Unfurling History: The Remarkable New York State Suffrage Movement Street Banner

At the heart of New York State's Suffrage Movement lies a powerful symbol of women's fight for equality - a political street banner encouraging viewers to “VOTE FOR WOMAN SUFFRAGE AMENDMENT No. 1 NOV 6th.” This banner comes from the Howland Stone Store Museum and dates to 1915, just two years before New York State voters passed Amendment One that granted voting rights to women.

The Street Banner for 'Votes for Woman Suffrage'

The banner, said to have hung in Auburn, NY, is possibly linked to Emily Howland, an influential figure in the Suffrage Movement. Emily Howland's pivotal role in the suffrage movement further enhances the banner's historical significance. Born in 1827, Howland’s involvement in the abolitionist movement led her also to champion women's rights, advocating for suffrage. Her lifelong dedication to social justice and women's rights earned her the admiration of prominent suffragists such as Susan B. Anthony and Elizabeth Cady Stanton.

She was honored as a pioneer and leader, financing both the New York State Woman Suffrage Association and the National American Woman Suffrage Association. She spoke at significant events, including the thirtieth anniversary of the Seneca Falls Woman's Rights Convention in 1878 as well as before the New York State legislature in 1894.

Emily Howland

This street banner features four white cotton fabric panels that have been painted blue leaving the letters white, the same as the fabric. These panels are double sided and supported onto a net ground. Yellow triangle appear to have been later attached to each corner of the net ground. Below the net hangs a blue cotton valance, scalloped at the edges, and stenciled in white paint with the name of the banner’s manufacturer: ANNIN & Co. NY. Annin & Co is still making flags and it the oldest American flag manufacturer.

After careful vacuuming and gentle cleaning, the creases in the large fields of the banner were humidified and flattened, making the banner easier to read and protecting the painted areas from stress. The blue fabric valance, displaying splits and deterioration, received special attention.

A sheer fabric infused with a conservation grade adhesive was used to stabilize extensive splitting. A fabric matching that of the original was used to support underneath the most damaged area with a sheer netting stitched in place on top. 

(left) The many tears and weak areas; (right) The tears aligned and supported, before areas of loss were filled.

The New York State Suffrage Movement street banner stands as a timeless testament to the courage and determination of suffragists. With its conservation treatment complete, this banner will continue to inspire and educate, honoring the struggles and achievements of those who paved the way for gender equality.

As we celebrate the suffragists' legacy, the banner remains a poignant symbol of progress and a reminder of the ongoing journey towards an equitable and inclusive society. Its conservation and preservation ensure that future generations can draw inspiration from the bravery and vision of those who came before them.

The banner rolled onto its storage tube and being walked to the truck. Marilyn Post (left), Linda VanBuskirk (center), Gwen Spicer (right).

 

Remembering a Giant of Diplomacy

William Henry Seward (1801-1872), Governor of New York State, Senator and Secretary of State under Presidents Abraham Lincoln and Andrew Johnson, was a giant of a man in every sense. Although today he is best known for the purchase of Alaska (Seward’s Folly or Seward’s Icebox), in his time he was respected for his intellect, his moral courage and tenacity and his widespread and effective diplomatic prowess.

The large embroidered hanging.

 

That prowess was recognized in his own time far beyond the borders of the United States. The Qing Dynasty of China held Seward in great regard and gifted him with a fine silk embroidery during his visit there in 1870. Spicer Art Conservation, LLC has recently had the opportunity to repair this large (6 foot by 10 ½ foot) work, renewing its handsome surface, repairing its support and preparing it for display.

 

William Seward's portrait created with silk satin stitches
and a coat of couched metallic threads.

The rose red cloth is closely embroidered with symbols of regard, respect and good wishes. The large portrait of Seward dominates the center while eight Taoist immortals stand on clouds in witness on both sides. A dragon and phoenixes, representing the emperor and empress, glare with authority from the top. 

The upper two rows with the large four-toed coiled dragon (mang) amongst clouds. In one claw is a 'pear' or sometimes called a 'ball.' Below are a pair of long-tailed phoenixes on either side of a sun disc. This sun represents intellectual enlightenment, while the phoenix signifies goodness and benevolence.

 

The eight embroidered Taoist immortals with their symbols.

