V&A Conservation Journal, no 66

Autumn 2019 Number 66

Conservation Journal

Contents Editorial Board Nigel Bamforth Senior Furniture Conservator Nicola Costaras Head Paintings Conservator Sherrie Eatman Head Stained Glass Conservator/ Editor Elizabeth-Anne Haldane Senior Textiles Conservator Bhavesh Shah Scientist (Environment)

V&A Conservation Journal No.66

1 Editorial

Sherrie Eatman, Head Stained Glass Conservator

2 On Yer Bike: Performance and Speed for V&A Dundee

Keira Miller, Senior Textile Conservation Display Specialist Jo Dickinson, Museum Technician

5 Tynecastle Tapestry: the conservation and display of a late nineteenth-century decorative wall covering Nicola Costaras, Head Paintings Conservator Eoin Kelly, Paper Conservator Marie de Lauzon, Paintings Conservator

8 Frida Kahlo: Making Her Up

Rachael Lee, Textile Conservation Display Specialist Photographs are credited individually All enquiries to: Conservation Department Victoria & Albert Museum London SW7 2RL, UK Telephone +44 (0)20 7942 2231 Email: conweb@vam.ac.uk The V&A Conservation Journal is an informal publication and references in articles are discouraged. Readers may contact authors for further information via the email address above.

The V&A Conservation Journal is available online at: https://www.vam. ac.uk/blog/caring-for-our-collections/ conservation-journal

11 Making a simple insect activity monitor using a Raspberry Pi

Bhavesh Shah, Scientist (Environment) Maria Ines Carvalho, ERASMUS student placement (University of Porto)

12 The discovery of mercury white on a barniz de Pasto cabinet Lucia Burgio, Senior Scientist (Object Analysis) Dana Melchar, Senior Furniture Conservator

14 Green Initiatives at the V&A

Editorial

Sherrie Eatman, Head Stained Glass Conservator and Editor

Collections Move Programme, a massive store move project which involves assessing, stabilising, and providing advice for handling, packing and storing over 260,000 objects, 915 archives and 350,000 library books; and the redevelopment of the V&A Museum of Childhood. In addition to these projects, we conserved, researched and advised on the mounting and display of numerous objects for gallery displays, loans, and exhibitions as well as supported the Museum’s commitment to sustainability, as this issue so clearly demonstrates.

Regular readers of the V&A Conservation Journal might be wondering why we have decided to break from a tradition established with the first issue in 1991 by having the Editor, instead of the head of the Conservation Department, introduce this issue. The staff chart on the inside of the back cover provides a clue: Sandra Smith, our last Head of Conservation & Technical Services, left the Museum in February 2019 and the post is still vacant. Despite being ‘headless’, demands on the Department continued to increase throughout 2019 to support the Museum’s ever-ambitious programme of loans, exhibitions, activities and events as well as its programme of expansion and redevelopment.

With the appointments of both a new Head of Conservation and a new Director of Conservation & Collections Management expected in 2020, it seems inevitable that change is going to follow.

However, I am sure that some things can be counted on to remain the same: the curiosity, dedication, enthusiasm, generosity and resourcefulness of my colleagues. I believe that these qualities, as well as our genuine love of the objects in our care, are evident in the articles that follow.

During the twelve-month period covered by this issue (October 2018 – September 2019), we were involved in major projects such as the opening of V&A Dundee, the first dedicated design museum in Scotland; V&A East, which involves the creation of two new venues in East London’s Queen Elizabeth Olympic Park that will be open to the public (a Collection and Research Centre and a new museum); the Blythe House

Lilia Tisdall, Textile Conservation Display Specialist and ‘Green Champion’

1 5 Potential benefits of the circular economy on

V&A conservation practice and materials

Melissa Lewis, Paper Conservator and ‘Green Champion’

16 Clothworkers’ Fellowship - Completed Frances Hartog, Senior Textile Conservator

1 7 The Hero of Niagara and His Wheelbarrows

Catherine Haill, Curator, Popular Entertainment, Theatre & Performance Marie de Lauzon, Paintings Conservator

20 Disguising Degradation: The Treatment of a Latex Theatre Mask

Jacquelyn Peterson-Grace, MS Conservation student, Winterthur/University of Delaware Program in Art Conservation

2 Through the Looking Glass: conserving a mirror 2 for the Blythe House Decant Philip Kevin, Furniture Conservator

Front cover image: Marie de Lauzon cleaning Blondin’s wheelbarrow © Victoria and Albert Museum, London

1

Contents Editorial Board Nigel Bamforth Senior Furniture Conservator Nicola Costaras Head Paintings Conservator Sherrie Eatman Head Stained Glass Conservator/ Editor Elizabeth-Anne Haldane Senior Textiles Conservator Bhavesh Shah Scientist (Environment)

V&A Conservation Journal No.66

1 Editorial

Sherrie Eatman, Head Stained Glass Conservator

2 On Yer Bike: Performance and Speed for V&A Dundee

Keira Miller, Senior Textile Conservation Display Specialist Jo Dickinson, Museum Technician

5 Tynecastle Tapestry: the conservation and display of a late nineteenth-century decorative wall covering Nicola Costaras, Head Paintings Conservator Eoin Kelly, Paper Conservator Marie de Lauzon, Paintings Conservator

8 Frida Kahlo: Making Her Up

Rachael Lee, Textile Conservation Display Specialist Photographs are credited individually All enquiries to: Conservation Department Victoria & Albert Museum London SW7 2RL, UK Telephone +44 (0)20 7942 2231 Email: conweb@vam.ac.uk The V&A Conservation Journal is an informal publication and references in articles are discouraged. Readers may contact authors for further information via the email address above.

The V&A Conservation Journal is available online at: https://www.vam. ac.uk/blog/caring-for-our-collections/ conservation-journal

11 Making a simple insect activity monitor using a Raspberry Pi

Bhavesh Shah, Scientist (Environment) Maria Ines Carvalho, ERASMUS student placement (University of Porto)

12 The discovery of mercury white on a barniz de Pasto cabinet Lucia Burgio, Senior Scientist (Object Analysis) Dana Melchar, Senior Furniture Conservator

14 Green Initiatives at the V&A

Editorial

Sherrie Eatman, Head Stained Glass Conservator and Editor

Collections Move Programme, a massive store move project which involves assessing, stabilising, and providing advice for handling, packing and storing over 260,000 objects, 915 archives and 350,000 library books; and the redevelopment of the V&A Museum of Childhood. In addition to these projects, we conserved, researched and advised on the mounting and display of numerous objects for gallery displays, loans, and exhibitions as well as supported the Museum’s commitment to sustainability, as this issue so clearly demonstrates.

Regular readers of the V&A Conservation Journal might be wondering why we have decided to break from a tradition established with the first issue in 1991 by having the Editor, instead of the head of the Conservation Department, introduce this issue. The staff chart on the inside of the back cover provides a clue: Sandra Smith, our last Head of Conservation & Technical Services, left the Museum in February 2019 and the post is still vacant. Despite being ‘headless’, demands on the Department continued to increase throughout 2019 to support the Museum’s ever-ambitious programme of loans, exhibitions, activities and events as well as its programme of expansion and redevelopment.

With the appointments of both a new Head of Conservation and a new Director of Conservation & Collections Management expected in 2020, it seems inevitable that change is going to follow.

However, I am sure that some things can be counted on to remain the same: the curiosity, dedication, enthusiasm, generosity and resourcefulness of my colleagues. I believe that these qualities, as well as our genuine love of the objects in our care, are evident in the articles that follow.

During the twelve-month period covered by this issue (October 2018 – September 2019), we were involved in major projects such as the opening of V&A Dundee, the first dedicated design museum in Scotland; V&A East, which involves the creation of two new venues in East London’s Queen Elizabeth Olympic Park that will be open to the public (a Collection and Research Centre and a new museum); the Blythe House

Lilia Tisdall, Textile Conservation Display Specialist and ‘Green Champion’

1 5 Potential benefits of the circular economy on

V&A conservation practice and materials

Melissa Lewis, Paper Conservator and ‘Green Champion’

16 Clothworkers’ Fellowship - Completed Frances Hartog, Senior Textile Conservator

1 7 The Hero of Niagara and His Wheelbarrows

Catherine Haill, Curator, Popular Entertainment, Theatre & Performance Marie de Lauzon, Paintings Conservator

20 Disguising Degradation: The Treatment of a Latex Theatre Mask

Jacquelyn Peterson-Grace, MS Conservation student, Winterthur/University of Delaware Program in Art Conservation

2 Through the Looking Glass: conserving a mirror 2 for the Blythe House Decant Philip Kevin, Furniture Conservator

Front cover image: Marie de Lauzon cleaning Blondin’s wheelbarrow © Victoria and Albert Museum, London

1

V&A Conservation Journal No.66

Keira Miller, Senior Textile Conservation Display Specialist Jo Dickinson, Museum Technician

V&A Conservation Journal No.66

On Yer Bike: Performance and Speed for V&A Dundee

Fig. 2 Montage showing the multiple stages involved in sculpting, smoothing and covering the posed figure (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

Most people think of world-renowned Scottish textiles as tweeds, tartans, and knitwear. While each of these are handsomely represented in V&A Dundee’s new Scottish Design Galleries, this article will focus on a somewhat stretchier and slightly more cutting-edge example of Scottish textile innovation, which brought with it a unique display challenge – especially since none of us are experts in the world of elite speed cycling.

Cycling apparel company Endura was established in Scotland in 1993. From their premises in Livingston, this team of cycling devotees now stands among the world leaders in elite, performance-maximising cycling attire. In the Scottish Design Galleries of V&A Dundee, Endura is represented by the pinnacle of their recent achievements: a replica of the skinsuit worn by British cyclist Alex Dowsett during his 2015 attempt to beat the UCI (Union Cycliste Internationale) Hour Record.

For the non-cyclists still reading, the aim of the Hour Record is simple – the rider must ride as far as they can in an hour. Travelling a distance of 52.937 kilometres, and beating the previous record of 52.491 kilometres, Dowsett achieved the Hour Record in May 2015. While subsequent attempts at the record have seen bigger distances achieved between new records, Dowsett’s triumph demonstrates that even small advances make a difference in bids for this title. With around 80 percent of aerodynamic drag coming from a cyclist’s body, cycling attire can have extraordinary effects, and at this elite level, every element is subjected to extreme levels of micro-engineering.

Fig. 3 Diagram of internal and external mount fixings (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

Fig. 1 Distortion to the shape of the skinsuit on an upright fashion mannequin (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

sourced cycling mannequin. With three other figures to install in the same case, it soon transpired that there was insufficient space for a bike. Nor was there room for limbs extending beyond the confines of the garment. The brief, therefore, was to create a fully cut-away and light-weight figure that captured the essence of elite speed cycling without reliance on supplementary props or visuals. With a discreet mounting system, it was anticipated that the figure could be positioned as if riding an invisible bike.

In perfecting this high-stretch elastomeric skinsuit, Endura created and tested 57 versions before achieving the aerodynamic efficiency they desired in windtunnel tests. As Dowsett’s need to train conflicted with a need to refine the suit, Endura created a threedimensional scan of his body in his cycling position, facilitating the printing of a three-dimensional figure leaving the original Dowsett free to train while testing continued 1.

Without access to Endura’s handy Dowsett replica, we had to start from scratch to create this bespoke body.

