard in South Bristol, Maine. On her maiden voyage she sailed to South Street Seaport in New York City, and then ultimately made her home on the Hudson River.[1]

The model was made sometime in the 1970s, by Bernhard Schulze, who created the hull, and Anneliese Schulze, who made the riggings with great attention to detail.

Model images from the Clearwater.org website.

The task was to fully condition the model before it left the Hudson River Maritime Museum, carefully support it for transportation in a box and support that into a sturdy wooden crate. The work was performed at the barn of the Hudson River Maritime Museum.

Support tray with attached ethafoam supports. All labels with instructions.

The model was in quite good condition and was well secured to a solid wooden base. The model's hull extended beyond the base. Due to the many fragile elements, it was the base that required full support by way of a slide-out tray. 

The model safely secured inside its travel box.

Ethafoam support at the main mast.

Wooden shipping crate with the interior travel box.

Resources

[1] History of the Clearwater from the Clearwater.org website.

Magnets to the Rescue for Mounting Paper, Books and Label Text

I have recently been contacted by a conservator at the Winterthur Museum regarding the display of books and archival materials using magnets. As part of the conversation, we discussed the idea of converting the existing display case where small pins and tacks are used to support artifacts into a full magnetic system.

It turns out that a magnetic system is perfectly suited for use with these types of materials. This is especially the case when using a three-part magnetic system. Such a system would use one magnet between two layers of ferromagnetic materials, ie steel. One layer of steel is the actual back wall of the case with the second steel part being the armature as seen in the image below. The use of a three-part system almost doubles the strength of the single magnet, allowing for the support of even heavier artifacts when using the stronger neodymium type of permanent magnet. An example of a two-part system can be found in an earlier post on the mounting of leather gloves.

The variations of two-part and three-part magnetic systems, a) Magnet-to-magnet; b) Magnet-to-ferromagnetic
material; c) Ferromagnetic material-to-magnet-to-ferromagnetic material.

A range of armature shapes and sizes made of either steel or another ferromagnetic material can be created independent of the magnet. Separating the parts allows for each to be stored. Remember the importance of proper storage of magnets.

I recently visited the musée de quai branly, in Paris. The conservator, Eleanore Kissel, generously gave me a tour of the galleries and conservation studios. Below are some images from the visit. The quai branly is unique in that their gallery display cases, designed in 2006, were purposely designed to use magnets. They are perhaps the first museum to so fully embrace a wide use of magnets. Since that time, magnetic systems have become more sophisticated and fine-tuned. It was wonderful for me to see all of the creative solutions each using magnetic force!

Having an entire surface of steel means that artifacts can be placed anywhere on the panel with no marking of the surface. This eliminates the need for filling holes in the wall between each gallery rotation. Steel, with a durable powder-coat, can also be placed in a gallery's deck and ceiling.

The armature for this basket is
attached to the cup with a magnet inside.

Magnets in 'cups' or 'pots' produce a strong pull force. The cups are available with counter-sunk holes for securing into wood or other materials or into a protruding flange as seen in images above. All of these armature elements can easily be moved and readjusted to accommodate fine-tuning.

The 'J'-shaped armature is attached to the back wall with a magnet. A
decorative coat-layer was added to the face of the steel. The armature
elements are discretely placed, to support both the lower and upper edges
of the matted works of art.

A modular system for labels can also be created with flexible magnets behind them. The printed text can then be inserted into an appropriately sized sleeve. A range of products are available for such things and the internet is filled with a variety of ideas demonstrating the range of aesthetic options and prices.

I hope that I have shown the great flexibility that using a magnetic system can offer in displaying a wide variety of artifact types, all without the visitor knowing. 

Learn more about magnets and their many uses in the new publications Magnetic Mounting Systems for Museums and Cultural Institutions. Available for purchase at www.spicerart.com/magnetbook.

Pre-Order Magnetic Mounting Systems for Museums and Cultural Institutions and Save!

We are excited to announce that Gwen's new book, Magnetic Mounting Systems for Museums and Cultural Institutions, will be available in December and we are now taking pre-orders through April 15th at a 10% discount off the cover price. Order your copy today!