Three gods called the Fu-Lu-Shou, representing happiness, longevity, and prosperity gaze benevolently down on Seward from the upper border. Scattered throughout the piece are peonies representing Spring, bats for happiness, and cranes for long life.

The Three Stars Gods are together in a row above Seward's portrait: Fuxing (Fu), God of happiness and good fortune holds a scroll; Shouxing (Shou), God of Longevity holding a peach that symbols long life; Luxing (Lu), God of Prosperity, holding a child.

Tigers, the king of animals, fiercely patrol the bottom of the work, protecting the Chinese citizens arrayed immediately below Seward’s portrait; they relax, playing qin and enjoying tea and entertainments.

Several other symbols are present amongst the above mentioned elements. They all add to the meaning of the large embordery. They include: Peonies representing wealth; White cranes for longevity; Mythical beast symbolize courage; bats symbolize 'good luck.' Interestingly based on the Chinese character for happiness (fu) and the final character for bat (pine-fu) that both have the same sound.

Kilbride Handwoven Vestments in the United States

We have just taken into care four beautiful silk chasubles from the Parish of the Holy Trinity in Hudson, NY. Three of the chasubles were woven and constructed in Ditchling, Sussex, UK, in the studio of Valentine Kilbride and Jenny Kilbride, his daughter. They were woven sometime between 1970 and the late 1980s. 

The three chasubles woven by Jenny Kilbride.

The fourth was woven and constructed in Troy, NY by the Sisters of the Cross, using the techniques of the Kilbride studio. The Kilbride vestments have orphrey bands (trim) of linen, or linen with silk embellishment. The chasuble from Troy has no orphrey bands but has a contrasting yoke. 

The chasuble woven in Troy, NY by the Sisters of the Cross.

ValentineKilbride trained at the family dyeworks as a young man before the First World War. Later, he was heavily influenced by the British Arts and Crafts movement. The Kilbrides were part of the Guild of Saint Joseph and Saint Dominic, a collection of artists and artisans that was founded in 1929 and closed in 1989. The Guild itself was founded with a profound attachment to an enlightened form of Roman Catholicism; the tenets of that faith underlaid all of the work of the Guild.

 

Guild of Saint Joseph and Saint Dominic buildings

Valentine Kilbrid

Jenny Kilbride

All the chasubles are in the Gothic or bell style and are constructed with a single seam from one piece of cloth, woven out of 60-inch fabric. The weave structure produces a gorgeous play of light on the fabric as well as a beautiful drape and luscious hand. The Kilbrides’ vestments reflect the principles and aesthetics that flowed within the Roman Catholic church following Vatican Two. Those principles held that the beauty and solemnity of the Eucharist should be expressed through both simplicity and accessibility. The simple design of these chasuble is complemented by the subtle, elegant silk fabric and embodies those Vatican Two aesthetics.

The beautifully woven tape located and the neck and the center front band with areas of wear (left); Sketch of the chasulbe design (right)

Because of the nature of the silk fabric and the regular use of most Kilbride vestments, very few of these beautiful chasubles remain intact today. It is the hope of the Holy Trinity parish that the chasubles may someday return to their point of origin and be shown in the Ditchling Museum of Art and Craft. 

The Ditchling Museum of Art and Craft.

To read more about Jenny and her father and life in the guild read this article. 

 

Embroidered Danish Heritage

Our intern, Olivia Frechette, shares her insights on a recent project.

Spicer Art Conservation, LLC recently received an intriguing and pretty cool counted cross stitch embroidery for treatment. An embroidered map of Funen County in Denmark (made up of Funen, Langeland, Æro, Tåsinge, and accompanying smaller islands) was handmade by a client's grandmother in 1959. It is clear she was a skilled embroiderer. The map has spent most of its life inlaid into a table top. While the map is looking great for 62 years old, it has been taken out of its table-home for a bit of care before both map and table are passed on to the client's son. 

Surface of the embroidery map. There is some water staining with tide-lines along the edges of the map fabric.

The main city of Odense, famous as the birthplace of well-known fairytale author Hans Christian Andersen, is labelled and marked with a red square.

Close-up of the island of Funen, Denmark. All roads lead to Odense, Funen County's main city.

The level of detail on this map is exquisite. Individual manor houses and landmarks are faithfully represented with neat and tiny petti-point stitches in a rainbow of colors.  