Viewing the garment on an upright figure confirmed that standard fashion mannequins lacked the essential qualities of an elite cyclist. It was abundantly clear that the skinsuit’s cut and construction was contoured to follow an aerodynamic cycling posture (Fig. 1). In short, we needed to make our own bespoke

Being so intrinsically linked to a specific physique and body position, the garment that emerged from this research and development was unlike any the V&A conservation team had encountered before. Early display discussions hinged on the likelihood of placing a bike in the showcase, ridden by a commercially-

2

this new figure. Using the upright mannequin shown in Fig. 1 as the basic mould, the curvature of the body and the flexion and extension in the limbs was achieved by assembling multiple overlapping Fosshape casts, each cut to shape, manipulated to attain the pose and fixed with a combination of heavy stitching and hot-melt glue (Fig. 2).

cyclist, with a pose that conformed to these specific contours without over stretching the elastomeric fabric.

Fosshape, an inert thermoplastic non-woven polyester textile 2, has become widely used over the last 10 years, gaining an enthusiastic following in the textile display world and leading to numerous innovations, from suspended cut-away figures 3 to spectacularly posed limbs 4. Light-weight, mouldable, and easily manipulated, it was the obvious choice for sculpting

While the final pose was determined by reference images of Dowsett’s Hour Record, the sculpting process relied on an element of trial and error. One 3

V&A Conservation Journal No.66

Keira Miller, Senior Textile Conservation Display Specialist Jo Dickinson, Museum Technician

V&A Conservation Journal No.66

On Yer Bike: Performance and Speed for V&A Dundee

Fig. 2 Montage showing the multiple stages involved in sculpting, smoothing and covering the posed figure (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

Most people think of world-renowned Scottish textiles as tweeds, tartans, and knitwear. While each of these are handsomely represented in V&A Dundee’s new Scottish Design Galleries, this article will focus on a somewhat stretchier and slightly more cutting-edge example of Scottish textile innovation, which brought with it a unique display challenge – especially since none of us are experts in the world of elite speed cycling.

Cycling apparel company Endura was established in Scotland in 1993. From their premises in Livingston, this team of cycling devotees now stands among the world leaders in elite, performance-maximising cycling attire. In the Scottish Design Galleries of V&A Dundee, Endura is represented by the pinnacle of their recent achievements: a replica of the skinsuit worn by British cyclist Alex Dowsett during his 2015 attempt to beat the UCI (Union Cycliste Internationale) Hour Record.

For the non-cyclists still reading, the aim of the Hour Record is simple – the rider must ride as far as they can in an hour. Travelling a distance of 52.937 kilometres, and beating the previous record of 52.491 kilometres, Dowsett achieved the Hour Record in May 2015. While subsequent attempts at the record have seen bigger distances achieved between new records, Dowsett’s triumph demonstrates that even small advances make a difference in bids for this title. With around 80 percent of aerodynamic drag coming from a cyclist’s body, cycling attire can have extraordinary effects, and at this elite level, every element is subjected to extreme levels of micro-engineering.

Fig. 3 Diagram of internal and external mount fixings (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

Fig. 1 Distortion to the shape of the skinsuit on an upright fashion mannequin (V&A Textile Conservation Studio © Victoria and Albert Museum, London)

sourced cycling mannequin. With three other figures to install in the same case, it soon transpired that there was insufficient space for a bike. Nor was there room for limbs extending beyond the confines of the garment. The brief, therefore, was to create a fully cut-away and light-weight figure that captured the essence of elite speed cycling without reliance on supplementary props or visuals. With a discreet mounting system, it was anticipated that the figure could be positioned as if riding an invisible bike.

In perfecting this high-stretch elastomeric skinsuit, Endura created and tested 57 versions before achieving the aerodynamic efficiency they desired in windtunnel tests. As Dowsett’s need to train conflicted with a need to refine the suit, Endura created a threedimensional scan of his body in his cycling position, facilitating the printing of a three-dimensional figure leaving the original Dowsett free to train while testing continued 1.

Without access to Endura’s handy Dowsett replica, we had to start from scratch to create this bespoke body.

Viewing the garment on an upright figure confirmed that standard fashion mannequins lacked the essential qualities of an elite cyclist. It was abundantly clear that the skinsuit’s cut and construction was contoured to follow an aerodynamic cycling posture (Fig. 1). In short, we needed to make our own bespoke

Being so intrinsically linked to a specific physique and body position, the garment that emerged from this research and development was unlike any the V&A conservation team had encountered before. Early display discussions hinged on the likelihood of placing a bike in the showcase, ridden by a commercially-

2

this new figure. Using the upright mannequin shown in Fig. 1 as the basic mould, the curvature of the body and the flexion and extension in the limbs was achieved by assembling multiple overlapping Fosshape casts, each cut to shape, manipulated to attain the pose and fixed with a combination of heavy stitching and hot-melt glue (Fig. 2).

cyclist, with a pose that conformed to these specific contours without over stretching the elastomeric fabric.

Fosshape, an inert thermoplastic non-woven polyester textile 2, has become widely used over the last 10 years, gaining an enthusiastic following in the textile display world and leading to numerous innovations, from suspended cut-away figures 3 to spectacularly posed limbs 4. Light-weight, mouldable, and easily manipulated, it was the obvious choice for sculpting

While the final pose was determined by reference images of Dowsett’s Hour Record, the sculpting process relied on an element of trial and error. One 3

V&A Conservation Journal No.66

V&A Conservation Journal No.66

Tynecastle Tapestry: the conservation and display of a late nineteenth-century decorative wall covering Nicola Costaras, Head Paintings Conservator Eoin Kelly, Paper Conservator Marie de Lauzon, Paintings Conservator

‘Decorative art has become truly democratic, and the problem of the hour is how to bring within the reach of the everyday people the decorative effects of the most costly materials.’ 1 These lines formed part of the introduction to an article in The Decorator and Furnisher, published in June 1890, about the invention and advantages of Tynecastle Tapestry and celebrated the opening of an office and saleroom of the Tynecastle Canvas Co. of Edinburgh at No. 74 West 23rd Street in New York City. The editor went on to describe how the modern decorator was now able to imitate a variety of antique wallcoverings from ‘the most precious tissues of China and Japan’ to the ‘illuminated leather of Spain and Hungary’ by using wallpaper, papier mâché, lincrusta, anaglypta, lignomur, cheap silks, cretonnes and now Tynecastle Tapestry.2 A great many designs are described so it is an extraordinary coincidence that the example of Tynecastle Tapestry in the Victoria and Albert Museum’s collection should be one of the two patterns illustrated in the article (Fig. 1), with curling grapevines, pomegranates and a well-camouflaged bird in the foliage. The pattern was embossed into the canvas in high relief and backed with a papier mâché layer made from red paper pulp. The front of the canvas was coated with a cream-coloured oil priming.

It could be bought like this ‘ready for any style of decoration the decorator can devise’ or, if desired, the Tynecastle Canvas Co. could supply sections complete with painting and gilding. It was pointed out that this was a great saving in time and labour particularly suited to those situations with considerable time pressure such as the fitting out of steamships.3

Fig. 4 The completed figure © Victoria and Albert Museum, London

concern during the process was whether using fragmentary pieces might reduce overall cohesion and stability of the figure. In practice, it was this close lamination of overlapping layers that helped attain the rigidity required. Once the pose had been achieved, the overall firmness of the form was improved through stuffing with polyester wadding without excessively adding to the weight. The smooth finish of the form was achieved by applying a fine layer of polyester wadding to the outer surface, below a layer of smooth stretch nylon.

tearing. A fine steel rod, screwed in position where the steel bar projected from the form, extended away from the figure to sit over a pin projecting from the display wall (Fig. 3).

The resulting figure, now on display at V&A Dundee, is unquestionably recognisable as a cyclist on a bike, without a bike (Fig. 4). For the team at V&A South Kensington, this project represents a significant advance in Fosshape innovation, alongside an opportunity to gain a deeper understanding of elite high-performance textiles.

Discussions about suitable wall mounting systems evolved alongside the production of the Fosshape form. It was necessary to regularly evaluate the strength of the form and its ability to maintain both shape and position without distorting under its own weight. Since additional strengthening elements would increase the weight of the mannequin, and therefore the scale of the mounting system, the aim was to create a sufficiently rigid form that only minimal fixings were required, at the neck and back leg of the figure.

Acknowledgements

Our thanks to Andy Monks for the support and expertise he lent to this endeavour, and to the V&A Dundee team for laying down this challenge and watching it evolve.

References

1. ‘Alex Dowsett’, https://stories.endurasport.com/ alex-dowsett, accessed June 2019.

2. Charlotte Gamper, Dr Ian Gibb and Emma Henni, ‘Keeping in Shape” An Investigation into the Suitability of using Fosshape™ for Costume Storage Mounts at Historic Royal Palaces, Material in Motion 10th NATCC Conservation Conference Postprints, New York, 2015.

3 Maggie Dobbie, ‘Another Mannequin-Making Method’, ICON News, Issue 52, 2014, p.30-32.

4. Lara Flecker and Rachael Lee, ‘Out on a Limb: the Fosshape revolution’, V&A Conservation Journal, No. 64, 2018, p.8-9.

This was achieved using shaped steel bars on the inside surface of the form, aligned to equivalent brass strips positioned on the outer surface. Screwing these plates together through corresponding holes sandwiched the Fosshape wall and prevented it from

4

Fig. 1 Detail of p.83 of The Decorator and Furnisher, Vol 16, No. 3 (June 1890) showing the pomegranate and grapevine design (Photography by Nicola Costaras © Victoria and Albert Museum, London)

It is not known where the scheme in the V&A collection was originally hung. The chosen finish, in imitation of gilded leather, was achieved through a warm yellow shellac varnish applied over silver leaf.

Dark brown glazes were added to further emphasise the relief pattern (Fig. 2). The three pieces chosen for the Ocean Liners: Speed and Style exhibition (W.24:13-2016) must have been in an arched alcove while the two now hanging in the Scottish Design Galleries at V&A Dundee are rectangular (W.24:4-5-2016). The sections, which arrived rolled, measure 610 mm wide

5

V&A Conservation Journal No.66

V&A Conservation Journal No.66

Tynecastle Tapestry: the conservation and display of a late nineteenth-century decorative wall covering Nicola Costaras, Head Paintings Conservator Eoin Kelly, Paper Conservator Marie de Lauzon, Paintings Conservator

‘Decorative art has become truly democratic, and the problem of the hour is how to bring within the reach of the everyday people the decorative effects of the most costly materials.’ 1 These lines formed part of the introduction to an article in The Decorator and Furnisher, published in June 1890, about the invention and advantages of Tynecastle Tapestry and celebrated the opening of an office and saleroom of the Tynecastle Canvas Co. of Edinburgh at No. 74 West 23rd Street in New York City. The editor went on to describe how the modern decorator was now able to imitate a variety of antique wallcoverings from ‘the most precious tissues of China and Japan’ to the ‘illuminated leather of Spain and Hungary’ by using wallpaper, papier mâché, lincrusta, anaglypta, lignomur, cheap silks, cretonnes and now Tynecastle Tapestry.2 A great many designs are described so it is an extraordinary coincidence that the example of Tynecastle Tapestry in the Victoria and Albert Museum’s collection should be one of the two patterns illustrated in the article (Fig. 1), with curling grapevines, pomegranates and a well-camouflaged bird in the foliage. The pattern was embossed into the canvas in high relief and backed with a papier mâché layer made from red paper pulp. The front of the canvas was coated with a cream-coloured oil priming.

