Update: Edison's tinfoil, can the sounds on it be retrieved?

by Barbara Owens
When we first talked about SAC having the honor of doing the conservation work on Edison’s tinfoil back in April (see the blog entry from April 19th), we said that the foil was being prepared for digital scanning in an effort to retrieve the sound imbedded upon it more than 130 years ago.  As we at SAC researched Edison’s life, we discovered that when this particular tinfoil was made, Edison had only one phonograph, and it was he who traveled the country, demonstrating it in hopes he could find buyers for his fabulous new invention.  The bottom line is that Edison’s voice is probably on it.  

How exciting is that?

Edison's tinfoil before treatment.

As far as we know there are only two complete tinfoils in existence: the one that we treated, which is owned by "miSci" the The Museum for Innovation and Science (formerly the Schenectady Museum), and a second, which is owned by the Smithsonian.  Here’s the interesting tidbit, the one at the Smithsonian had been glued, facedown, to a board.  Getting sound from it is going to be a challenge.

The Schenectady tinfoil, that SAC treated, which had been folded several times and then crammed into an envelope, required extensive flattening before it could be scanned.  And so, after some nerve-racking and incredibly delicate treatment, it left SAC’s studio and has traveled to California where the sound is being carefully coaxed from its surfaces.  So the big question is: who is on it and what did they say?

Scanning the Edison foil. photo from Schenectady Museum

The short answer right now is that the tinfoil has been scanned and they definitely found sound on it.  Who is speaking?  Right now we know there is a conversation between a man and a woman.  Could it be it Edison?  Stay tuned for information as it unfolds, and visit the miSci (The Museum for Innovation and Science, Schenectady NY) for more information.  

The mystery of Angelica Van Buren's wedding dress

by Barbara Owens
Our 8th president (1837-1841), Martin Van Buren, had been a widower for nearly 20 years and hence had no first lady, yet someone needed to fill the position.  He called upon his daughter-in-law Angelica Singleton Van Buren (1818-1878).

Angelica has been described as a beguiling; everyone loved her, every woman wanted to be her.   She was the Jackie O of the 1800s.   She has also been described as a young, beautiful, gentle woman who was confident, poised and religious.  Raised in South Carolina as the daughter of wealthy southern plantation owners, she had a genteel southern spirit and had benefited from an excellent education, which was only afforded to few young women at the time.  

And remarkably she served as the the first lady of the United States at just 21 years old. 

Angelica Singleton VanBuren's portrait was painted by artist Henry Inman in 1842.  Today it  hangs above the fireplace mantle in the Red Room of the White House . 

When Van Buren takes the presidency in 1837 he is busy with the financial burden leftover from the previous administration that has left the United States in a depression.  Understandably, Van Buren has little time for social life or parties.   Van Buren had been a widower for nearly 20 years and for the first year and eight months of his presidency, there was no First Lady in the White House.  Van Buren is the father of four sons, and while he could have asked one of his female relatives, or a spouse of one of his Cabinet members, he chose to not invite anyone to preside as hostess at the White House.  

Enter Dolley Madison, former first lady and D.C. socialite, with her young cousin Angelica in-tow for a dinner with the Van Buren men.  The president's eldest son, Abraham, is smitten with the young lady who is described as "a lovely, charming belle with "Roman goddess" features, dark, expressive eyes, fashionable corkscrew curls, and a long neck."  Angelica and Abraham are married in November 1838.  The President reportedly approved of the marriage and the ties it brought between the White House and the powerful Southern aristocracy.  Van Buren found himself in the crosshairs of the North and South; the Northern Democrats had abolitionist sentiments and the Southern Democrats wanted to ensure that slavery continued to support their agrarian economy.  

The new Mrs. Van Buren made her debut as official White House hostess on New Year's Day, 1839. It is said that Cousin Dolley coached and trained Angelica extensively for her role.  The annual White House New Year's reception, which is the only social function that had taken place thus far during Van Buren's presidency, was a massive success.    

At the end of the 1839 social season, Abraham and Angelica honeymoon by taking an extensive grand tour of Europe.  While abroad, Angelica achieves celebrity status.  She was presented to the royal courts of England and France meeting the then freshly coronated Queen Victoria as well as  France's King Louis Philippe.  