A detail of the map showing buildings in south-west Funen

A detail of the map showing buildings and orchards in north-west Funen

A ship is even bobbing in the Belt Straits, flying the Danish flag of course, with seabirds flying overhead.

Close-up of the embroidered ship

Detail of embroidered birds above Funen

Funen's Danish name "FYN" and the map's date are surrounded by an elaborate wreath. Isn't it pretty?

The map is titled in Danish "FYN" and dated 1959

When the map was unglued from its backing board, a 'ghost map' was discovered on the wooden board! Over the years, the sun snuck through the open weave of the support fabric and oxidized the map design into the wood. The denser embroidered areas was more able to block the light. Read and earlier blog post on other effects of long-term light exposure.

The removed backing board of the map, where the sun bleached the embroidery image onto the wood.

Perhaps the map wanted to start celebrating Halloween early with its 'ghost' double. Spooky!

Preserving a Piece of Alaska History

The Pioneers of Alaska is a fraternal organization originally founded in Nome, Alaska, in 1907 to preserve the legacies of all the state's early white settlers, collecting material related to Alaska's history, and promoting "the best interests" of the state. The organization also provides mutual aid, which was a critical safety net in territorial days and early statehood when there was a lack of reliable public or government services. Alaska was home to several similar organizations, but now only the Pioneers remain.

The Pioneers of Alaska was, and still is, an organization formed from the need of helping each other survive. Helping by providing food, care, medical, legal assistance, recreational opportunities, and social interaction was vital for life in this new and sometimes extremely harsh environment. Conditions of life in this rugged frontier made mutual associations necessary. This northern spirit lives on and is the base for the Pioneers of Alaska.[1]

Originally restricted to white males who entered Alaska before 1900, the organization's membership today must be residents of Alaska for at least 20 years to be eligible to join. Once led by men, women became eligible for all leadership positions in 2012. The Pioneers are divided into 16 igloos, or chapters, each for men and women. The Grand Igloo unites Alaska’s Pioneers by meeting once each year with the subordinate Igloos which take turns hosting these conventions. The subordinate igloos maintain active schedules of business meetings and social gatherings. The Pioneers, long involved in legislating fish and game laws and garnering support for the elderly, also played a key role in bringing Alaska into statehood.

The painted fabric banner receiving treatment in the Conservator's Studio was one created for Igloo III, located in St. Michael, a small community near Nome. The St. Michael Igloo was chartered on May 10, 1907. Today, St. Michael's population is less than 500 residents.

Historic image of the hall interior with the banner at the back wall.

Tears in the fabric, paint loss, and a missing tassel were attended to by conservator Gwen Spicer.

The recent banner from the pioneers treated was an unusually constructed vernacular design with four satin weave fabric panels, two dark blue, and two white. These panels were positioned with the selvage edges horizontal, allowing for the stronger weft threads to carry the weight, but also creating vertical tears.

In addition to a painted scene featuring a man pulling a sled at the top, lettering at the bottom spells out the Pioneers' motto, Ecce Novum Astrum, "Behold the New Star."

The reverse side of the banner, a cotton layer, shows extensive water damage.

The layers of the banner were separated to gain access to the reverse sides of the fabric. This also allowed for each side to be cleaned. Then the loose threads were aligned and supported with a full adhesive backing. By having the banner and its layers hanging vertically, the best alignment of the layers could be ensured.

Gwen stitches the banner to a new fabric backing

The banner above is not the first banner of this type to be treated in our studio. Previously a banner a more traditionally made banner from 1909 for the Fairbanks Igloo was treated.  

Before treatment of both the front and reverse sides of the Fairbanks Igloo #4 Banner

Detail of an earlier Pioneer banner from Igloo 4

After Treatment of the Fairbanks Igloo #4 Banner

Notes

[1] Pioneers of Alaska website. http://www.pioneersofalaska.org/igloo_history.html. Accessed April 10, 2020.

Resources

"Behold the New Stars: Pioneers Crown New Royalty." https://www.juneauempire.com/news/behold-the-new-stars-pioneers-crown-new-royalty/. May 14, 2018. Accessed April 10, 2020.

A Family Quilt Reveals its Layers

One can say that every object tells a story. Often more than one.