It could be bought like this ‘ready for any style of decoration the decorator can devise’ or, if desired, the Tynecastle Canvas Co. could supply sections complete with painting and gilding. It was pointed out that this was a great saving in time and labour particularly suited to those situations with considerable time pressure such as the fitting out of steamships.3

Fig. 4 The completed figure © Victoria and Albert Museum, London

concern during the process was whether using fragmentary pieces might reduce overall cohesion and stability of the figure. In practice, it was this close lamination of overlapping layers that helped attain the rigidity required. Once the pose had been achieved, the overall firmness of the form was improved through stuffing with polyester wadding without excessively adding to the weight. The smooth finish of the form was achieved by applying a fine layer of polyester wadding to the outer surface, below a layer of smooth stretch nylon.

tearing. A fine steel rod, screwed in position where the steel bar projected from the form, extended away from the figure to sit over a pin projecting from the display wall (Fig. 3).

The resulting figure, now on display at V&A Dundee, is unquestionably recognisable as a cyclist on a bike, without a bike (Fig. 4). For the team at V&A South Kensington, this project represents a significant advance in Fosshape innovation, alongside an opportunity to gain a deeper understanding of elite high-performance textiles.

Discussions about suitable wall mounting systems evolved alongside the production of the Fosshape form. It was necessary to regularly evaluate the strength of the form and its ability to maintain both shape and position without distorting under its own weight. Since additional strengthening elements would increase the weight of the mannequin, and therefore the scale of the mounting system, the aim was to create a sufficiently rigid form that only minimal fixings were required, at the neck and back leg of the figure.

Acknowledgements

Our thanks to Andy Monks for the support and expertise he lent to this endeavour, and to the V&A Dundee team for laying down this challenge and watching it evolve.

References

1. ‘Alex Dowsett’, https://stories.endurasport.com/ alex-dowsett, accessed June 2019.

2. Charlotte Gamper, Dr Ian Gibb and Emma Henni, ‘Keeping in Shape” An Investigation into the Suitability of using Fosshape™ for Costume Storage Mounts at Historic Royal Palaces, Material in Motion 10th NATCC Conservation Conference Postprints, New York, 2015.

3 Maggie Dobbie, ‘Another Mannequin-Making Method’, ICON News, Issue 52, 2014, p.30-32.

4. Lara Flecker and Rachael Lee, ‘Out on a Limb: the Fosshape revolution’, V&A Conservation Journal, No. 64, 2018, p.8-9.

This was achieved using shaped steel bars on the inside surface of the form, aligned to equivalent brass strips positioned on the outer surface. Screwing these plates together through corresponding holes sandwiched the Fosshape wall and prevented it from

4

Fig. 1 Detail of p.83 of The Decorator and Furnisher, Vol 16, No. 3 (June 1890) showing the pomegranate and grapevine design (Photography by Nicola Costaras © Victoria and Albert Museum, London)

It is not known where the scheme in the V&A collection was originally hung. The chosen finish, in imitation of gilded leather, was achieved through a warm yellow shellac varnish applied over silver leaf.

Dark brown glazes were added to further emphasise the relief pattern (Fig. 2). The three pieces chosen for the Ocean Liners: Speed and Style exhibition (W.24:13-2016) must have been in an arched alcove while the two now hanging in the Scottish Design Galleries at V&A Dundee are rectangular (W.24:4-5-2016). The sections, which arrived rolled, measure 610 mm wide

5

V&A Conservation Journal No.66

V&A Conservation Journal No.66

option for the two panels going on permanent display in the Scottish Design Galleries at V&A Dundee as they would have the advantage of allowing the canvases to be tensioned after mounting if necessary.

Polyester sailcloth and Beva film (Lascaux heat seal adhesive) were chosen to carry out the strip-lining.

The high relief in the canvas-paper laminate and consequent hollows on the reverse presented a challenge to adhering the polyester sailcloth, so an initial Japanese paper strip with wheatstarch paste, which could be moulded to the irregular surface while damp, was applied. After this was dry the polyester sailcloth strip-lining was ironed over it. The canvases were then attached to their new stretchers. The paper had a fortuitous additional function; by staining it with a thin wash of acrylic paint to match a half tone in the faux gilt leather, it was used to conceal the bright white sailcloth strip-lining. Beva film was used to secure the paper to the excess sailcloth on the reverse.

Fig.2 Detail of Tynecastle Tapestry panel (W.24:3-2016) © Victoria and Albert Museum, London

Fig. 3 Detail of the reverse of W.24:2-2016 before treatment showing damage to paper layer and residues of plaster © Victoria and Albert Museum, London

with a maximum height of 2380 mm. There were indications that it had been necessary to remove the sections of canvas from the wall quickly, fragments of plaster were stuck to the reverse and in places much of the red paper layer was missing or torn (Fig. 3).

through Gore-Tex and letting it dry flat under dry blotter and weight. Distracting losses in the glaze layers were retouched with Gamblin Conservation colours (pigments bound in Laropal A81).

Having prepared the first three sections for the Ocean Liners exhibition, the method to be used for mounting them needed to be determined. This decision was undertaken in collaboration with our colleagues in Paper Conservation. As the exhibition would be travelling to several venues, it would be an advantage to have light-weight supports that would be straightforward to pack and install. It was agreed that the system generally used for mounting wallpaper would be suitable. Eoin Kelly led on this, attaching Japanese paper strips to all the edges with wheatstarch paste. Susan Catcher, Senior Paper Conservator, showed us how to dye the paper with Yasha, a traditional dye produced from alder tree cones, to provide a neutral background. The arched shape to the top of the ‘tapestry’ panels meant that the paper would be visible over a considerable area and the colour was therefore important. Once dry

Their condition varied a little but all the sections of ‘tapestry’ needed similar treatment. Before working on the reverse, Lucia Burgio, Senior Scientist (Object Analysis), analysed the fibrous red paper to ensure it was not going to pose a health risk. X-ray fluorescence (XRF) analysis showed that the pulp is pink due to the inclusion of red iron oxide. The cream priming was found to consist mainly of lead white and chalk, with the inclusion of some barium sulphate, and the metal leaf was identified as silver. Tears were repaired using polyamide welding powder, flaking silver leaf was fixed using Lascaux Medium for Consolidation, and the torn paper was reattached using wheatstarch paste. Surface dust was removed using latex smoke sponges. Local distortions, and the curl from their previous rolled state, were treated by humidifying the canvas-paper laminate with damp blotting paper 6

Where better to treat a painted, gilded, and varnished canvas-paper laminate than in the adjacent Paper and Paintings Conservation studios at the V&A? By exchanging and adapting ideas and materials we combined traditional and innovative treatments. This example of Tynecastle Tapestry is now a rare survival.

It is only through contemporary accounts that we can appreciate that a hundred years ago it was a common sight in decorative interiors. The popularity of Tynecastle Tapestry in the decoration of ocean liners is underlined in the 1890 article. It describes how the canvas was used extensively, in ‘saloons, staterooms, passages, and stairways’, in six of the ships of the P&O Co.; and that ‘the two latest additions to the White Star fleet, the “Teutonic” and the “Majestic”, have been decorated with the canvas on a magnificent scale’. 4

Fig.4 Section of Tynecastle Tapestry (W.24:1-2016) ready for installation in the Ocean Liners exhibition © Victoria and Albert Museum, London

Acknowledgements

We would like to thank the many colleagues who assisted us with this highly collaborative project and particularly Matthew Rose in Technical Services for the supporting panels.

the paper edges were used to attach the canvas sections to Tycore and Dibond composite panels.

These secondary supports were assembled in advance complete with aluminium split battens ready for installation (Fig. 4). While the system worked well for the sections intended for the Ocean Liners exhibition, we felt that traditional stretchers would be a better

References

1. The Decorator and Furnisher, Vol 16, No. 3 (June 1890), p.83 2. Ibid, p.83 3. Ibid, p.84 4. Ibid, p.84

7

V&A Conservation Journal No.66

V&A Conservation Journal No.66

option for the two panels going on permanent display in the Scottish Design Galleries at V&A Dundee as they would have the advantage of allowing the canvases to be tensioned after mounting if necessary.

Polyester sailcloth and Beva film (Lascaux heat seal adhesive) were chosen to carry out the strip-lining.

The high relief in the canvas-paper laminate and consequent hollows on the reverse presented a challenge to adhering the polyester sailcloth, so an initial Japanese paper strip with wheatstarch paste, which could be moulded to the irregular surface while damp, was applied. After this was dry the polyester sailcloth strip-lining was ironed over it. The canvases were then attached to their new stretchers. The paper had a fortuitous additional function; by staining it with a thin wash of acrylic paint to match a half tone in the faux gilt leather, it was used to conceal the bright white sailcloth strip-lining. Beva film was used to secure the paper to the excess sailcloth on the reverse.

Fig.2 Detail of Tynecastle Tapestry panel (W.24:3-2016) © Victoria and Albert Museum, London

Fig. 3 Detail of the reverse of W.24:2-2016 before treatment showing damage to paper layer and residues of plaster © Victoria and Albert Museum, London

with a maximum height of 2380 mm. There were indications that it had been necessary to remove the sections of canvas from the wall quickly, fragments of plaster were stuck to the reverse and in places much of the red paper layer was missing or torn (Fig. 3).

through Gore-Tex and letting it dry flat under dry blotter and weight. Distracting losses in the glaze layers were retouched with Gamblin Conservation colours (pigments bound in Laropal A81).

Having prepared the first three sections for the Ocean Liners exhibition, the method to be used for mounting them needed to be determined. This decision was undertaken in collaboration with our colleagues in Paper Conservation. As the exhibition would be travelling to several venues, it would be an advantage to have light-weight supports that would be straightforward to pack and install. It was agreed that the system generally used for mounting wallpaper would be suitable. Eoin Kelly led on this, attaching Japanese paper strips to all the edges with wheatstarch paste. Susan Catcher, Senior Paper Conservator, showed us how to dye the paper with Yasha, a traditional dye produced from alder tree cones, to provide a neutral background. The arched shape to the top of the ‘tapestry’ panels meant that the paper would be visible over a considerable area and the colour was therefore important. Once dry

Their condition varied a little but all the sections of ‘tapestry’ needed similar treatment. Before working on the reverse, Lucia Burgio, Senior Scientist (Object Analysis), analysed the fibrous red paper to ensure it was not going to pose a health risk. X-ray fluorescence (XRF) analysis showed that the pulp is pink due to the inclusion of red iron oxide. The cream priming was found to consist mainly of lead white and chalk, with the inclusion of some barium sulphate, and the metal leaf was identified as silver. Tears were repaired using polyamide welding powder, flaking silver leaf was fixed using Lascaux Medium for Consolidation, and the torn paper was reattached using wheatstarch paste. Surface dust was removed using latex smoke sponges. Local distortions, and the curl from their previous rolled state, were treated by humidifying the canvas-paper laminate with damp blotting paper 6

Where better to treat a painted, gilded, and varnished canvas-paper laminate than in the adjacent Paper and Paintings Conservation studios at the V&A? By exchanging and adapting ideas and materials we combined traditional and innovative treatments. This example of Tynecastle Tapestry is now a rare survival.

It is only through contemporary accounts that we can appreciate that a hundred years ago it was a common sight in decorative interiors. The popularity of Tynecastle Tapestry in the decoration of ocean liners is underlined in the 1890 article. It describes how the canvas was used extensively, in ‘saloons, staterooms, passages, and stairways’, in six of the ships of the P&O Co.; and that ‘the two latest additions to the White Star fleet, the “Teutonic” and the “Majestic”, have been decorated with the canvas on a magnificent scale’. 4

Fig.4 Section of Tynecastle Tapestry (W.24:1-2016) ready for installation in the Ocean Liners exhibition © Victoria and Albert Museum, London

Acknowledgements

We would like to thank the many colleagues who assisted us with this highly collaborative project and particularly Matthew Rose in Technical Services for the supporting panels.

the paper edges were used to attach the canvas sections to Tycore and Dibond composite panels.