The book is an essential text for mount-makers, exhibit designers, museums professionals, curators, conservators, collections managers, archivists, and architects. It systematically explains magnetic behaviors and the procedures involved in developing magnetic mounting systems for artifacts. With actual case studies and over 80 photographic images and drawings, the book explores a broad range of applications, including artifact types and magnetic systems that can be employed and manipulated for uses in exhibition and storage.

Magnetic Mounting Systems for Museums and Cultural Institutions is an essential reference text for any reader planning or executing displays, including mount makers and exhibit installation teams within museums and the commercial exhibition industry. It is a must have for everyone who displays collections in museums of all sizes, galleries, archives, libraries and private collections. It will be beneficial to conservation students and any technical staff who wish to employ magnets in their proper fashion to insure the safety of objects they are installing or mounting.

Table of Contents



Additional information

• Softcover
• Over 400 pages
• 59 case studies each with cross-sections and images
• 16 chapters with extended glossary, appendixes and reference list
• 44 tables
• Chapters contain "how to's," "Useful tips" and "Wacky behavior"
• Available May 2019

Learn more about magnets and their many uses in the new publications Magnetic Mounting Systems for Museums and Cultural Institutions. Available for purchase at www.spicerart.com/magnetbook.

What are Flexible Magnets?

You know them and we bet you even own a few! We're talking about flexible magnets, also sometimes called refrigerator magnets, which first appeared as a type of ceramic magnet in the 1960's. 

Because they're made with flexible resins and binders (synthetic or natural rubber) this type of magnet can be produced as 1) extruded magnetic profiles that are usually coiled or 2) in sheets, resulting in a wide variety of options and properties. For example, extruded flexible magnets are often found on shower door or refrigerator closures. Magnetic sheets, on the other hand, can be cut into all sorts of shapes and sizes, and are what you find holding that souvenir of your summer vacation to your refrigerator door or office filing cabinet.

When flexible magnets are extruded, they pass through a line of powerful cylindrical permanent magnets or a rotating magnetic field. This step allows for the creation of a wide variety of options. For instance, they can be formed to have holding power on both sides, or only on one side. 

The most commonly arranged magnetic poles occur in an alternating line format on the same surface plane (NSNSN or SNSNS). An interesting phenomenon occurs when two layers are slipped slightly on top of one another: they both repel and attract as one slides across the surface of the other. One side of the flat surface is more magnetic (has an increase in holding force) than the other. This arrangement of polar direction is called the Halbach Array. It is this alternating polarity that creates modest attraction (fig. 1). 

Figure 1: A cross-section of a Halbach array with the alternating poles that create a stronger magnetic
field on one side and a weaker one on the other.

The most common style used in museums is the multi-pole on one side. In museums, flexible magnets are commonly used to attach accession or object numbers in documentation photography, for overall humidification as a substitute for weights, holding wrapper enclosures closed, and mounting of lightweight flat artifacts. Their continuous magnetic field is ideal for overall support; their low pull force, however, does not allow them to support heavy or thick items (Schlefer, 1986; Stenstrom, 1994; Braun, 2001; Keynan et al., 2007; Vilankulu, 2008; Heer et al., 2012; Migdail, 2013).

The pull force of flexible magnets is quite weak, and they have low magnetic strength when compared to a non-bonded magnet. Today, the flexible-style magnet is also formed with neodymium (further described in the following section), creating a much greater pull force. Thickness of the flexible material is in direct relation to the pull force of the magnet. Manufacturers specify pull force in pounds per square foot. Pull force is related to thickness; the thicker the sheet, the stronger the magnet. A flexible magnet .04 cm (.015 inches) thick has a pull force of roughly 40 pounds per square foot (0.278 PSI) while a flexible magnet .08 cm (.030 inches) thick has a pull force of roughly 85 pounds per square foot (0.59 PSI). No other magnet type has such clear-cut specifications; therefore comparing flexible magnets with others is not easily transferable (table below).