Upon returning to America, Abraham and Angelica Van Buren moved into the White House.  Angelica employed many European-style etiquette techniques she had witnessed in her extensive traveling.  While many in Washington high society admired her regal style, Angelica was criticized by the president's foes as being extravagant and monarchical at a time when the majority of the U.S. was languishing in economic despair.  

Angelica is unflappable and continues as the White House hostess, but perhaps in a more understated way.  It is well quoted that the French minister, Adolphe Fourier de Bacourt, who was often critical of Americans, claimed that "in any country" she would "pass for an amiable woman of graceful and distinguished manners and appearance." Many historians agree that President Van Buren enjoyed Angelica’s company and truly appreciated her assistance with the social duties of the presidency.

During her years as "Lady of the President's House" she brought back not only style, but true etiquette to the White House.  The President and she gave mostly small dinner parties dispensing with all large functions other than the New Year's Day reception.  When it became necessary to redecorate and replace some of the furniture that remained from the previous administration, she was careful to not be extravagant as she had learned a hard lesson of how appearances can be perceived during a time when hard economic depression gripped the land. 

Angelica in a later portrait, although the exact date of this portrait is unknown.  Notice the dress.  The neckline is similar, she clearly liked this style of dress.

Angelica’s time at the White House was also marked by personal tragedy. In 1839, she became pregnant, and give birth in March of the following year to a daughter, Rebecca.  Details are varied, some reports claim that Rebecca dies within hours, other claim that both mother and daughter were ill for several months following the birth, and that Rebecca died at the White House in the fall of 1840. Angelica and Abraham had three sons after they left the White House. During those years, they maintained close relations with former President Van Buren. Angelica Singleton Van Buren died in 1878.

Angelica Van Buren's wedding gown.  Is it the same gown as in the White House portrait?

SAC had the opportunity to rehouse the wedding dress worn by Angelica Van Buren which belongs to the United States National Park Service, Martin Van Buren Historic Site, Columbia County, New York.  The dress has creased and yellowed, is in poor condition, and is awaiting treatment.  It was at this point when the dress was identified to us as possibly being the same dress, only altered, that Angelica wears in the White House portrait.  Here at SAC we love a good historical mystery (and gosh there are plenty of them!).  The facts are that the actual fabric of the dress appears to be identical, only the color has changed over time.  The neckline and the cut of the bodice as it dips to a point in the front appears similar.  But, if the dress that SAC conserved is the wedding dress, and the White House portrait is the same dress, then shouldn't it now look like it does in the portrait?  Not necessarily so.  Keep in mind that the portrait is a painting, the artist is free to take plenty of artistic license, including making a dress appear more extravagant.  Also, Angelica learned a tough lesson about the nation's opinion of how money is spent during a depression.  Would she have a dress made, or want to appear more frugal by wearing her wedding gown?  In addition, no portraits were made at her wedding, perhaps she could think of nothing else she would want to wear when her image was captured for prosperity.  Lastly, Angelica may not have been the last person to wear this dress, perhaps a granddaughter used it later and that is why the fabric is the same, but alterations have been made.

What do you think?  Is it the same dress?


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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.

Girlhood embroidery - the world of the sampler

by Barbara Owens

Pictorial Sampler c. 1876

When you talk about samplers, an image is conjured of a rectangular piece of old linen with a hand-stitched alphabet, or perhaps a biblical verse, and a “signature” of a girl, perhaps between the ages of 8 and 12 at the bottom, often accompanied by the location of where she lived or went to school. But the world of samplers goes far beyond to include intricate, highly skilled pieces such as mourning pieces, coats of arms, genealogies, pictorial works, and landscapes. Some feature painted silk, metallic threads and velvet appliqué.

The underlying history to each sampler is that it is also a documentation of the education of girls at a time when girls were seldom educated, and when they were, it was a focus on domestic arts that often dominated their studies. For it was said in an early Italian proverb; “A girl should be taught to sew and not to read, unless one wishes to make a nun of her”.

The study of samplers is an immense field with numerous texts written on everything from the way a sampler was produced, to similar sampler themes and elements which make it indicative of a certain region, to the methods of stitching, and the list goes on and on. 