These secondary supports were assembled in advance complete with aluminium split battens ready for installation (Fig. 4). While the system worked well for the sections intended for the Ocean Liners exhibition, we felt that traditional stretchers would be a better

References

1. The Decorator and Furnisher, Vol 16, No. 3 (June 1890), p.83 2. Ibid, p.83 3. Ibid, p.84 4. Ibid, p.84

7

V&A Conservation Journal No.66

Rachael Lee, Textile Conservation Display Specialist

V&A Conservation Journal No.66

Frida Kahlo: Making Her Up

sketch was then 3D printed within 24 hours and used as a visualization tool for review by the team. The initial design was too lifelike, yet the accuracy of the head did have an emotional engagement and sense of theatricality. As digital amendments could be made quickly, the design was reworked into a semirealistic version. Concerned that the level of realism could overpower the objects on display, the head was further softened to a ‘blown-back’ design that was intended to subtly suggest Kahlo’s facial features and hair style (Fig. 2). The final 3D printed head was refined and robust enough to serve as the first mould for fabrication in fibreglass. This stage of production was carried out by Proportion>London, who ensured the heads fitted seamlessly with the selected torsos (Fig. 3).

The Victoria and Albert Museum’s 2018 exhibition Frida Kahlo: Making Her Self Up was the first to display the wardrobe of Mexican artist Frida Kahlo (1907-1954) outside of her former home in Coyoacán, Mexico City. Kahlo’s wardrobe, including her famous Tehuana dresses, medical corsets and pre-Hispanic jewellery, were uncovered in 2004 having been locked away for 50 years in La Casa Azul, now the Museo Frida Kahlo. The discovery of these remarkable belongings presented a poignant insight into the way Kahlo constructed a unique visual identity that has transcended generations, cementing her as a twentyfirst century female icon.

Kahlo was born in the suburbs of Mexico City in 1907; her father was a Hungarian-Jewish immigrant and her mother a Mestizo from Oaxaca. After contracting polio at the age of six and later sustaining life-altering injures in a traffic accident in 1925, Kahlo developed a complex relationship with her body. In contrast to a life punctuated by physical limitations, Kahlo’s intellect and creativity were boundless. The exhibition showcased her meticulous sartorial choices through a mix of Mesomerican and European textiles, whilst items including cosmetics and jewellery illustrated her bold use of colour. Kahlo’s preference for the symbolic Tehuana costume from the Isthmus of Tehuantepec, a matriarchal society in the Southern State of Oaxaca, had political and practical connotations. By adopting the indigenous style of loose-fitting huipiles (tunics) and wrap-around skirts, she could simultaneously emphasise her dual ethnicity and disguise her physical disabilities. Layered with personal meaning, Kahlo’s clothing and adornment were instrumental in the creation of her artistic persona.

Fig. 1 Torso with custom arm amendments by Proportion>London © Victoria and Albert Museum, London

Fig. 2 Semi-realistic and ‘blown-back’ version of digital renders © Victoria and Albert Museum, London

that the mannequin and mounting approach should evoke a sense of Kahlo, while avoiding pastiche imitation. The mannequin needed to serve as the fundamental support for the costume, but also convey a sense of Kahlo through height, body shape and profile.

be made from scratch. The traditional method of sculpting from clay was considered but with budget and time constraints, this approach was not deemed viable. There were high expectations within the project team to create something original, but also considerable apprehension of reducing Frida Kahlo into a Madame Tussauds-style effigy.

To create a mannequin that would be suitable, the body was broken down into sections. Kahlo wore customized full-length skirts to detract from her orthopaedic shoes and weakened right leg. This meant the lower section of the body would be concealed and an adjustable torso with pole and base fixing could be selected as the starting point. The torso was close to Kahlo’s dimensions with narrow shoulders, waist and hips and allowed for supportive barrier layers between the figure and costume. The next step was to create different arm poses. A pair of existing arms were amended to the correct scale and then adapted into three different poses based on a series of reference photographs of Kahlo. The posed arms added a level of dynamism and character that subtly began to simulate a sense of the iconic artist (Fig. 1).

The exhibition, designed by Tom Scutt and Gibson Thornley, guided visitors through a series of intimate spaces, culminating in a final gallery entitled ‘Art and Dress’ where Kahlo’s surviving wardrobe was seen alongside key self-portraits for the very first time.

Presenting Kahlo’s garments with authenticity was deemed crucial to the exhibition narrative and the display mannequin was therefore integral to the audience’s interpretation. Regular meetings took place with the design team, V&A Senior Curator Claire Wilcox and co-curator Circe Henestrosa to explore ideas around representation, disability and practical display options. It was identified early in the project

Creating a suitable mannequin head presented several challenges as Kahlo had striking features and used elaborate Zapotec hair styles. After exploring different design options, it became clear that an existing head could not be adapted, and a new head needed to

8

With all elements of the figure brought together, the mannequin finish needed to unify with the case design, which was reminiscent of a large idol-clad pyramid in La Casa Azul gardens. It was important that the mannequins did not look like glossy fiberglass and alternative finishes were explored. The team were inspired by the vast collection of indigenous sculpture seen throughout the homes of Kahlo and her husband Diego Rivera. After experimenting with different techniques, a paper finish added a sculptural effect and had an almost stone-like quality that complimented the handmade aesthetic of Kahlo’s clothing.

An exciting process that was new to the V&A provided the solution: using digital rendering and 3D printing to design and develop a mannequin head. Netherlandsbased company Hans Boodt, who specialize in 3D printing mannequins, presented an affordable rapid prototyping method. First, a digital sketch of Kahlo was created using modelling software Zbrush. The

The Frida Kahlo design brief presented an opportunity to utilize the latest 3D technologies and ‘make up’ a bespoke mannequin by combining modern and traditional methods. Kahlo’s physical presence

Fig. 3 Stages of production: from 3D printing, moulding and finishing © Victoria and Albert Museum, London

9

V&A Conservation Journal No.66

Rachael Lee, Textile Conservation Display Specialist

V&A Conservation Journal No.66

Frida Kahlo: Making Her Up

sketch was then 3D printed within 24 hours and used as a visualization tool for review by the team. The initial design was too lifelike, yet the accuracy of the head did have an emotional engagement and sense of theatricality. As digital amendments could be made quickly, the design was reworked into a semirealistic version. Concerned that the level of realism could overpower the objects on display, the head was further softened to a ‘blown-back’ design that was intended to subtly suggest Kahlo’s facial features and hair style (Fig. 2). The final 3D printed head was refined and robust enough to serve as the first mould for fabrication in fibreglass. This stage of production was carried out by Proportion>London, who ensured the heads fitted seamlessly with the selected torsos (Fig. 3).

The Victoria and Albert Museum’s 2018 exhibition Frida Kahlo: Making Her Self Up was the first to display the wardrobe of Mexican artist Frida Kahlo (1907-1954) outside of her former home in Coyoacán, Mexico City. Kahlo’s wardrobe, including her famous Tehuana dresses, medical corsets and pre-Hispanic jewellery, were uncovered in 2004 having been locked away for 50 years in La Casa Azul, now the Museo Frida Kahlo. The discovery of these remarkable belongings presented a poignant insight into the way Kahlo constructed a unique visual identity that has transcended generations, cementing her as a twentyfirst century female icon.

Kahlo was born in the suburbs of Mexico City in 1907; her father was a Hungarian-Jewish immigrant and her mother a Mestizo from Oaxaca. After contracting polio at the age of six and later sustaining life-altering injures in a traffic accident in 1925, Kahlo developed a complex relationship with her body. In contrast to a life punctuated by physical limitations, Kahlo’s intellect and creativity were boundless. The exhibition showcased her meticulous sartorial choices through a mix of Mesomerican and European textiles, whilst items including cosmetics and jewellery illustrated her bold use of colour. Kahlo’s preference for the symbolic Tehuana costume from the Isthmus of Tehuantepec, a matriarchal society in the Southern State of Oaxaca, had political and practical connotations. By adopting the indigenous style of loose-fitting huipiles (tunics) and wrap-around skirts, she could simultaneously emphasise her dual ethnicity and disguise her physical disabilities. Layered with personal meaning, Kahlo’s clothing and adornment were instrumental in the creation of her artistic persona.

Fig. 1 Torso with custom arm amendments by Proportion>London © Victoria and Albert Museum, London

Fig. 2 Semi-realistic and ‘blown-back’ version of digital renders © Victoria and Albert Museum, London

that the mannequin and mounting approach should evoke a sense of Kahlo, while avoiding pastiche imitation. The mannequin needed to serve as the fundamental support for the costume, but also convey a sense of Kahlo through height, body shape and profile.

be made from scratch. The traditional method of sculpting from clay was considered but with budget and time constraints, this approach was not deemed viable. There were high expectations within the project team to create something original, but also considerable apprehension of reducing Frida Kahlo into a Madame Tussauds-style effigy.

To create a mannequin that would be suitable, the body was broken down into sections. Kahlo wore customized full-length skirts to detract from her orthopaedic shoes and weakened right leg. This meant the lower section of the body would be concealed and an adjustable torso with pole and base fixing could be selected as the starting point. The torso was close to Kahlo’s dimensions with narrow shoulders, waist and hips and allowed for supportive barrier layers between the figure and costume. The next step was to create different arm poses. A pair of existing arms were amended to the correct scale and then adapted into three different poses based on a series of reference photographs of Kahlo. The posed arms added a level of dynamism and character that subtly began to simulate a sense of the iconic artist (Fig. 1).

The exhibition, designed by Tom Scutt and Gibson Thornley, guided visitors through a series of intimate spaces, culminating in a final gallery entitled ‘Art and Dress’ where Kahlo’s surviving wardrobe was seen alongside key self-portraits for the very first time.

Presenting Kahlo’s garments with authenticity was deemed crucial to the exhibition narrative and the display mannequin was therefore integral to the audience’s interpretation. Regular meetings took place with the design team, V&A Senior Curator Claire Wilcox and co-curator Circe Henestrosa to explore ideas around representation, disability and practical display options. It was identified early in the project

Creating a suitable mannequin head presented several challenges as Kahlo had striking features and used elaborate Zapotec hair styles. After exploring different design options, it became clear that an existing head could not be adapted, and a new head needed to

8

With all elements of the figure brought together, the mannequin finish needed to unify with the case design, which was reminiscent of a large idol-clad pyramid in La Casa Azul gardens. It was important that the mannequins did not look like glossy fiberglass and alternative finishes were explored. The team were inspired by the vast collection of indigenous sculpture seen throughout the homes of Kahlo and her husband Diego Rivera. After experimenting with different techniques, a paper finish added a sculptural effect and had an almost stone-like quality that complimented the handmade aesthetic of Kahlo’s clothing.

An exciting process that was new to the V&A provided the solution: using digital rendering and 3D printing to design and develop a mannequin head. Netherlandsbased company Hans Boodt, who specialize in 3D printing mannequins, presented an affordable rapid prototyping method. First, a digital sketch of Kahlo was created using modelling software Zbrush. The

The Frida Kahlo design brief presented an opportunity to utilize the latest 3D technologies and ‘make up’ a bespoke mannequin by combining modern and traditional methods. Kahlo’s physical presence

Fig. 3 Stages of production: from 3D printing, moulding and finishing © Victoria and Albert Museum, London

9

V&A Conservation Journal No.66

V&A Conservation Journal No.66

Making a simple insect activity monitor using a Raspberry Pi Bhavesh Shah, Scientist (Environment) Maria Ines Carvalho, ERASMUS student placement (University of Porto)

(the basic set up came to about £50). The following equipment was used: • Raspberry Pi Zero W / Raspberry Pi 3 Model B+ • Camera module (a 160° variable focus camera module for Raspberry Pi Zero) • 16Gb memory card (or larger and pre-installed with NOOBS to allow you to get started straight away) • Case (for handling) • Monitor / keyboard / mouse • Optional: portable power bank, 4-port USB hub (if using the Pi Zero W), a camera lens set (to take macro images) and an air quality, temperature, pressure, humidity sensor.

