Copy of my paper coauthored with Dinah Eastop and Mary M. Brooks
2014. Dovgan Nurse, L., Eastop, D. and M.M. Brooks. Authenticity in the revival of orthodox ecclesiastical embroidery in post-Soviet Russia. In: R. Gordon, E. Hermens and F. Lennard (eds) Authenticity and Replication: The ‘Real Thing’ in Art and Conservation. London: Archetype, 74-85.
Last winter I was in Vienna working on an early 19th century horse-drawn railway carriage ‘Hannibal’ at the Technical Museum. One aspect of the project, investigation of upholstery by dye analysis, will be presented next week at the conference Dyes in History and Archaeology 33 at the Centre for Textile Conservation and Technical Art History, University of Glasgow. I will post more on the project later but here is our abstract.
Dye Analysis Contributes to the Interpretation of the Object’s History: Investigating Upholstery of the 1841 Horse-Drawn Railway Carriage ‘Hannibal’ at the Technisches Museum Wien.
Luba Dovgan Nurse1*, Valentina Ljubic-Tobisch2, Chris Clouter2, Thomas Winkler2, Maarten R. van Bommel3, Alisa Selviasiuk3, Matthijs de Keijzer3, Regina Hofmann-de Keijzer4.
- Freelance textile conservator, UK, firstname.lastname@example.org.
- Vienna, Technical Museum, Austria.
- Cultural Heritage Agency of the Netherlands, Department Research Movable Heritage.
- University of Applied Arts Vienna, Austria, Department Archaeometry.
The poster discusses an investigation of the upholstery of a horse-drawn railway carriage known as Hannibal (built around 1841 and used until 1872). The carriage is part of the collection of the Vienna Technical Museum, Austria, and was conserved in 2014 to prepare it for long-term display in the permanent galleries. Conservation of upholstery was prioritised because of its poor condition. A conservation condition survey revealed that the interior upholstery was not original and that the carriage had undergone many renovation campaigns making the identification of the original components and layers of upholstery challenging. The reconstructed history of Hannibal highlights its role as an exhibit at international exhibitions in Vienna prior to becoming part of the museum’s collection. This makes the renovations and renewals of upholstery potentially significant. The conservation project aimed to document and preserve the carriage in its current form. To establish the chronology of the upholstery layers, dyes were analysed by ultrahigh pres- sure liquid chromatography with photo diode array detection (UHPLC-PDA). Analysis of the dyestuffs helped to understand the significance of alterations and restorations in the context of the museum’s earlier practices. The poster presents the most important aspects of this collaborative project.
added 10 Dec 2014: poster file.
This post is about making a three dimensional conservation storage mount from Fosshape 600 (polyester) for a rare folk dance bonnet made from paper. This is an example of preventive methods of collection care and storage that compliment Continue reading
Here is some additional information following the discussions during the ‘Curation of ethnobiology collections’ Synthesys course at the Economic Botany Collection Royal Botanic Gardens, Kew in June 2013.
1. HANDLING OF MUSEUM OBJECTS Continue reading
At the recent (3rd of May 2013) Artefacts of Encounter workshop a much better copy of the above image was shown by Julie Adams in her presentation ‘Bellingshausen collection of Maori cloaks in St. Petersburg’. AoE team’s research in Russia has located some incredible artefacts, cloaks included, I hope they publicise the results of this project soon.
The original drawing, entitled ‘Chief of the southern New Zealand with his wife’, is by Pavel Mikhailov (1786-1840) who took part in the expedition of Fabian Gottlieb von Bellingshausen (Russian: Фаддей Фаддеевич Беллинсгаузен, Faddey Faddeyevich Bellinsgauzen), the so called First Russian Antarctic Expedition of 1819-1821.
The image caught my attention. This post is about the actual plant used to make the woman’s headdress depicted. Is it made from ‘tikumu’- mountain daisy, Celmisia, endemic Continue reading
I have been looking for examples of application of Reflectance Transformation Imaging (RTI) to the study of basketry and it came in today: this blog by Dinah Eastop at The National Archives has an RTI image of a straw hat.
From my experience of working with basketry collections (mainly at the NMAI and EBC/Kew), basketry is often difficult to photograph, especially when the aim is to share the collection remotely with contemporary basketry makers who are interested in the details of construction (starting point, base, turning points, rim, sides, weave etc etc etc), and the basket’s original function.
The object’s condition can be used to interpret the life of the artefact prior to entering museum, with basketry this aspect is often overlooked. This is when a hat gets displayed as a bag upside down, or when a used and functional basket is misinterpreted as a newly made tourist souvenir.
Are there any applications of RTI to the study of evidence of wear and tear with basketry or garments?
I look forward to the updates on this project from The National Archives.
UPDATE 6/5/13: Part three of Dinah’s blog, focused on ‘plaiting’, demonstrates the applicability of RTI to the study of textile structures that are seemingly flat.
Together with KOBAKANT Collective, we are working on a paper for the upcoming North American Textile Conservation Conference ‘Conserving Modernity: the Articulation of Innovation’. Preprints will be published.
Conductive Threads of Postmodernity: Materiality and Engineered Agency of ‘The Crying Dress’
Luba Dovgan Nurse and KOBAKANT: Hannah Perner-Wilson and Mika Satomi
This paper focuses Continue reading