Table: Thickness of the flexible magnet and the pounds per square inch of pull force

Thickness	Approximate pounds per sq. ft.	Pounds per square inch (PSI)
.012	30	0.2
.015	40	0.278
.020	60	0.417
.030	85	0.59
.060	144	1

Flexible magnets are very susceptible to demagnetization, especially when in contact with other stronger magnets and with other similar flexible magnets (fig. 2) (Livingston, 1996). They also appear to lose their magnetization over time, likely due to proximity to other magnets. Flexible magnets are less susceptible to demagnetization by their Curie Temperature. When used in a situation where strength is needed, they should be checked occasionally.

Figure 2: The parallel rows of the flexible magnet visible with a
'magnetic viewing film (left). The same parallel rows disrupted
when exposed to a rare-earth magnet (right).

Flexible, bonded type magnets are conducive to creating large area pressure type systems. These ferrite-bonded magnets are weak, but to increase the strength, the polar directions are arranged as in a Halbach Array during manufacture. It is this alternating polar direction that provides gentle pressure, evenly dispersed over an entire surface. Conservators use the standard magnetic orientation of a magnetic force on one side. Sheets can vary in alignment when placed together and should be trimmed as a pair. Their strength can be increased somewhat by using both thicker flexible magnets and a related gauge of metal (Spicer, 2014). A second layer of flexible magnet placed on top does not add to the pull force of the first layer, due to its particular alternating polarity.

The addition of pressure created by the pull force can both introduce and assist in the removal of moisture during humidification of an artifact. An artifact sandwiched between absorbent materials is given overall pressure either between two flexible magnets or a top flexible magnet layer above and a steel plate below. The presence of the sandwiching method has been noted to slow drying time (Blaser and Peckham, 2006), but the benefit of not having to lift heavy weights offsets this.

Learn more about magnets and their many uses in the new publications Magnetic Mounting Systems for Museums and Cultural Institutions. Available for purchase at www.spicerart.com/magnetbook.

Resources

As a conservation tool, flexible magnets have been successfully used for a wide range of applications, including during humidification of paper and book repair as a substitute for weights (Brooks, 1984; Stenstrom, 1994; and Blaser and Peckham, 2006); an embellishment attachment with two layers of flexible sheets (Braun 2001); and mounting (Keynan et. al., 2007; Heer et al., 2012; and Migdail, 2012).

A Tricolor in the canton of a Civil War National Color

It's Flag Day, June 14, and there is interesting history to go with an artifact being conserved this summer at Spicer Art Conservation. We going to be mounting an unusual Civil War National Color from the collection of the New York State Military Museum, soon to be going on loan for an exhibit in Germany.

On the obverse side of the flag are 34 embroidered stars in the grand luminary design in the canton. On the reverse side is a tricolor of black, red and gold, a German National flag (the black and red fields are comprised of solid pieces of fabric, while the bottom gold field is comprised of four ribbons stitched together horizontally.)

It is unusual to have another national flag in the canton of a US National flag. These were tumultuous times in Europe, with the widespread 'revolutions' of 1848, and the black-red-gold tricolor became the symbol of those advocating a German Republic. Following the disturbances, many Germans emigrated to the United States, and, having lost their bid to establish a republic at home, these immigrants became whole-hearted Americans, and some of them enlisted to preserve our Republic.

The reverse-side of the canton, a tricolor of
black, red and gold strips.

The four ribbon rows used to create the
yellow strip of the German flag.

"The large German-American population of the North was among the first to rally to the defense of the Union in 1861. In all, over 200,000 of these immigrant Americans would enlist in the Federal armies. Some of them were not only eager volunteers, but distinctly dressed as well. Two New York City German regiments, the 8th and the 20th Volunteer Infantry, wore uniforms reflecting the Germanic tradition of marksmanship and the use of rifles." (*Don Troiani's Regiments & Uniforms of the Civil War (Stackpole Books 2002).