A mourning piece c. 1864.  Notice the willow tree?  It appears frequently in this kind of sampler.

SAC has had the pleasure of working on countless samplers from nearly every decade from the late 1700’s through the mid to late nineteenth century when the dominance of needlework in education came to a close. Not to say that samplers first appeared in the late 1700’s, in fact they begin to appear as a “graduating accomplishment” in the century before and early samplers can be traced back to Renaissance times. The late eighteenth to mid nineteenth century was signified by a time when girls were sent to be “educated” in a way that made them suitable for a domestic future. Needlework was clearly important, reading might be taught, however writing was not always deemed necessary. Girls may also have received instruction in history or arithmetic, but equally important would be painting, drawing, and perhaps dancing and piano. This all depended of course on how much a family could afford, or if they could afford to send a daughter to school at all. 

A beautiful pictorial work.  Notice the original frame and the painted glass.

Another pictorial piece prior to conservation.

Many times SAC receives samplers that are “incomplete”, meaning all that exists from the original is the linen and the thread in which it was worked. Gone are other key elements that include the stretcher, the glass (which is often edged in black paint and guilding), and the original framing, which if you are lucky, has the stamp of the framer who put the entire thing together. Samplers were the culmination of a young girl’s study. The family would provide the linen (or in some cases, the silk), the thread (mostly silk, and sometimes wool, but almost never cotton as it was incredibly expensive) and then the family would have the work framed and it would hang in the home as a testament to the abilities of their daughter and her completion of an education of propriety and piety.

Here the framer has documented his work "picture put back in the original frame Oct. 1st 1908".

While each sampler is different, the conservation of samplers often presents the same problems. So often a sampler has gotten wet in some way; either it was stored improperly, damaged in a flood, or the humidity levels were too high. This results in the dye of the thread beginning to “bleed” into the other colors or on to the linen. Moisture in/on samplers can also lead to tide marks in the linen.

Damage to samplers can also be “self-inflicted” in that the thread used to create the sampler contained tannins, which due to their own acidic nature, became brittle and then disintegrate. 

Front side exposed to constant light. 

A sampler that has been displayed for years can also have light damage. The threads become faded and the linen darkens. Dust and dirt collect on the stitches and linen, furthering a dark, faded appearance. Turning a sampler over will reveal a glimpse of what it originally looked like. The reverse, particularly on samplers which are in their original frame, shows the original color of the linen and the vibrant colors of the thread.

Reverse side that had been protected from light - notice the difference in color.

Regional samplers come from a particular geographic location and can often be identified simply by what is in the picture. It has been speculated that this is simply because the schoolmistress gave out the same pattern to her students year after year. Particular style elements or unique stitches have been attributed to an individual teacher and can be traced to her as she moved from one school to another, therefore influencing the samplers of the towns in which she taught.

Dudley Castle, which is now the Dudley Observatory in Schenectady, New York 

A mourning piece done in hair?

The Capital Region of New York has a unique feature to some of its samplers. Unlike samplers from other regions, these were worked in a small, fine, stitch that appears to be a brown or black thread. Here’s the rumor – it is said that the thread is actually the hair of the girl who created the sampler. Now that’s really putting yourself into your work! If it is hair, shouldn’t there be “blond” or “red” works?

A close-up of a "traditional" Capital Region piece 

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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.

What do you think, is it possible, is it probable?

Textile Conservation of the Brandywine Flag

by Barbara Owens

Happy Independence Day!

The year is 1777, fourteen months have past since the Declaration of Independence was signed and the colonists fight for their freedom in America’s first great war.  The British have set out to capture Philadelphia.  Washington’s best defense against General Howe and the advancing British army lies at Brandywine Creek, approximately 25 miles southwest of the city.  Washington has strategically positioned his troops at vital crossings along the creek, choosing high ground at Chadd's Ford as his primary defensive position.

On September 11, General Howe pretended to launch an attack at Chadd's Ford, but in fact, the majority of his army had crossed the Brandywine farther north, surprising the Americans with an attack to their right flank.  Howe's strategy works and Washington orders a retreat, but the Continental Army remains intact.  The British take Philadelphia, but the rest, they say, is history. 