The Victoria and Albert Museum’s collection constantly needs protecting, especially objects that are seen as food by pests. Monitoring the activity of insects is a routine part of business and the V&A has a comprehensive strategy of Integrated Pest Monitoring (IPM) to deal with prevention, monitoring and response if an insect outbreak occurs. This relies on the regular inspection of insect traps throughout the Museum by trained members of staff who report the findings back to the Science section, but what if we could develop a system that gives more insight into the behaviour of insects and then use this information to prevent future outbreaks? One idea was to create an insect ‘security camera’ using a Raspberry Pi to monitor activity. A Raspberry Pi is a minicomputer by the Raspberry Pi Foundation, initially developed to teach programming to school children on the premise of providing a ‘lowcost, high-performance computer that people use to learn, solve problems and have fun’ 1.

Fig. 4 Costumes installed in the ‘Art and Dress’ Gallery © Victoria and Albert Museum, London

The instructions for setting up the Raspberry Pi and the camera module are on the Raspberry Pi website: https://www.raspberrypi.org/documentation/ configuration/camera.md.

Installation of Pi-TIMOLO is very straightforward via the Linux terminal: • sudo apt-get update && sudo apt-get upgrade • curl -L https://raw.github.com/pageauc/pi-timolo/ master/source/pi-timolo-install.sh | bash • cd ~/pi-timolo • ./pi-timolo.py • ./menubox.sh • Start motion detection. A red light will appear next to the camera when motion is detected.

• Start webserver. To look at images from the webserver input the IP from the Raspberry Pi and then use the :8080 ending. For example: 192.168.1.120:8080

Free open source development platforms such as GitHub offer code generated by a community of coders and for this project we opted to use Raspberry PITIMOLO (“PI-TImelapse, MOtion, LOwLight”) created by Claude Pageau.2 PI-TIMOLO was designed for security monitoring plus has the features of low light camera settings and a webserver. The initial results were promising (Fig. 1). Temperature, humidity and light sensors could also be added to find out, for example, what time of day insects are more active or if they favour particular environmental conditions.

The first step to creating a monitor was purchasing the hardware and links from the Raspberry Pi website

was successfully characterised by taking a new approach toward mannequin design. Combined with several discrete and supportive costume mounting techniques, the wardrobe revealed the iconic style, artistry and strength that Kahlo has come to symbolise (Fig. 4).

Now a monitor has been shown to be working, it can be used to explore tasks such as counting and tracking of insects, image classifying, correlating insect activity with the environment (hot/humid/ dark), and using different methods to identify insects with different sensors (e.g. students at Cambridge University have used sound 3 ).

Acknowledgments

I am immensely grateful to all the staff at Museo Frida Kahlo, in particular Luanda Lopez, Claudia A. Romo, Perla Labarthe, Circe Henestrosa and Director Hilda Trujillo, and to my colleagues at the V&A: Claire Wilcox, Natalia Ferreiro, Sophie Manhire and the Textile Conservation team.

References

Sponsored by Grosvenor Britain & Ireland with support from Aeromexico, Art Mentor Foundation Lucerne and GRoW @ Annenberg.

1. https://www.raspberrypi.org/ [accessed 8 October 2018] 2. https://github.com/pageauc/pi-timolo [accessed 8 October 2018] 3. https://www.hackster.io/65001/diy-bioacoustics-ae28a3 [accessed 8 October 2018]

Fig. 1 Image captured by the Raspberry Pi insect security monitor © Victoria and Albert Museum, London

10

11

V&A Conservation Journal No.66

V&A Conservation Journal No.66

Making a simple insect activity monitor using a Raspberry Pi Bhavesh Shah, Scientist (Environment) Maria Ines Carvalho, ERASMUS student placement (University of Porto)

(the basic set up came to about £50). The following equipment was used: • Raspberry Pi Zero W / Raspberry Pi 3 Model B+ • Camera module (a 160° variable focus camera module for Raspberry Pi Zero) • 16Gb memory card (or larger and pre-installed with NOOBS to allow you to get started straight away) • Case (for handling) • Monitor / keyboard / mouse • Optional: portable power bank, 4-port USB hub (if using the Pi Zero W), a camera lens set (to take macro images) and an air quality, temperature, pressure, humidity sensor.

The Victoria and Albert Museum’s collection constantly needs protecting, especially objects that are seen as food by pests. Monitoring the activity of insects is a routine part of business and the V&A has a comprehensive strategy of Integrated Pest Monitoring (IPM) to deal with prevention, monitoring and response if an insect outbreak occurs. This relies on the regular inspection of insect traps throughout the Museum by trained members of staff who report the findings back to the Science section, but what if we could develop a system that gives more insight into the behaviour of insects and then use this information to prevent future outbreaks? One idea was to create an insect ‘security camera’ using a Raspberry Pi to monitor activity. A Raspberry Pi is a minicomputer by the Raspberry Pi Foundation, initially developed to teach programming to school children on the premise of providing a ‘lowcost, high-performance computer that people use to learn, solve problems and have fun’ 1.

Fig. 4 Costumes installed in the ‘Art and Dress’ Gallery © Victoria and Albert Museum, London

The instructions for setting up the Raspberry Pi and the camera module are on the Raspberry Pi website: https://www.raspberrypi.org/documentation/ configuration/camera.md.

Installation of Pi-TIMOLO is very straightforward via the Linux terminal: • sudo apt-get update && sudo apt-get upgrade • curl -L https://raw.github.com/pageauc/pi-timolo/ master/source/pi-timolo-install.sh | bash • cd ~/pi-timolo • ./pi-timolo.py • ./menubox.sh • Start motion detection. A red light will appear next to the camera when motion is detected.

• Start webserver. To look at images from the webserver input the IP from the Raspberry Pi and then use the :8080 ending. For example: 192.168.1.120:8080

Free open source development platforms such as GitHub offer code generated by a community of coders and for this project we opted to use Raspberry PITIMOLO (“PI-TImelapse, MOtion, LOwLight”) created by Claude Pageau.2 PI-TIMOLO was designed for security monitoring plus has the features of low light camera settings and a webserver. The initial results were promising (Fig. 1). Temperature, humidity and light sensors could also be added to find out, for example, what time of day insects are more active or if they favour particular environmental conditions.

The first step to creating a monitor was purchasing the hardware and links from the Raspberry Pi website

was successfully characterised by taking a new approach toward mannequin design. Combined with several discrete and supportive costume mounting techniques, the wardrobe revealed the iconic style, artistry and strength that Kahlo has come to symbolise (Fig. 4).

Now a monitor has been shown to be working, it can be used to explore tasks such as counting and tracking of insects, image classifying, correlating insect activity with the environment (hot/humid/ dark), and using different methods to identify insects with different sensors (e.g. students at Cambridge University have used sound 3 ).

Acknowledgments

I am immensely grateful to all the staff at Museo Frida Kahlo, in particular Luanda Lopez, Claudia A. Romo, Perla Labarthe, Circe Henestrosa and Director Hilda Trujillo, and to my colleagues at the V&A: Claire Wilcox, Natalia Ferreiro, Sophie Manhire and the Textile Conservation team.

References

Sponsored by Grosvenor Britain & Ireland with support from Aeromexico, Art Mentor Foundation Lucerne and GRoW @ Annenberg.

1. https://www.raspberrypi.org/ [accessed 8 October 2018] 2. https://github.com/pageauc/pi-timolo [accessed 8 October 2018] 3. https://www.hackster.io/65001/diy-bioacoustics-ae28a3 [accessed 8 October 2018]

Fig. 1 Image captured by the Raspberry Pi insect security monitor © Victoria and Albert Museum, London

10

11

was the white pigment used throughout the object.

In the past, calomel has been detected on paintings as a degradation product of the red pigment vermilion, mercury(II) sulfide, but had never been identified as a pigment in its own right. The only place where calomel was not detected on the surface was the inside of the lid. Analysis confirmed the visible decoration in this area was painted using a selection of modern materials, very different from those used on the rest of the object.

X-radiography of the object’s lid revealed an underlying dramatic scene, currently hidden by modern over-paint (Fig. 2). This scene was difficult to decipher due to the overlap of the designs from the outer and the inner surfaces of the lid in the X-ray.

Micro computed tomography (µCT) of the lid at the Natural History museum enabled us to visualise the hidden scheme alone: a skeleton with a scythe and a bow stands proud in the centre of the lid, surrounded by small animals and other items, the significance and symbolism of which is currently being investigated (Fig. 3).

Fig. 1 The V&A barniz de Pasto table cabinet, W.5-2015 © Victoria and Albert Museum, London

In 2015, a seventeenth-century South American barniz de Pasto table cabinet (W.5-2015) entered the Victoria and Albert Museum’s collection. While mainly European in form and design motifs, it is made from mopa mopa, a resin derived from a native South American plant, and at the time was believed to be the first object of its kind in a public collection in the UK (we have since discovered that we have three mopa mopa flasks decorated using the same technique).1 Because of its uniqueness, the object underwent extensive technical examination and scientific analysis by the V&A scientists, while at the same time being studied by our curators, and examined, investigated and treated by our conservators (Fig. 1).

Additional tests were carried out at the National Gallery, London, where the chemical elements on the lid were visualised using mapping X-ray fluorescence (MA-XRF). This procedure allowed us to verify the extent of the use of calomel on both the outer and inner surface of the lid, and confirmed that this

V&A Conservation Journal No.66

Lucia Burgio, Senior Scientist (Object Analysis) Dana Melchar, Senior Furniture Conservator

V&A Conservation Journal No.66

The discovery of mercury white on a barniz de Pasto cabinet

‘mercury white’ had been the only white pigment used throughout the cabinet in the original scheme (top of Fig. 4).

The same technique was used to map elements such as lead and calcium. The presence of lead in a few small areas of white retouching was linked to the use of lead white to repair the original mercury white decoration where the latter had been lost or damaged.

In contrast, calcium was detected where structural damage had occurred and infills had been applied (for example to repair cracks or plug old nail holes) (bottom of Fig. 4).2, 3 For more details about the barniz de Pasto table cabinet, and the discovery and characterisation of mercury white, please see the three articles listed under References.

Acknowledgments

This research was generously supported by Jorge Welsh Works of Art, London and Lisbon. The authors are also grateful to Nick Humphrey, V&A Curator, Furniture Department, for the collaborative exchange of ideas on the cabinet; to Paul Robins, Radiographic Protection Officer, V&A Photographic Studio; to Brenda Keneghan, Polymer Scientist, V&A Science Section; Stanislav Strekopytov, Jens Najorka, Tomasz Goral, Amin Garbout, Brett L. Clark, from the Natural History Museum; and David A. Peggie and Marta Melchiorre Di Crescenzo, the National Gallery London, for their assistance with the MA-XRF. Fig. 4 MA-XRF maps of mercury (top, in white), lead and calcium (bottom, red and blue, respectively) © National Gallery London

References

1. https://www.vam.ac.uk/articles/box-of-mysteries [accessed 8 October 2018] 2. https://www.vam.ac.uk/blog/caring-for-our-collections/ hidden-surprises [accessed 8 October 2018] 3. Burgio L., Melchar D., Strekopytov S., Peggie D.A., Melchiorre Di Crescenzo M., Keneghan B., Najorka J., Goral T., Garbout A., Clark B.L.; Identification, characterisation and mapping of calomel as ‘mercury white’ a previously undocumented pigment from South America, and its use on a barniz de Pastos cabinet at the Victoria and Albert Museum, (2018) Microchemical Journal, 143, pp. 220-227 https://www.sciencedirect.com/science/article/pii/ S0026265X18307471

Excitingly, the relatively routine scientific analysis sequence revealed unexpected facts. These results have led us to reconsider barniz de Pasto objects under a new light as far as materials and techniques are concerned.