(Learn more at  the New York State Military Museum's webpage about the 8th Infantry https://dmna.ny.gov/historic/reghist/civil/infantry/8thInf/8thInfMain.htm )

It may be a bit of a shock to some to recognize the tricolor in the US national flag canton to be the modern German flag--it looks like something from an editorial cartoonist's pen. This flag has a long history, and it has specific meaning. Wikipedia ("Flag_of_Germany") tells us that there have been two tricolors competing to be the German national flag: black-white-red (imperial colors) and the current black-red-gold (republican colors). The black-red-gold flag appeared first in 1778, and was prominent during and after the 1848 revolutions. It was proposed to be the flag of a constitutional monarchy for united Germany. Black-white-red was the imperial flag until the end of World War I. The black-red-gold flag again returned during the Weimar Republic, giving way to the imperial colors during the Nazi regime. Following World War II, the republican design was revived to represent Germany, what we referred to as 'West Germany' during the Cold War. During that time 'East Germany' included a field of 'socialist heraldry', the latter dropped upon reunification in 1990.

The grand luminary star pattern.

If you look carefully below the nylon net,
the star is embroidered as a circle with a
chain-stitch outline, with five-points.

The flag that SAC is treating was made for the 8th NY Volunteer infantry, a regiment composed of the German-Americans. The 8th was referred to as the 1st German Rifles, commanded by Ludwig Blenker. They were issued M1842 Muskets rather than rifles, but still chose to wear the green trim associated with rifle units. They were one of many Union regiments wearing gray in 1861.

After some brief searching and asking around, I have not yet been able to locate any other examples of a flag from a different nation being combined into the US flag for any of the other immigrant troops. There are examples of troops carrying a flag representative of their home nation along with a US flag, but nothing where the 2 flags are combined into 1 flag like this one is. We would be interested in learning more about such flags.

Successfully Mounting Barkcloth with Magnets

A few months ago I was fortunate to have a visit with Monique Pullan, a conservator of organic artifacts at the British Museum. I was interested in seeing how she was mounting a range of artifacts using a magnetic system, and I was especially curious to talk with her about mounting barkcloth, which has long been a challenging material to display safely.

First, what is Barkcloth?

"Barkcloth is a versatile material that was once common in Asia, Africa, Indonesia, and the Pacific. Barkcloth comes primarily from trees of the Moraceae family, including Broussonetia papyrifera, Artocarpus altilis, and Ficus natalensis. It is made by beating sodden strips of the fibrous inner bark of these trees into sheets, which are then finished into a variety of items. Many texts that mention "paper" clothing are actually referring to barkcloth."    -- Wikipedia, accessed February 24, 2018

Making barkcloth

Given the fibrous nature of the material and methods of fabrication, barkcloth is often characterized by creased surfaces, undulating edges and irregular sizes. It is used for clothing, for masks and various ritual objects, to support painted decoration and to mark sacred spaces. Write Nicholas Thomas and Jonathan Watkins, "... barkcloth formed a major vehicle for creativity, kinship, exchange, and the expression of political prestige. Everywhere these fabrics maintained and communicated the artists’ deep connections to ancestors and country." [1]

As you can imagine there are large collections of barkcloth in museums ranging in date from the early nineteenth century up to the present day. Also called Tapa cloth, they are important culturally, symbolically and historically, but are often collected for their sheer decorative appeal.

Mounting with Magnets

Barkcloth has long been a challenge to mount in museums due to its wide variety and difficulty of fitting it within standard mounting museum methods. For one, is it a textile or paper? Actually, neither of these fully describe the nature of this material. Conservators have in the past generally mounted barkcloth as though it was a textile, using Velcro, sleeves for rods, hinges or even Plexiglas clips in an attempt to find a suitable method to support these widely varied materials.

As one can imagine the possibilities of using magnets is now an increasingly viable option. What has become clear in researching magnetic systems for mounting barkcloth with magnets, however, is that few systems have been published. The few systems that have been published do not fully describe the system such that could be fully reproduced.