The Brandywine Flag, reportedly flown during this historic battle, was a banner carried by Captain Robert Wilson's company of the 7th Pennsylvania Regiment.  The company flag received the name after it was used in the Battle of Brandywine.  The flag is red, with a red and white American flag image in the canton.

Brandywine Flag 

Washington's coat-of-arms

As any good vexillologist will tell you, the 7th Pennsylvania Flag may have been one of the first American flags to feature stars and stripes.  It has been referred to as a flag within a flag or a canton within a canton.  Specifically, the flag shown in the canton of the Brandywine Flag uses a 4-5-4 star pattern.  As it is composed only of red and white, perhaps this was to reflect Washington's own coat of arms?

Close up of Brandywine canton

About 13 years ago, Spicer Art Conservation had the opportunity to perform the textile conservation of this very flag, and what an honor it was.  There is really something magical about an artifact that comes from a time period that defined the beginnings of what was to become the United States of America.  Flags of this era (and other wartime flags) are nearly always hand-sewn.  They exude pride.  These flags were made by wives and mothers who were sending their men into battle.  The men carrying them were not expected to come back, however the hope of their return was undying.

The flag survives today and is housed at Independence Hall in Philadelphia, where it will likely never be displayed again.  Why?  Light damage.  For 30+ years the Brandywine flag sat sandwiched in a display case with fluorescent lights imbedded into the frame.  These lights blasted the flag from two sides, in what is referred to as "raking light damage".  Imagine that the flag is not just being exposed to light from the front, but the light is intentionally directed to its surface horizontally from both the left and right.  This type of damage effectively cooked the Brandywine Flag to an irreparable state.  Light of this nature does not just fade colors, it chemically changes the material itself.  In this case, the Brandywine Flag is made of a plain balanced silk.  It is not terribly thick and the weave is not super tight, and silk, when exposed to unrelenting light, goes from being supple to becoming still flexible, but if touched, turns to a fine powder.  And so, while this piece of history lives on, it must survive in storage.

Treatment of this flag was a slow and delicate process.  The flag had been encapsulated between two layers of silk and was mounted on wool (can you say bug infestation?) with a fine filament line.   The wool and silk would have been a perfect feeding ground for a variety of insects, however, while the display box and its constant light caused damage, possibly it was this very box that kept the bugs at bay and saved the flag from being eaten by insects. 

This begs the question: Did the curators and conservators of thirty years past think they were doing anything that was damaging to this artifact?  Certainly not.  But in hindsight, they chose to display this flag in a way that was profoundly destructive.  Looking back through the history of textile conservation and the various methods in which textiles have been displayed, one can not help but wonder if the methods we are using now will be considered detrimental in the decades that follow?

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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.

The conservation of a 34-star American Flag

by Barbara Owens

Americans have always cherished and proudly honored our Grand Old Flag. But it was not until 1916 when President Woodrow Wilson issued a presidential proclamation to establish June 14^th as national flag day. June 14^th is significant as it also commemorates the same day in 1777 when, by resolution, the Second Continental Congress adopted the official flag of the United States. And of course the US army also celebrates their founding on this same day in 1775.

The flag has undergone a tremendous amount of change in the past 230 + years. Traditionally, each July 4^th, the flag would be updated to incorporate any additional states. And so, as each state entered, a new flag with an additional representative star was born.

Rare 34 star US Flag from the Gettysburg Visitor's Center

Illustration of US Flag with 34 stars 1861-1863

 

Let me take you back to 1861. Lincoln is president, the flag has 34 stars, and it will remain this way for just two short years.  (sidenote: A flag with 34 stars is very rare and no two are really alike because the "rules" for flag making were pretty loose - does this sound like another blog entry - yes! look for "Flags, Flags, and More Flags", in the next few weeks). The United States battles within its own borders in the early days of the Civil War and each citizen is trying to do their part. Enter William Clark, owner of the steamship Oregon who tenders his boat free of charge to move the sick and wounded and transport soldiers up and down the Hudson River bound for New York or Albany. Clark’s daughters, Sarah and Clara, hand-stitch a flag of substantial proportions to fly from the Oregon. The flag, measuring 109” x  80”, now makes its home at the Columbia County Historical Society in Kinderhook, New York.