In the first instance, X-ray fluorescence (XRF) was used for non-destructive analysis of pigments on the surface of the cabinet. While the most common historic white pigment is made from lead, our tests showed that calomel, mercury(I) chloride, Hg2Cl2,

Fig. 2 X-radiography of the lid © Victoria and Albert Museum, London

12

Given by Dr Robert MacLeod Coupe and Heather Coupe in memory of their brother, Philip MacLeod Coupe.

Fig. 3 µCT image of the lid, revealing the hidden scene © Natural History Museum

13

accelerating to look more widely across the museum at how we can improve our environmental impact on a departmental and individual level. Some key milestones have already been achieved, including:

• The removal of all single-use paper and plastic cups from the staff canteen, and the issuing of personal ‘keep cups’ to every staff member. These cups have been produced by ashortwalk – a product design company featured in the Future Design exhibition.

• The cups are made from recycled cups themselves!

• Coffee grounds recycled and turned into Bio-Bean Coffee Logs and furniture made by Löfbergs in Sweden.

• Clothes swap to mark Earth Day 2018.

• Enrolment in the KIMTECH* Nitrile Glove Recycling Programme provided by TerraCycle. The gloves are processed to produce plastic granules, which serves as a secondary raw material for new plastic products.

• A ‘freecycle’ network with unwanted exhibition build parts, used mannequins, etc. offered to other museums, charities, festivals and schools.

• Removal of personal office bins and move to centralised waste/recycling points in offices to encourage correct disposal.

• Introduction of recycled paper as standard and switching to green suppliers.

• In July 2018 Fashioned From Nature won a Creative Green award for Best Creative Programming.

Fig. 1 V&A Green Champions © Victoria and Albert Museum, London

‘Can I recycle this?’ is a question you hear ever more frequently reverberating through the conservation studios and departmental offices of the Victoria and Albert Museum. The question often falls in the inboxes of the Museum’s newly recruited ‘Green Champions’ – a voluntary team of enthusiastic staff from across all departments whose aim is to “support, promote and advocate for environmental thinking and action across the V&A” (Fig. 1). The Museum sector sits in a funny place with regards to issues of sustainability; it is devoted to prolonging the life of objects, yet the production of exhibitions is incredibly resource heavy.

The focus now turns to paper reduction and researching creative approaches to the Museum’s waste streams. The latter is of particular interest to the Conservation Department. Although conservators themselves are by nature inherently thrifty with materials, there are inevitably many single-use items that cannot be re-used for conservation processes.

However, there is a lot more we could potentially do with our discarded mounts and scrap material if we were to look to the principles of the circular economy.

Since 2017 the V&A has been working with Julie’s Bicycle to produce an updated sustainability policy for the Museum. In fact, the Museum has been working behind the scenes for several years on back-of-house initiatives to implement green efficiencies in our energy consumption, carbon emissions and waste management. This includes things like LED lighting, self-irrigating planters in the garden, a ‘green roof’ and rainwater harvesting on the new Exhibition Road Quarter. We are also able to boast that none of our waste goes to landfill, due to our contract with Cory Riverside Waste who convert all our waste into energy at their impressive facility in Belvedere, Kent.

With the recruitment of the Green Champions in 2018, as well as a dedicated Sustainability Co-ordinator (temporary role until March 2019), the work is now

Further reading

1. Cory Riverside Waste: https://www.coryenergy.com/ 2. Julie’s Bicycle: https://www.juliesbicycle.com 3. ashortwalk: https://www.ashortwalk.com/ 4. KIMTECH* Nitrile Glove Recycling Programme: https://www.terracycle.co.uk/en-GB/brigades/gloves

14

V&A Conservation Journal No.66

Lilia Tisdall, Textile Conservation Display Specialist and ‘Green Champion’

V&A Conservation Journal No.66

Green Initiatives at the V&A

Potential benefits of the circular economy on V&A conservation practice and materials Melissa Lewis, Paper Conservator and ‘Green Champion’ One of the central goals of a “circular economy” is to separate economic growth from the consumption of resources. This concept can be traced back at least to 1990.1 In the last few years, the theory has gained considerable momentum. As far as conservation practice at the Victoria and Albert Museum is concerned, the workings of a circular economy can help us to understand and enhance green, clean operational procedures on two principal counts: first, in re-utilizing materials, by separating groups of materials and then re-manufacturing them into renewed products; and second, by consciously choosing materials that are not hazardous to the environment or human health. 2 Materials and tools used for conservation at the V&A (and other museums) are more often than not made from new, mostly finite resources. To demonstrate how the circular economy might work at the V&A let’s take the example of a book cradle. This is a custom-made mount for a book at the specific page-opening chosen for an exhibition. It cannot be adapted for use with a different book or even a very different page-opening.

It is made from Poly(methyl methacrylate), which is a derivative of crude oil pumped from the ground, processed into a polymer and then pressed and cooled into a sheet of Perspex. This sheet is cut, heated and bent into shape, ready for use in an exhibition. On rare occasions, the cradle is kept and re-used for a second exhibition. A book cradle in a circular economy could be ground down into pellets, heated and remade into a flat sheet of Perspex and moulded into a new cradle – without any impact on quality (Fig. 1).

Fig. 1 Diagram of the Circular Economy – source: Ellen MacArthur Foundation, SUN, and McKinsey Center for Business and Environment; Drawing from Braungart & McDonough, Cradle to Cradle (C2C)

2. In-house plastic recycling unit: this process would involve making similar high standard acrylic sheets in-house out of Perspex and other waste materials used in previous exhibitions.

Given that anything coming into contact with an artefact or object must be tested for the presence of corrosive agents (Oddy test), any chosen renewable and/or green materials need to comply with these criteria. Two possible alternatives to, say, Perspex (a material much used in the Museum for many different applications) could be:

While the ideal would be to attain 100% renewability in all museums, creating, developing and then sustaining the principles of a circular economy within the V&A would create a firm ethical foundation for the future – one that could be adapted to environmental, policy and other changes in the coming years.

References

1. Green Cast acrylic sheets: these sheets of acrylic have the clarity and qualities of Perspex necessary for museum use. However, unlike the Perspex we use at present, it is made from 100% recycled poly(methyl methacrylate) waste. Moreover, the manufacturer collects used Perspex and recycles it into the new (itself recyclable) product. 3

1. Pearce, D.W., Turner, R.K., Economics of Natural Resources and the Environment, Johns Hopkins University Press, 1990.

2. https://www.ellenmacarthurfoundation.org/circulareconomy/interactive-diagram [access 2 September 2018] 3. https://amariplastics.com/product/green-cast/ [access 2 September 2018]

15

accelerating to look more widely across the museum at how we can improve our environmental impact on a departmental and individual level. Some key milestones have already been achieved, including:

• The removal of all single-use paper and plastic cups from the staff canteen, and the issuing of personal ‘keep cups’ to every staff member. These cups have been produced by ashortwalk – a product design company featured in the Future Design exhibition.

• The cups are made from recycled cups themselves!

• Coffee grounds recycled and turned into Bio-Bean Coffee Logs and furniture made by Löfbergs in Sweden.

• Clothes swap to mark Earth Day 2018.

• Enrolment in the KIMTECH* Nitrile Glove Recycling Programme provided by TerraCycle. The gloves are processed to produce plastic granules, which serves as a secondary raw material for new plastic products.

• A ‘freecycle’ network with unwanted exhibition build parts, used mannequins, etc. offered to other museums, charities, festivals and schools.

• Removal of personal office bins and move to centralised waste/recycling points in offices to encourage correct disposal.

• Introduction of recycled paper as standard and switching to green suppliers.

• In July 2018 Fashioned From Nature won a Creative Green award for Best Creative Programming.

Fig. 1 V&A Green Champions © Victoria and Albert Museum, London

‘Can I recycle this?’ is a question you hear ever more frequently reverberating through the conservation studios and departmental offices of the Victoria and Albert Museum. The question often falls in the inboxes of the Museum’s newly recruited ‘Green Champions’ – a voluntary team of enthusiastic staff from across all departments whose aim is to “support, promote and advocate for environmental thinking and action across the V&A” (Fig. 1). The Museum sector sits in a funny place with regards to issues of sustainability; it is devoted to prolonging the life of objects, yet the production of exhibitions is incredibly resource heavy.

The focus now turns to paper reduction and researching creative approaches to the Museum’s waste streams. The latter is of particular interest to the Conservation Department. Although conservators themselves are by nature inherently thrifty with materials, there are inevitably many single-use items that cannot be re-used for conservation processes.

However, there is a lot more we could potentially do with our discarded mounts and scrap material if we were to look to the principles of the circular economy.

Since 2017 the V&A has been working with Julie’s Bicycle to produce an updated sustainability policy for the Museum. In fact, the Museum has been working behind the scenes for several years on back-of-house initiatives to implement green efficiencies in our energy consumption, carbon emissions and waste management. This includes things like LED lighting, self-irrigating planters in the garden, a ‘green roof’ and rainwater harvesting on the new Exhibition Road Quarter. We are also able to boast that none of our waste goes to landfill, due to our contract with Cory Riverside Waste who convert all our waste into energy at their impressive facility in Belvedere, Kent.

With the recruitment of the Green Champions in 2018, as well as a dedicated Sustainability Co-ordinator (temporary role until March 2019), the work is now

Further reading

1. Cory Riverside Waste: https://www.coryenergy.com/ 2. Julie’s Bicycle: https://www.juliesbicycle.com 3. ashortwalk: https://www.ashortwalk.com/ 4. KIMTECH* Nitrile Glove Recycling Programme: https://www.terracycle.co.uk/en-GB/brigades/gloves

14

V&A Conservation Journal No.66

Lilia Tisdall, Textile Conservation Display Specialist and ‘Green Champion’

V&A Conservation Journal No.66

Green Initiatives at the V&A

Potential benefits of the circular economy on V&A conservation practice and materials Melissa Lewis, Paper Conservator and ‘Green Champion’ One of the central goals of a “circular economy” is to separate economic growth from the consumption of resources. This concept can be traced back at least to 1990.1 In the last few years, the theory has gained considerable momentum. As far as conservation practice at the Victoria and Albert Museum is concerned, the workings of a circular economy can help us to understand and enhance green, clean operational procedures on two principal counts: first, in re-utilizing materials, by separating groups of materials and then re-manufacturing them into renewed products; and second, by consciously choosing materials that are not hazardous to the environment or human health. 2 Materials and tools used for conservation at the V&A (and other museums) are more often than not made from new, mostly finite resources. To demonstrate how the circular economy might work at the V&A let’s take the example of a book cradle. This is a custom-made mount for a book at the specific page-opening chosen for an exhibition. It cannot be adapted for use with a different book or even a very different page-opening.

It is made from Poly(methyl methacrylate), which is a derivative of crude oil pumped from the ground, processed into a polymer and then pressed and cooled into a sheet of Perspex. This sheet is cut, heated and bent into shape, ready for use in an exhibition. On rare occasions, the cradle is kept and re-used for a second exhibition. A book cradle in a circular economy could be ground down into pellets, heated and remade into a flat sheet of Perspex and moulded into a new cradle – without any impact on quality (Fig. 1).