Part of the reason to visit Monique Pullman at the British Museum was to see she how she has mounted barkcloth in their collection. She showed me a method were she attached a 'magnetic' stainless steel sheet to a Tycore (honeycomb archival paper board) mount. The full mount was covered with flannel and display fabric (for information about 'magnetic' stainless steel see our recent post 'What is magnetized stainless steel?'). The fabric-covered, disc-shaped N42 grade magnets were positioned along the upper and side edges of the barkcloth, as shown below. The outer surface of the magnets were covered with toned Japanese tissue paper (more can be read about camouflage of magnets by reading 'How do I camouflage my magnets?').

Cross-section of the magnetic mounting system used by Monique Pullman and the British Museum (left);
Schematic showing the location of the individual disc-shaped magnets along the upper and side edges.

Monique Pullman's mock-up board for her
magnetic system for mounting Barkcloth.

This is only one of the many variations of magnetic mounting systems that have been used and that I have documented. A summary of all of the systems found at this time is that they are all 'point-fasteners', in essence where single individual magnets, either disc- or block-shaped, are used with a receiving metal.

In studying the magnetic systems used, I have been interested in the spacing and location of the individual magnets, the weight and thickness of the barkcloth, the grade, size and shape of the magnet, as well as the type and gauge of the receiving side metal or the ferromagnetic material, whether stainless steel or steel. All of these details are important to gather in order to replicate the mounting system or to even develop a possible 'rule of thumb' to mount an artifact as varied as barkcloth.

In my forthcoming book, Magnetic Mounting in Art Conservation and Museums, many magnetic mounting systems are illustrated to mount barkcloth and other types of collections -- with an attempt to present systems that can offer solutions to meet the variety of types of cloths that can be found in museums.

Learn more about magnets and their many uses in the new publications Magnetic Mounting Systems for Museums and Cultural Institutions. Available for purchase at www.spicerart.com/magnetbook.

Notes
[1] Nicholas Thomas and Jonathan Watkins. Tapa: Barkcloth Paintings from the Pacific. Exhibition Catalogue, Ikon Gallery, Birmingham, UK. 2013.

Additional Resources
Kimberly Adams. World in Progress: Modern Bark cloth in Uganda. Deutsche Welle. (2016-01-27). 2016-01-28.

Margot M. Wright (ed.). Barkcloth: Aspects of preparation, use,deterioration, conservation and display, 96-111. London: Archetype Publications. 2007.
 
Peter Mesenhöller and Annemarie Stauffer (eds.).  Made in Oceana: Proceedings of the International Symposium on Social and Cultural Meanings and Presentation of Oceanic Tapa. 117-28. Newcastle on Tyne, Cambridge Scholars Publishing. 2014.

UNESCO. Bark Cloth Making in Uganda. 2005.

Conserving New York's Suffrage Wagon

The journeys of historical artifacts often take many twists and turns; their stories become embellished and some undergo physical changes that make deciphering their histories all the more challenging. In honor of Women’s History Month, we thought it would be interesting to share the conservation challenges of a wagon that was used by the New York State Suffrage Association to advance the cause of women’s right to vote in the early 20th century.

The treated wagon as on display at the New York State Museum. The
later letting 'Sprit of 1776' can  be easy seen

In June of 1913, the Association received the wagon as a gift from the I.S. Remson Manufacturing Company in Brooklyn for use in suffrage parades in New York City and Long Island. The wagon was said to have a Revolutionary War pedigree, although that story has not been corroborated. After the right to vote was successfully achieved, the wagon was retained by the Kearns family who accepted it on behalf of the Association until it eventually made its way to the New York State Museum by way of the short-lived Museum of Women in Manhattan. A side panel on the wagon is painted with the lettering, "Spirit of 1776," the name Edna Buckman Kearns is said to have named the vehicle, according to her great-granddaughter. Was this because of the unfounded pedigree? We'll likely never know.

The wagon when on parade. The lettering visible
in the image can only faintly seen, but still
present (see the image below).

The wagon, accurately termed a New England Pleasure Wagon, received conservation treatment by Gwen Spicer and Ron duCharme in 2000, with the goal of stabilizing it for exhibit. The treatment focused on the three materials used in the wagon’s construction – the wood wheels, axles, and body; the body's painted surfaces; and the iron springs, wheel hubs and rims.