In the case of a family quilt that recently arrived in the conservator's studio, it came with two distinct stories....and perhaps more.

When we think of quilts, we tend to conjure up colorful designs of pieced or appliqued fabric sewn together and layered with batting and a woven fabric backing meant to keep someone warm on a cold winter's night. For centuries, quilts were ubiquitous domestic textiles, made and used primarily for bedding, and found in many cultures around the globe. Today, quilts are often created as art pieces meant solely for display.

While quilts were often made of fabric scraps, the composition of colors and pieces, along with the sophistication of the stitching, could reveal the artistic eye and sewing prowess of the maker. As with most textiles, the materials used and their assembly also reveal the socio-economic status of the maker or owner.

The quilt's importance in the household meant they also took on prized, often commemorative, roles. They were made and given to honor births, marriages, and moves away from close-knit communities. Some traditions required that a new bride have a number of completed quilts in her dowry, thus ensuring her household could be set up quickly.

The quilt in question clearly seemed to be a commemorative piece -- at least its most recent use, that is. The top of the quilt consists of seven rows of neatly composed diamonds, each pieced with printed cottons in complementary colors of pinks, browns, and blues. At the center of each diamond was a white patch containing the autograph of a female family member written in iron gall ink. This quilt style is known as a signature or album quilt. Made in honor of the family's matriarch, its owner said the quilt dated from c1860. The date also connects with the colored prints that were popular at the time.

Front side of the Signature quilt.

In her Clues in the Needlework newsletter, quilt historian Barbara Brackman wrote, "Many of the blocks in the early album quilts made between 1840 and 1860 featured elaborate ink signatures and small drawings and verses. By the time of the Civil War, album quilt inscriptions had become shorter and were more likely to include only the block maker's name, and perhaps his or her hometown or date."

Turn the quilt over and a different story emerges. It is what appears to be a strip quilt. The back panel is made up of 13 faded and worn fabric strips of alternating toile patterns: a red/pink fabric with peacock feathers in the design and a blue and white fabric with imagery related to the Freemasons.

Reverse side of the quilt made of pieced stripes in an attractive design. Cleverly incorporating presumably left over pieces of three fabrics: a pink, dark brown and white with a blue toile print. All of the printed fabrics are quite worn, unlike the very good condition of the front side. Also visible is the patched area near the center of this side.

The Masonic images were adapted from late 18th century prints created by French-born artist P. Lambert de Linto. Masonic symbols do appear on quilts. Hilary Anderson Stelling, Director of Collections and Exhibitions at the Scottish Rite Museum and Library in Lexington, MA, tells us her hunch is that Masonic-themed textiles would have been used in homes, not lodges. Just as this reverse side suggests.

Textiles incorporating Masonic symbols, both home-made and commercially manufactured, have served many functions since the 1700s. They have transmitted family memories and history, becoming cherished heirlooms. They signified family identification with Freemasonry. Creating these objects offered an opportunity for the maker to display their skills. These textiles also functioned as educational tools - teaching family members about Masonic symbols and reminding Masons of the lessons they learned in the lodge. Like the quilts used to fundraise for political or social causes, Masonic quilts and textiles were - and still are - used to raise money for Masonic projects and charities.[1]

Below are two examples of prints by P. Lambert de Lino dating from the 1770-1790s with the corresponding similar images found in the quilt.

Also on the reverse is a large patched area near the center made of brown fabric with blue and white leaves, distinctly different from the fabric elsewhere. Obviously, this was a quilt worth saving. Did it belong originally to the family's matriarch? Did her descendants decide to honor her by keeping her quilt and adding a new top containing autographed squares? We know fabric was repurposed for quilt patterns; were whole quilts refashioned or updated, as well?


Resources

[1] "Threads of Brotherhood: Masonic Quilts and Textiles," Scottish Rite Masonic Museum and Library blog,  June 12, 2012.

Happy New Year!

As we come to the end of 2018, we take a moment to look back at the year. The projects completed and history preserved. The new and interesting places work has taken us this last year. From leading a magnets workshop at Dartmouth to assisting with the hurricane aftermath in Puerto Rico, even multiple trips across the Atlantic to present at conferences. 2018 has been a wonderfully busy year at Spicer Art Conservation.