Fig. 1 Diagram of the Circular Economy – source: Ellen MacArthur Foundation, SUN, and McKinsey Center for Business and Environment; Drawing from Braungart & McDonough, Cradle to Cradle (C2C)

2. In-house plastic recycling unit: this process would involve making similar high standard acrylic sheets in-house out of Perspex and other waste materials used in previous exhibitions.

Given that anything coming into contact with an artefact or object must be tested for the presence of corrosive agents (Oddy test), any chosen renewable and/or green materials need to comply with these criteria. Two possible alternatives to, say, Perspex (a material much used in the Museum for many different applications) could be:

While the ideal would be to attain 100% renewability in all museums, creating, developing and then sustaining the principles of a circular economy within the V&A would create a firm ethical foundation for the future – one that could be adapted to environmental, policy and other changes in the coming years.

References

1. Green Cast acrylic sheets: these sheets of acrylic have the clarity and qualities of Perspex necessary for museum use. However, unlike the Perspex we use at present, it is made from 100% recycled poly(methyl methacrylate) waste. Moreover, the manufacturer collects used Perspex and recycles it into the new (itself recyclable) product. 3

1. Pearce, D.W., Turner, R.K., Economics of Natural Resources and the Environment, Johns Hopkins University Press, 1990.

2. https://www.ellenmacarthurfoundation.org/circulareconomy/interactive-diagram [access 2 September 2018] 3. https://amariplastics.com/product/green-cast/ [access 2 September 2018]

15

was the white pigment used throughout the object.

In the past, calomel has been detected on paintings as a degradation product of the red pigment vermilion, mercury(II) sulfide, but had never been identified as a pigment in its own right. The only place where calomel was not detected on the surface was the inside of the lid. Analysis confirmed the visible decoration in this area was painted using a selection of modern materials, very different from those used on the rest of the object.

X-radiography of the object’s lid revealed an underlying dramatic scene, currently hidden by modern over-paint (Fig. 2). This scene was difficult to decipher due to the overlap of the designs from the outer and the inner surfaces of the lid in the X-ray.

Micro computed tomography (µCT) of the lid at the Natural History museum enabled us to visualise the hidden scheme alone: a skeleton with a scythe and a bow stands proud in the centre of the lid, surrounded by small animals and other items, the significance and symbolism of which is currently being investigated (Fig. 3).

Fig. 1 The V&A barniz de Pasto table cabinet, W.5-2015 © Victoria and Albert Museum, London

In 2015, a seventeenth-century South American barniz de Pasto table cabinet (W.5-2015) entered the Victoria and Albert Museum’s collection. While mainly European in form and design motifs, it is made from mopa mopa, a resin derived from a native South American plant, and at the time was believed to be the first object of its kind in a public collection in the UK (we have since discovered that we have three mopa mopa flasks decorated using the same technique).1 Because of its uniqueness, the object underwent extensive technical examination and scientific analysis by the V&A scientists, while at the same time being studied by our curators, and examined, investigated and treated by our conservators (Fig. 1).

Additional tests were carried out at the National Gallery, London, where the chemical elements on the lid were visualised using mapping X-ray fluorescence (MA-XRF). This procedure allowed us to verify the extent of the use of calomel on both the outer and inner surface of the lid, and confirmed that this

V&A Conservation Journal No.66

Lucia Burgio, Senior Scientist (Object Analysis) Dana Melchar, Senior Furniture Conservator

V&A Conservation Journal No.66

The discovery of mercury white on a barniz de Pasto cabinet

‘mercury white’ had been the only white pigment used throughout the cabinet in the original scheme (top of Fig. 4).

The same technique was used to map elements such as lead and calcium. The presence of lead in a few small areas of white retouching was linked to the use of lead white to repair the original mercury white decoration where the latter had been lost or damaged.

In contrast, calcium was detected where structural damage had occurred and infills had been applied (for example to repair cracks or plug old nail holes) (bottom of Fig. 4).2, 3 For more details about the barniz de Pasto table cabinet, and the discovery and characterisation of mercury white, please see the three articles listed under References.

Acknowledgments

This research was generously supported by Jorge Welsh Works of Art, London and Lisbon. The authors are also grateful to Nick Humphrey, V&A Curator, Furniture Department, for the collaborative exchange of ideas on the cabinet; to Paul Robins, Radiographic Protection Officer, V&A Photographic Studio; to Brenda Keneghan, Polymer Scientist, V&A Science Section; Stanislav Strekopytov, Jens Najorka, Tomasz Goral, Amin Garbout, Brett L. Clark, from the Natural History Museum; and David A. Peggie and Marta Melchiorre Di Crescenzo, the National Gallery London, for their assistance with the MA-XRF. Fig. 4 MA-XRF maps of mercury (top, in white), lead and calcium (bottom, red and blue, respectively) © National Gallery London

References

1. https://www.vam.ac.uk/articles/box-of-mysteries [accessed 8 October 2018] 2. https://www.vam.ac.uk/blog/caring-for-our-collections/ hidden-surprises [accessed 8 October 2018] 3. Burgio L., Melchar D., Strekopytov S., Peggie D.A., Melchiorre Di Crescenzo M., Keneghan B., Najorka J., Goral T., Garbout A., Clark B.L.; Identification, characterisation and mapping of calomel as ‘mercury white’ a previously undocumented pigment from South America, and its use on a barniz de Pastos cabinet at the Victoria and Albert Museum, (2018) Microchemical Journal, 143, pp. 220-227 https://www.sciencedirect.com/science/article/pii/ S0026265X18307471

Excitingly, the relatively routine scientific analysis sequence revealed unexpected facts. These results have led us to reconsider barniz de Pasto objects under a new light as far as materials and techniques are concerned.

In the first instance, X-ray fluorescence (XRF) was used for non-destructive analysis of pigments on the surface of the cabinet. While the most common historic white pigment is made from lead, our tests showed that calomel, mercury(I) chloride, Hg2Cl2,

Fig. 2 X-radiography of the lid © Victoria and Albert Museum, London

12

Given by Dr Robert MacLeod Coupe and Heather Coupe in memory of their brother, Philip MacLeod Coupe.

Fig. 3 µCT image of the lid, revealing the hidden scene © Natural History Museum

13

A year of research into alternative methods of wet cleaning knotted carpets ended in November 2017.

A final full report of the findings was produced and disseminated in January 2018. Initial investigations were based on the close examination of 124 carpets in the chosen study group.1 All carpets in this group had been on semi-open display for nearly fifty years.

During the process it became clear the soiling could be grouped into three basic categories:

Fig. 2 Display soiling removal using microfibre cloth (Photography by H. Porter © Victoria and Albert Museum, London)

• Deep, ingrained soiling that would require full

immersion or comprehensive wet cleaning.

• Display soiling that is characterised by a black, sticky deposit on the tips of the pile and does not respond to cleaning using latex sponges or vacuum cleaning.

• Light, dry soiling which could easily be removed by tamping (beating) and vacuuming.

Marko at the National Trust, in conjunction with Glyn Charnock of the National Carpet Cleaners Association, have begun a programme of washing these carpets in their display rooms inside historic houses. Their protocol, which is based on their considerable combined conservation and commercial experience, is explained.

All categories benefitted from dry soil removal; involving tamping followed by methodical vacuum cleaning, different techniques are illustrated in the report (Fig. 1).

For the removal of the stubborn surface-only soiling, a simple wet cleaning technique was developed.

This low-tech process utilises both damp and dry soil removal and retention characteristics of microfibre cloths (Fig. 2).

Methods explored for the removal of ingrained soiling were varied. Conservation immersion washing, familiar to textile conservators, is discussed including simple tools that can be employed to augment the process.

A commercial rug washing facility was contracted to wash a nineteenth century, densely woven carpet from Iran in the Victoria and Albert Museum’s collection. This successful wash used equipment not usually associated with conservation but which proved to be safe and efficient on this robust example. Aerosol facilities were visited and the new washing methods adopted at De Wit, particularly for knotted carpets are described. One of the most problematic group of carpets are those that are too large and fragile to remove for treatment. Ksynia

At the time of writing the report, carpet washing in the textile conservation profession had become a relatively rare event. The report has therefore been produced as a practical guide for colleagues to consult when treating carpets under their care.

The guidelines for the Fellowship had specified that “the successful candidate should develop their knowledge for the benefit of the wider profession” and it is the hope of the author that the report will encourage more communication on the subject and sharing of experiences, which in turn will progress and advance the practices used.

For a PDF of the final report, please apply by email to the author: f.hartog@vam.ac.uk References

1. Hartog F, Clothworkers’ Fellowship, V&A Conservation Journal Number 64 https://www.vam.ac.uk/blog/news/ clothworkers-fellowship

Acknowledgements

This research project was made possible thanks to The Clothworkers’ Foundation.

Fig. 1 Dry soiling released by ‘tamping’ with a rubber bat (Photography

by Frances Hartog © Victoria and Albert Museum, London)

16

V&A Conservation Journal No.66

Frances Hartog, Senior Textile Conservator

V&A Conservation Journal No.66

Clothworkers’ Fellowship – Completed

The Hero of Niagara and His Wheelbarrows

Catherine Haill, Curator, Popular Entertainment, Theatre & Performance Marie de Lauzon, Paintings Conservator

The most famous nineteenth century tightropewalking celebrity was the charismatic French showman Jean François Gravelet, or Blondin. Born in Hesdin near Calais in 1824, he was enrolled by his father, a dancer and tightrope-walker himself, in the École Gymnase at Lyons, aged five. Soon appearing as ‘The Little Wonder’ he stayed there until he was ten when he was orphaned and started work as a travelling entertainer. He adopted his stage name Blondin in 1851 when appearing with Antoine Ravel’s Troupe at Niblo’s Theatre in New York.

On seeing Niagara Falls for the first time in 1858, Blondin became obsessed with crossing them on a tightrope. He achieved his dream on 30th June 1859 on a three-inch hemp cord 1,100 feet long, holding a 30-foot long balance pole. He was the first ever to cross the Falls on a tightrope and immediately became a huge celebrity. He made repeat crossings with new effects, his third on 14 July in an ape costume, with the first of his brightly painted wheelbarrows. Made to his specifications by Thomas Duncan, the stage carpenter at the Buffalo Theatre, it had a grooved wheel for the rope and its handles fitted into loops in his costume, freeing his hands for the balance pole.

Fig. 1 Poster advertising Blondin’s appearance at Crystal Palace in 1861 (S.711981) © Victoria and Albert Museum, London

Blondin made six crossings in 1859 and 1860, sometimes blindfolded, carrying his manager on his back, even stopping halfway to cook on a portable stove. He balanced on chairs, turned somersaults, walked on fork-ended stilts, and ferried passengers piggy-back at £5 a trip (Fig. 1). He even asked the Prince of Wales watching a ‘Royal Command’ performance on 18 September 1860 if he could carry him across. He was amused by his refusal.

On Blondin’s first London appearance on 1 June 1861 to a capacity audience at the Crystal Palace, he re-enacted his Niagara Falls stunts on a rope across the central transept, 70 feet above ground (Fig. 2).

His performance there on 15 June with his five-year old daughter Adèle in a wheelbarrow scattering roses to the audience below caused so much consternation that letters appeared in the press, questions were asked in Parliament and the directors were told that it must never be repeated. On a UK tour the following year he ferried a lion in a wheelbarrow at Liverpool Zoological Gardens instead.

Fig. 2 Studio shot of Blondin and passenger (S.156:715-2007) © Victoria and Albert Museum, London

17

A year of research into alternative methods of wet cleaning knotted carpets ended in November 2017.