Inadequate storage and exposure to weather take their toll on wood and painted surfaces. Dry rot, shrinkage, warping and crumbling paint are common problems. In the case of the wagon, they were compounded by grease, oil and bird guano.

A thorough cleaning required removing the wood body and wheels from the carriage. What was left of the lettering on the wagon body’s sides needed to be protected to prevent further paint loss during the remainder of the cleaning process. This was achieved by consolidating the painted surfaces with a dilute solution of Acryloid B-72, applied by brush. Dirt and soil could then be removed from the body with diluted detergent and water. Grease and oil on the running gear were cleaned with mineral spirits.

The wagon during the stabilization of the painted regions. At
least two campaigns of  paint are present. The '6' of 1776 can
be seen in the image above.

A separated side panel was glued back into place and small wood losses and missing molding were reproduced, glued in place and toned. Plaster fill from a previous restoration was removed.

All heavily corroded metal components were cleaned with brass bristle brushes, degreased with mineral spirits and then coated with magnesium phosphyl in order to chelate the metal before being painted with dilute black enamel.

The uneven color of the wood surfaces was evened out by brushing on water-soluble aniline dye. A final protective application of dilute Acryloid B-72 in xylene was thinly applied to all surfaces by spray gun and a second thin-layer was applied to heavily weathered areas.

Despite its centuries of use, the Suffrage Wagon has earned its place in history. It can no longer withstand prolonged stress and most certainly cannot hold people or be pulled any distance. For long-preservation, the recommended temperature is between 60-70 F, and relative humidity between 40-55%. Light levels should be between 5 and 10 footcandles.

Additional Resources

Bill Bleyer. Women's groups petition NY state museum to display LI suffrage leader's wagon.    Newsday.  June 27, 2015. Accessed March 23, 2018.

Smithsonian Museum Conservation Institute. Preserving and Restoring Furniture Coatings. Accessed March 23, 2018.

Conservation and Mounting for the Exhibition of an 18th Century Silk Officer's Sash

What do you do when you are asked to perform the seemingly impossible? You bring in the troops.

Much of conservation and museum work is about team work. Spicer Art Conservation, LLC recently completed a project that encompassed the conservation and mounting of 28 military artifacts. (you might be reading more about these artifacts in upcoming future blogs, and if you missed it, check out our recent blog that discussed just the hats that were treated in the project: "Conserving, Storing, and Mounting Hats").

Left: The Silk Sash as it appeared before treatment.

Above: A close up of the weave structure of the Silk Sash. Sprang weave is unique, and while the sash may appear to be a knitted textile, upon close examination, it is not.






For this particular artifact, the curators from the owning institution desired that the Silk sprang-weave Officer's Sash would be mounted as it was worn by the officer. The difference between this request, and other more traditional mannequin based mounts, is that the sash was to be mounted alone, without any other artifact. Instead the sash would be displayed on a singular, custom designed and fabricated, three-dimensional mount that appeared to float in midair.

The sketch that showed the original display idea of the curators.

We were given a sketch of the concept (see above) and the rest was ours to design and execute. Luckily, we were working with the very talented staff of Brigid Mountmaking on this project. A member of their group, Deanna Hovey, came to the studio and we soon worked out an idea. The mount would meet the needs of the curator's display concept, and at the same time, would provide full support of the long sash. The mount would then be fabricated by Deanna and brought back to Spicer Art Conservation later for covering with show fabric, and a final fitting of the sash.

Deanna Hovey (left) of Brigid Mount Makers and Gwen Spicer (right) of
Spicer Art Conservation, LLC work to design a mount to provide support
for the 18th century sash, and to meet the display needs of the exhibit curators.

Once Brigid Mountmaking fabricated the mount, it returned to
Spicer Art Conservation. The team worked to carefully mount the Silk Sash.
Above the photo shows how the sash is supported by first being folded
around one side of the "yin and yang" mount halves. The sash then is
supported at the rear (bottom of photograph above, and detail in photo below)
with another piece that holds it securely in place. The mount is supported
on ethafoam blocks to provide easy manipulation of the mount.