For our traditional holiday card this year we featured pictures from some of the many items that were treated in the studio this year, including a signed print by Victor Vasarely and a portrait of Mr. Albert N. Briggs. The lovely 1909 Wedding Dress was restored to its former beauty and packed so it will last for many more generations and a silk souvenir from the 1893 World’s Columbian Exposition in Chicago was framed for display. Fire damaged items often make their way into the studio to be cleaned and repaired, such as the painted Norwegian bench which after cleaning was stunning in its color and style.

The summer of 2018 also saw a 1910 Stoddard-Dayton Limousine brought into the studio for work on the interior upholstery. To read more about this treatment check out the blog that written shortly after the treatment was completed.

Finally, when not hard at work in the studio treating objects, Gwen was busy putting the finishing touches on her new book, Magnetic Mounting Systems for Museums & Cultural Institutions, which will be out in early 2019. As a part of her continuing work with magnets, Gwen took many trips this past year, hosting workshops and presenting at different conferences both here and abroad. In her “spare time” she also went down to Puerto Rico to assist with the post hurricane damage assessment of their cultural heritage.

We hope you have enjoyed this little look back at 2018 with us and while we look forward to another exiting and fun filled year, we wish you a wonderful 2019!

Gwen, Mark, and Kimberly

Spicer Art Conservation LLC

AAGPBL: They Looked Like Ladies, But They Played Like Men

For baseball fans October usually means one thing, MLB playoffs!  While the rest of the world turns it’s attention towards the MLB, here in the studio we have been working with a baseball artifact from a different league, the All-American Girls Professional Baseball League.

Image 1: Betty Yahr's Rockford Peaches Cap (Before Treatment) 
(Photo Credit: Mark Schrodt)

The All-American Girls Professional Baseball League, or AAGPBL for short, began in 1943 and played their final season in 1954.  Despite its relatively short tenure as an operating professional baseball league, the AAGPBL left a lasting impression on the landscape of baseball and pop culture for decades to come, including the Diamond Dreams exhibit at the National Baseball Hall of Fame and Museum and the well known film A League of Their Own.

Professional baseball has long been a man’s sport; there are the occasional stories of women playing for exhibition, such as the story of Jackie Mitchell who famously struck out both Lou Gehrig and Babe Ruth in 1931.[1]  Another woman who left a mark on baseball was Effa Manley, an owner and executive for the Newark Eagles of the Negro Leagues.  To this day Manley remains the only female to ever be inducted into the Baseball Hall of Fame.[2]  These women represent some of the rare instances of women being able to penetrate the male world of baseball.  However the onset of World War II created the opportunity for, even if temporarily, a much more prominent place for women in professional baseball.

As more and more young men headed into the armed services, concern about the impacts this would have on the sport of baseball led a few enterprising men to form a new professional baseball league for women.  Over the years the AAGPBL went through some name changes as well as variations to the playing rules, however by 1945 the league had taken the shape it remains most known for today, women playing professional baseball, using the rules of Major League Baseball, and most importantly overhand pitching (as opposed to the underhand pitching style softball is known for).[3]

Image 2: South Bend Blue Sox Player Betsy "Sockum" Jochum is pictured at 
bat during her baseball career[4]

Image 3: Sophie Kurys, star of the Racine Belles of the AAGPBL, 
slides into the bag[5]

Most people are familiar with the AAGPBL through its depiction in the film A League of Their Own.  This film tells the fictional story of the Rockford Peaches, their starting 9, and their head coach, Jimmy Dugan.  The film may be fiction, but it was inspired by the stories of the real women playing professional baseball in the 1940s.[6]  The Rockford Peaches, the team depicted in the film, was one of the first teams in the AAGPBL, playing in Rockford, Illinois.  The Peaches would be one of the few teams to play every season of the league’s existence.[7]

1946 was an exciting season for the Rockford Peaches as they made the playoffs and faced the Racine Belles in the league championship game.  The Peaches would end up losing to the Belles, finishing in 2^ndplace for the season.[8]  Making her professional debut in 1946, playing outfield for the Peaches was Betty Yahr.[9]  Ultimately Yahr would only end up playing this one season for the Peaches as she decided to return home to Michigan at season’s end.[10]  Despite her short tenure in the AAGPBL, Yahr and her legacy remain an important part of the story of professional women baseball players.