Close up view of the Oregon flag's stripes

Close up view of Oregon's stars

By 2010, the flag was in tatters and desperately required conservation. The flag had two main challenges: its condition and its size.  Measuring over 9 feet in length, working on this flag was going to require a lot of room and some pretty big tables. As we laid the flag out, it was clear that it needed to be secured from shifting or moving, yet this had to be accomplished in the most delicate manner.

ENTER MAGNETS. Have I mentioned how indispensable magnets are in a conservator’s toolbox? (If you are not using them now in your treatments, you must start!) 

Another view of Oregon's tattered stripes

While the normal course of action here would call for double sided tape, we opted for a smarter approach. The outside edges of each table the flag rested on (three tables total pushed together) were fitted with a metal strip (see photo below, metal strip has holes and is beneath the backing fabric). We then prepared 4-ply mat board strips by placing small, rare-earth, magnets at even intervals. The magnets were then secured to the mat board by wrapping them in framers tape (this process is illustrated in the photo above).  

The entire perimeter of the metal-edged tables were then covered with the mat board/framers tape strips. By sandwiching the supporting fabrics between the metal strip on the table and the magnetic strips, we were able to create a fully stable edge that caused absolutely no stress on the object. Amazing, right?

Treatment complete and ready to go to the museum!

Ultimately, the flag was encapsulated using a custom-dyed nylon net. Utilizing this treatment enabled the piece to be conserved as the historical society intended it to be seen: allowing the original flag to be shown in its current state. The flag is now featured in a Civil War exhibit at the Columbia County Historical Society.

The use of magnets showed itself as invaluable in this step of the treatment as well. By placing the netting over the flag and then securing it in place with the magnetic “tape system”, we guaranteed the layers to be free from movement or shifting.  The net never had to be pinned to the already incredibly fragile fabric. Imagine the converse to this – hundreds of pinholes from the straight pins, which would have had to be used to secure the net to the flag! (Have we sold you on magnets yet?)

The use of magnets for an encapsulating treatment are an absolute necessity and we at Spicer Art Conservation, LLC will never do it any other way. Magnets are presenting their usefulness to us in a variety of ingenious ways, look for more examples in upcoming blog entries. In the meantime, check out our website –www.spicerart.com - to see how we used magnets to re-tuft a Hunzinger chair. 

Magnets and upholstery? You betcha!

for more information about the Oregon's flag, Visit the Columbia County Historical Society’s website at: www.cchsny.org and select "collections" from the left menu.

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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.

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

Versatile Mannequin Design for textile display

It is always a struggle.  Whether you are a conservator, costume professional, or a museum curator, displaying garments on a suitable display-form leaves you dissatisfied with the results and exhausted from the struggle.  History has produced a variety of mannequins and display-forms: from ready-made, to custom-built, dress forms in passive and molded buckram, as well as carved mannequins, just to name a few.  Yet, each was specifically designed for a specific situation, leaving the mannequin "pigeon-holed" in its purpose.  But not any more.  The mannequin, as we know it, has stepped out of the ho-hum and has evolved into the hot-diggity!

What if a mannequin could be as versatile as the entire collection it needs to display? What if a single mannequin could be used to display a mid-century taffeta gown, or just as easily, an 18th century military uniform?

These questions, along with a set of specific demands, led to the development of just such a mannequin.  During a project to create 33 mannequins for the National Air and Space Museum's exhibit, "America by Air", Spicer Art Conservation (along with the museum staff and SmallCorp) were able to come up with an easily dressed form for both male and female garments, displayed at various heights and positions.  This reliable and versatile form is easy to produce and easy to use.  It's novelty is the internal armature, known as "side-ways ladders"(see illustrations below: left: original drawing of mannequin; right: side-ways ladder embedded in foam)

A display from NASM's 

Often it seems that conservators take on all steps of mannequin production.  But by allowing the metal armatures to be made by a metal smith, the conservator can focus on the careful shaping of the ethafoam forms.  The other benefit is "straightness on the base".  How many times has a conservator spent hours carving a form, only to have it inserted on an angle onto the metal display post?  (The answer: Too many times!).  With this design, the placement of the armatures ensures straightness on the base.  An added bonus is that the procedure is quite quick. Dressing a mannequin is made simple as all the parts disassemble.  What is more, is that the design is not limited to a specific fashion period, gender, or ethnic group.