The rear of the display mount has a fully supportive contoured
back support which holds the sash securely in place with overall
pressure between the soft surfaces. The long rod that sticks out
of the back will secure the mount on to the display deck.

The bottom of the mount shows the hardware and metal securing
components. Notice that all metal pieces are perfectly toned
to match the color of the show fabric. 

The sash was fully supported because of the method it was placed within and wrapped around the custom mount. But as that the actual duration of the exhibit was not fully known, additional anchoring stitches were placed at the waist. This was a safety feature to ensure that the effects of gravity would be lessened. Of course the stitches were carefully placed so as not to penetrate the yarns of the sash, rather they anchor loops of the stitches to the mount.

The finished treatment. The Silk Sash is securely mounted in a free-hanging display.

The display of this sash was a different approach than the way other silk officer's sashes that have been prepared for exhibit at Spicer Art Conservation, LLC. These sashes are amazingly stretchy (thanks to the sprang-weave) and much like this one, appeared on American officer's waists as early as the Revolutionary War. In fact, we have treated officer's sashes from the War of 1812 and the American Civil War. If you would like to know more about officer's sashes, check out our blog post that discusses them in depth, particularly the characteristics of sashes from different eras and conflicts: "How do you know? Dating a War of 1812 Sash".

____________________________
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.  

Look for Gwen's book, "Magnetic Mounting for Art Conservators and Museums",  to be released in 2018.

How do I camouflage my magnets?

There is an increasing interest in the use of magnets, both in museums and among the general public. In many museum exhibits it is desirable to make the magnet blend with the artifact being mounted. Conservators and mount makers have used many methods of disguise to achieve this. A magnet or ferromagnetic material can be used and disguised quite easily (For more on what a magnetic system is, read our other posts: http://insidetheconservatorsstudio.blogspot.com/2013/05/ferrous-attraction-and-science-behind.html and http://insidetheconservatorsstudio.blogspot.com/2015/05/a-magnet-is-only-as-strong-as.html). 

The camouflaging method selected is often based on available supplies, expertise, and the experience of the practitioner. Other aspects depend on selecting a substrate similar to the artifact's texture, color, pattern and design. Concern for the durability and the magnet placement depends on the situation. In particular, the magnet's tolerance for being handled multiple times. Also, concern for its proximity to the visitor, especially in the case of patrons who might be susceptible to a magnet's effect (pacemaker wearers, for example).

Useful Tools:

If you must trim any material after it has been attached to the magnet, the use of metal tools like standard metal scissors can be frustrating because your tool and magnet are attracted to each other. Luckily tools made of zirconia (Zr, atomic number 40), like knives, are perfect and will not be attracted to a magnet. These knifes are very sharp and brittle, so great care is needed to prevent them from breaking.

Useful non-metallic tools that won't be attracted to a magnet

Below is a list of various options for camouflaging a magnet:

A) PAINT

A layer of paint can be a quick camouflaging method, but it also brings challenges. One, is creation of an uneven application (it can be difficult to apply an even coat on the plated surface of a magnet). Another, is protecting the applied surface. An added protective coating is useful to aid in reducing the potential of chipping. Another option is to "rough" the surface slightly, allowing for a better grip of the paint to the magnet surface.

The painted surface on a magnet will become chipped or marred when opposing sides are quickly snapped together. This often occurs when magnets are removed and stored, or are placed near one another during preparation when ferromagnetic materials are not present. To minimize this problem, ensure that all of the magnets for one project are stored with the poles in the same direction, so that the fragile painted layers repel each other.

This might not be a choice for magnets that are used regularly. However, it can be an easy and quick method for short term needs. To do this, place them on inexpensive plumber’s tape behind silicone Mylar, scrap steel, or a metal filling-system. (see the image below).

Using a layer of adhered paper or Japanese tissue below the paint layer can improve the cohesion. For more about painting magnets go to: http://denverartmuseum.org/article/how-dam-prepared-rare-earth-magnets-installation-oceanic-textiles

These block magnets are spaced far
enough apart to discourage them from
snapping together quickly.  