Image 4: The 1946 Rockford Peaches Team Photo[11]

Back, L-R:  Bill Allington (Manager), Rose Gacioch, Dorothy Kamenshek, 
Dorothy Green, Dorothy Moon, Naomi Meier, Mildred Deegan, 
Helen Smith, Margaret Wigiser, Mildred Lundahl (Chaperone).

Front, L-R:  Betty Yahr, Dorothy Cook, Lee Surkowski, Helen Filarski, Olive Little, 
Margaret "Mobile" Holgerson, Dorothy Harrell. Carolyn Morris.

Image 5: Betty Yahr, Rockford Peaches 
Baseball Card[12]

In 2007, a relative of Yahr donated many items from her playing days to the National Baseball Hall of Fame and Museum to be used in their exhibit on women in baseball, Diamond Dreams.  Among the donated items was the cap Yahr wore while playing for the Rockford Peaches in 1946.[13]  As is often the case with game worn items, the cap showed signs of wear and damage.  The Hall of Fame funds its conservation efforts through crowd sourcing for individual artifacts, and recently Yahr’s cap met its fundraising goal for treatment.[14]  As a part of the treatment the cap was cleaned and holes were repaired. Additionally a custom mount was created for the cap to ensure it is properly supported, both in storage and while on display, to minimize new damage in the future, allowing fans to learn and appreciate the legacy of Betty Yahr, along with all the women of the AAGPBL, for years to come.

Image 6: Yahr's Cap (After Treatment) (Photo Credit: Mark Schrodt)

             

Image 7: Cap and Custom Mount (Photo Credit: Mark Schrodt)

          

If you would like to learn more about the history of women in professional baseball and the AAGPBL stop by the National Baseball Hall of Fame and Museum to visit the Diamond Dream exhibit and also check out the official AAGPBL website (www.aagpbl.org)

---

[1]Tony Horwitz, “The Woman Who (Maybe) Struck out Babe Ruth and Lou Gehrig,” Smithsonian Magazine(July 2013) https://www.smithsonianmag.com/history/the-woman-who-maybe-struck-out-babe-ruth-and-lou-gehrig-4759182/.

[2]“Effa Manley,” National Baseball Hall of Fame and Museum, https://baseballhall.org/hall-of-famers/manley-effa.

[3]“League History,” All-American Girls Professional Baseball League, https://www.aagpbl.org/history/league-history.

[4]Margaret Fosmoe, “Women Pro Baseball Players Gather, Reminisce in South Bend,” South Bend Tribune(August 7, 2015) https://www.southbendtribune.com/news/local/history/women-pro-baseball-players-gather-reminisce-in-south-bend/article_218cc831-cdf2-5105-8b42-d15bee181766.html.

[5]Nicole Haase, “Women’s Baseball Trailblazers Reflect on the League, 75 Years After its Founding,” SBNation(May 30, 2018) https://www.sbnation.com/2018/5/30/17407798/women-baseball-trailblazers-reflect-aagpbl-75th-anniversary.

[6]“A League of Their Own,” Wikipedia, https://en.wikipedia.org/wiki/A_League_of_Their_Own.

[7]“Season Timeline,” All-American Girls Professional Baseball League, https://www.aagpbl.org/seasons.

[8]“1946 Season,”All-American Girls Professional Baseball League, https://www.aagpbl.org/seasons/1946.

[9]“Betty Yahr,” All-American Girls Professional Baseball League, https://www.aagpbl.org/profiles/betty-yahr/471.

[10]Alicia Meyer, “’We Saved Baseball’ Betty Yahr and the Rockford Peaches,” Rockford Retold, (October 29, 2015) http://www.rrstar.com/article/20151029/BLOGS/310299999.

[11]“About the Rockford Peaches,” All-American Girls Professional Baseball League, https://www.aagpbl.org/teams/rockford-peaches.

[12]“Betty Yahr,” All-American Girls Professional Baseball League, https://www.aagpbl.org/profiles/betty-yahr/471.

[13]“Pastime: Betty Yahr Cap, 1946,” National Baseball Hall of Fame and Museum, https://collection.baseballhall.org/PASTIME/betty-yahr-cap-1946-5.

[14]“Our Museum in Action,” National Baseball Hall of Fame and Museum, http://www.baseballhall.org/museuminaction.