Above: Carving the foam 

So we have a mannequin that is easy to dress, looks great, is adaptable to any display situation, and can be used multiple times with flexible and versatile components that are able to be mixed and matched.  Did I mention that the upper portion could be used for both the display AND the storage of the artifact? (see 4/25/12 blog entry: "Conservation is More Than Treatment")

 

(series of three photos above:  a gradual progression of building a mannequin for Buffalo and Erie County Historical Society's exhibit, "Trial of Red Jacket".)                                                        

As a conservator, I love a challenge.  And I especially love when an item in our daily repertoire can be reinvented to become something extraordinary.  My hope is that museums (both large and small), institutions, and those in private practice can use this design in a successful way to display a wide variety of costume garments easily over the course of many exhibits.

This blog post by Barbara Owens summarizes a paper and talk given by Gwen Spicer, "A Versatile Mannequin" presented at American Institute for Conservation's 34th Annual Meeting. To download a copy of the paper, just click on the link.

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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.

Conservation of Memorabilia

by Barbara Owens 
The French Exposition of 1889, or the World's Fair as it is more commonly referred to, is probably best known for the construction of the Eiffel Tower which served as the entrance arch for all fair attendees to pass beneath.  Lesser known perhaps is that this particular Exposition was attended by the "greats" of the time including: Oscar Wilde, Thomas Edison, Buffalo Bill and Annie Oakley, along with painters, Whistler, Gauguin, van Gogh, and Munch.  This was also the first fair ever lit with electric lights, making night time attendance possible.

The French Exposition had millions of visitors, and nearly each one would take home a souvenir of their trip.  A brand new keepsake, which would soon take the world by storm, was a small glass globe filled with water and tiny white flakes in which a miniature Eiffel Tower stood - you guessed it, the very first snow globes.  Some people took home less permanent items like chocolate, while others took postcards, posters, handkerchiefs, or umbrellas.

Recently, Spicer Art Conservation received a lithography print from a client which featured a view of the fair, surrounded by smaller views of some of the most enticing exhibits.  This particular print had been damaged from a fall.  The print was scratched by the shattering glass and had damage from age and the previous ways it was displayed (old tape, high humidity, mold and stains).

Exposition Universelle de Paris 1889

What stood out was the color and detail of the lithography.  What also stood out to us was the origin of such a lovely print.  Certainly, it was from the Exposition, but was it a piece of memorabilia that was purchased at the Expo by a fair goer?  Perhaps it was a poster to publicize the upcoming event, or maybe it was distributed to exhibitors?  We just did not know, and looking deeper only revealed more questions and amazing facts about the 1889 Exposition.  If you search the term "1889 Paris Exposition", this image is one of the first to come up and copies can be purchased at any poster shop, so clearly it is a well known image.  But short of seeing that there is an original of this print at a French Museum, not much other information exists.  Who was the artist?  How was it produced?  How many were made?  No one seems to know.

Often times a conservator is asked to work on a piece that is striking and valuable, sometimes we work on the mundane, and sometimes we work on the obscure.  This print was probably not terribly expensive in 1889, it probably was not rare, it probably was not "important" in that it was not created by a famous artist.  Yet today it is somewhat rare and is a lovely glimpse at the way images were "printed" just a short 123 years ago, which in a way, gives it importance.

As we at Spicer Art Conservation began to think about it, we realized that it is ALL memorabilia - everything we work on, from flags, to coats from a long-ago war, to furniture, quilts, maps, papers, anything and everything we conserve - everything was saved by someone who cherished it.  People have a propensity to keep things that are important to them, and that importance usually stems from an emotional connection to the object.  Often that emotional connection, along with the piece, is passed to the next generation, and so on.  Lucky for us, or we would not have so many amazing items to work on!  Each day something new comes through our studio doors.  Opening a shipping container from a museum or private collection is an exciting conservation adventure that always comes hand-in-hand with a lesson in history and the importance of memorabilia.

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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.