B. DIGITAL PRINT

An excellent camouflage technique is to use a digital image to duplicate the surface that the magnet covers. Larger flexible magnets are ideal for securing thin artifacts. Several conservators have published the technique, but on-line you can go to the Asian Art Museum's blog (http://www.asianart.org/exhibitions_index/batik-mounts) to read about it. 

A digital print can also be added to the outer surface of any rare-earth magnet (see photo below). 

Camouflaging is created using a long flexible magnet that
is covered with a 1:1 image of the artifact it will secure.

C. COVERING LAYER

Another approach to disguise the magnet is to apply materials that are the same, or with similar texture, as the artifact that is being supported . The materials are disguised by the color, texture or images in the local area that is being covered, or even the actual embellishment itself (see the decorative element section below). Examples of materials that have been used include Japanese paper, mat board (http://www.conservation-wiki.com/w/index.php?title=Magnet_Mounts), Nomex, fabric (http://spicerart.com/2014/12/17/hunzinger-chair-re-tufted-with-magnets), Tyvek, felt, leather, artificial rawhide, and ultra suede.

When fabric is used, using a sufficiently tight weave-structure to withstand the strength of the magnet is recommended. If the weave-structure is too loose, then the fabric weakens prematurely.  

Creating tufting on a chair seat using magnets. These magnets 

will be covered with the same red show-cover fabric, creating a 

camouflaging of the magnets.

D. DECORATIVE ELEMENT

Conservators have cited the magnet itself as the decorative element and hence requires placement above the artifact. The decorative element in this case aids in determining the size and strength of the magnet. If the magnet is replacing a missing element, then the size is predetermined. But the grade can be adjusted to better match the magnetic system.

When a magnet is securing the element to the artifact the magnet needs to have the strength for support. The element can be a range of sizes and shapes, large; and flat or small footprint and tall. A magnet must be selected that will secure the element, while also not damaging the artifact below. 

Read more about disguising magnets as decorative elements at the Asian Art Museums website: http://www.asianart.org/collections/magnet-mounts 

Decorative element secured to a costume using a magnet.

E. Embedding

A successful method of placing rare earth magnets within materials is embedding them properly. Keeping the magnets surrounded by materials aids in their longevity, by lessening the risk of demagnetization from both shock and heat. These embedded magnets or ferromagnetic materials can be placed on top or within an artifact, as well as used as a point fastener, or as continuous pressure on the artifact. 

Any three-dimensional artifact can be easily mounted and supported. The magnet or ferromagnetic material can be embedded and hidden inside. In addition, many of these systems can be reused. The wide selection of materials used are Ethafoam, pillows with batting and a baseboard, materials that are easily carved, and rigid or simple acid-free board.  Read more about creating mounts here:

(http://insidetheconservatorsstudio.blogspot.com/2013/01/creating-mounts-with-magnets-for.html)

Ferromagnetic material attached 

to an acid-free board inserted 

into the base of a wooden box.

The shape of the magnet, whether using a disc or a block, does not affect many of the methods described above. The only exception is cutting a hole into mat board. Here having a block-shaped magnet could be simpler than cutting a round hole, but a drill bit can be used.

At Spicer Art Conservation we are always interested to hear of magnet use success stories. In fact, Gwen Spicer, owner and principal conservator of SAC is busy writing a book about the use of magnets in conservation. The book features examples of successful magnet use by conservators. If you have a story or project you are particularly proud of, and would like to possibly be included with other successful magnet using conservators in the book, please share your own experience of covering and camouflaging magnets. We want to hear!

___________________________
Gwen Spicer is a conservator in private practice. Spicer Art Conservation specializes in the conservation of textiles, objects, and works of art on paper. Ms. Spicer is known for her innovative treatments and mounts using magnets. 

Learn more about magnets and their many uses in the new publications Magnetic Mounting Systems for Museums and Cultural Institutions. Available for purchase at www.spicerart.com/magnetbook.

To contact Gwen, visit her website: www.spicerart.com or send her an email: gwen@spicerart.com.