A final full report of the findings was produced and disseminated in January 2018. Initial investigations were based on the close examination of 124 carpets in the chosen study group.1 All carpets in this group had been on semi-open display for nearly fifty years.

During the process it became clear the soiling could be grouped into three basic categories:

Fig. 2 Display soiling removal using microfibre cloth (Photography by H. Porter © Victoria and Albert Museum, London)

• Deep, ingrained soiling that would require full

immersion or comprehensive wet cleaning.

• Display soiling that is characterised by a black, sticky deposit on the tips of the pile and does not respond to cleaning using latex sponges or vacuum cleaning.

• Light, dry soiling which could easily be removed by tamping (beating) and vacuuming.

Marko at the National Trust, in conjunction with Glyn Charnock of the National Carpet Cleaners Association, have begun a programme of washing these carpets in their display rooms inside historic houses. Their protocol, which is based on their considerable combined conservation and commercial experience, is explained.

All categories benefitted from dry soil removal; involving tamping followed by methodical vacuum cleaning, different techniques are illustrated in the report (Fig. 1).

For the removal of the stubborn surface-only soiling, a simple wet cleaning technique was developed.

This low-tech process utilises both damp and dry soil removal and retention characteristics of microfibre cloths (Fig. 2).

Methods explored for the removal of ingrained soiling were varied. Conservation immersion washing, familiar to textile conservators, is discussed including simple tools that can be employed to augment the process.

A commercial rug washing facility was contracted to wash a nineteenth century, densely woven carpet from Iran in the Victoria and Albert Museum’s collection. This successful wash used equipment not usually associated with conservation but which proved to be safe and efficient on this robust example. Aerosol facilities were visited and the new washing methods adopted at De Wit, particularly for knotted carpets are described. One of the most problematic group of carpets are those that are too large and fragile to remove for treatment. Ksynia

At the time of writing the report, carpet washing in the textile conservation profession had become a relatively rare event. The report has therefore been produced as a practical guide for colleagues to consult when treating carpets under their care.

The guidelines for the Fellowship had specified that “the successful candidate should develop their knowledge for the benefit of the wider profession” and it is the hope of the author that the report will encourage more communication on the subject and sharing of experiences, which in turn will progress and advance the practices used.

For a PDF of the final report, please apply by email to the author: f.hartog@vam.ac.uk References

1. Hartog F, Clothworkers’ Fellowship, V&A Conservation Journal Number 64 https://www.vam.ac.uk/blog/news/ clothworkers-fellowship

Acknowledgements

This research project was made possible thanks to The Clothworkers’ Foundation.

Fig. 1 Dry soiling released by ‘tamping’ with a rubber bat (Photography

by Frances Hartog © Victoria and Albert Museum, London)

16

V&A Conservation Journal No.66

Frances Hartog, Senior Textile Conservator

V&A Conservation Journal No.66

Clothworkers’ Fellowship – Completed

The Hero of Niagara and His Wheelbarrows

Catherine Haill, Curator, Popular Entertainment, Theatre & Performance Marie de Lauzon, Paintings Conservator

The most famous nineteenth century tightropewalking celebrity was the charismatic French showman Jean François Gravelet, or Blondin. Born in Hesdin near Calais in 1824, he was enrolled by his father, a dancer and tightrope-walker himself, in the École Gymnase at Lyons, aged five. Soon appearing as ‘The Little Wonder’ he stayed there until he was ten when he was orphaned and started work as a travelling entertainer. He adopted his stage name Blondin in 1851 when appearing with Antoine Ravel’s Troupe at Niblo’s Theatre in New York.

On seeing Niagara Falls for the first time in 1858, Blondin became obsessed with crossing them on a tightrope. He achieved his dream on 30th June 1859 on a three-inch hemp cord 1,100 feet long, holding a 30-foot long balance pole. He was the first ever to cross the Falls on a tightrope and immediately became a huge celebrity. He made repeat crossings with new effects, his third on 14 July in an ape costume, with the first of his brightly painted wheelbarrows. Made to his specifications by Thomas Duncan, the stage carpenter at the Buffalo Theatre, it had a grooved wheel for the rope and its handles fitted into loops in his costume, freeing his hands for the balance pole.

Fig. 1 Poster advertising Blondin’s appearance at Crystal Palace in 1861 (S.711981) © Victoria and Albert Museum, London

Blondin made six crossings in 1859 and 1860, sometimes blindfolded, carrying his manager on his back, even stopping halfway to cook on a portable stove. He balanced on chairs, turned somersaults, walked on fork-ended stilts, and ferried passengers piggy-back at £5 a trip (Fig. 1). He even asked the Prince of Wales watching a ‘Royal Command’ performance on 18 September 1860 if he could carry him across. He was amused by his refusal.

On Blondin’s first London appearance on 1 June 1861 to a capacity audience at the Crystal Palace, he re-enacted his Niagara Falls stunts on a rope across the central transept, 70 feet above ground (Fig. 2).

His performance there on 15 June with his five-year old daughter Adèle in a wheelbarrow scattering roses to the audience below caused so much consternation that letters appeared in the press, questions were asked in Parliament and the directors were told that it must never be repeated. On a UK tour the following year he ferried a lion in a wheelbarrow at Liverpool Zoological Gardens instead.

Fig. 2 Studio shot of Blondin and passenger (S.156:715-2007) © Victoria and Albert Museum, London

17

V&A Conservation Journal No.66

V&A Conservation Journal No.66

Fig. 3 Cleaning in progress © Victoria and Albert Museum, London

Fig. 4 After conservation © Victoria and Albert Museum, London

Blondin retired in London a very rich man. R. Fleming Lowell even wrote a song about him. He made over 4,000 performances throughout his lifetime and was still performing at the age of 68. His home Niagara House was in Northfields, near Ealing (then called Little Ealing) where he died in 1897 aged 73, and where Blondin Avenue and Niagara Avenue were named in his memory.

The wheelbarrow was in poor condition. The structure had distorted over time and exposure to environmental changes had caused delamination and splitting in the wood. The painted surface was worn with losses and flaking and the surface extremely dirty with a dull grey appearance. The gilded areas had been overpainted with bronze paint which had oxidised and appeared brown. The red felt had also suffered over time and was detatching from the wood. As this object was on show during spectacular events such as the crossing of the Niagara Falls, it would have been highly decorative; therefore, the aim of the treatment was to bring back its stunning appearance while retaining the marks of its history and use.

The wheelbarrow in the Victoria and Albert Museum’s collection (S.279-1985) would have been used to transport passengers in some of Blondin’s many tightrope crossings during his remarkable career.

The ‘seat’ section of the wheelbarrow is made of five panels of wood. The seat is mounted onto two long wooden members which form the handles at one end and hold the wheel at the other. The wheel has a groove where it was in contact with Blondin’s rope. These lengths are held together in a ladder-like fashion with four wooden cross members. The parts are held together with metal bars, screws and wing nut bolts. The chair is lined with dark red felt and the wheelbarrow, including the wheel, is painted a white creamy colour with decorative lines of gold leaf.

Nigel Bamforth, Senior Furniture Conservator, stabilised the wooden structure and split timbers were re-instated in their correct position so that the original profile could be maintained. Warm hide glue was used with clamps to hold the timber in position.

Degraded and flaking old adhesive in the areas lined with felt was mechanically removed with tweezers.

Following consultation with Textile Conservators,

18

1 part Lascaux 360HV:2 parts Lascaux 498 was applied to the reverse side of the lifting felt and gently repositioned.

The wheelbarrow was very much in use by Blondin and the subsequent wear to the painted surface is part of its history, therefore areas of loss showing wood below were not retouched. Larger losses to the paint were left and unified with the rest of the surface using soft glazes of watercolour. The paint and the gilded decoration were retouched with a water-based pigment palette. A mix of ochre, ultramarine, red oxide, black and ivory were used on all the painted areas. As the original varnish was kept, an isolation layer was not added between the painting and the retouching.

The flaking paint was consolidated with isinglass, an aqueous thermo-adhesive. A layer of Japanese tissue was stuck with methylcellulose to the surface to hold the flakes during the treatment. The adhesive was introduced under the flakes using a syringe to allow an accurate fixing. The adhesive was left to dry overnight and then the flakes were gently ironed with a hot spatula to go back in plane. After this process the tissue was removed with deionised water.

The conserved wheelbarrow (Fig. 4) is now on display in Theatre and Performance, Rooms 103 – 106.

Cleaning of the surface was crucial to recover the contrast and the original colour of the decorative surface (Fig. 3). The surface was cleaned with 3% Triamonium Citrate in deionised water. The gilded decoration was cleaned with 5% sodium hydroxide.

The surface was then rinsed with deionised water.

Although the original varnish was aged and yellow, it was decided to keep it as it is part of the history of the object.

Given by The Wellcome Institute for the History of Medicine

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V&A Conservation Journal No.66

V&A Conservation Journal No.66

Fig. 3 Cleaning in progress © Victoria and Albert Museum, London

Fig. 4 After conservation © Victoria and Albert Museum, London

Blondin retired in London a very rich man. R. Fleming Lowell even wrote a song about him. He made over 4,000 performances throughout his lifetime and was still performing at the age of 68. His home Niagara House was in Northfields, near Ealing (then called Little Ealing) where he died in 1897 aged 73, and where Blondin Avenue and Niagara Avenue were named in his memory.

The wheelbarrow was in poor condition. The structure had distorted over time and exposure to environmental changes had caused delamination and splitting in the wood. The painted surface was worn with losses and flaking and the surface extremely dirty with a dull grey appearance. The gilded areas had been overpainted with bronze paint which had oxidised and appeared brown. The red felt had also suffered over time and was detatching from the wood. As this object was on show during spectacular events such as the crossing of the Niagara Falls, it would have been highly decorative; therefore, the aim of the treatment was to bring back its stunning appearance while retaining the marks of its history and use.

The wheelbarrow in the Victoria and Albert Museum’s collection (S.279-1985) would have been used to transport passengers in some of Blondin’s many tightrope crossings during his remarkable career.

The ‘seat’ section of the wheelbarrow is made of five panels of wood. The seat is mounted onto two long wooden members which form the handles at one end and hold the wheel at the other. The wheel has a groove where it was in contact with Blondin’s rope. These lengths are held together in a ladder-like fashion with four wooden cross members. The parts are held together with metal bars, screws and wing nut bolts. The chair is lined with dark red felt and the wheelbarrow, including the wheel, is painted a white creamy colour with decorative lines of gold leaf.

Nigel Bamforth, Senior Furniture Conservator, stabilised the wooden structure and split timbers were re-instated in their correct position so that the original profile could be maintained. Warm hide glue was used with clamps to hold the timber in position.

Degraded and flaking old adhesive in the areas lined with felt was mechanically removed with tweezers.

Following consultation with Textile Conservators,

18

1 part Lascaux 360HV:2 parts Lascaux 498 was applied to the reverse side of the lifting felt and gently repositioned.

The wheelbarrow was very much in use by Blondin and the subsequent wear to the painted surface is part of its history, therefore areas of loss showing wood below were not retouched. Larger losses to the paint were left and unified with the rest of the surface using soft glazes of watercolour. The paint and the gilded decoration were retouched with a water-based pigment palette. A mix of ochre, ultramarine, red oxide, black and ivory were used on all the painted areas. As the original varnish was kept, an isolation layer was not added between the painting and the retouching.

The flaking paint was consolidated with isinglass, an aqueous thermo-adhesive. A layer of Japanese tissue was stuck with methylcellulose to the surface to hold the flakes during the treatment. The adhesive was introduced under the flakes using a syringe to allow an accurate fixing. The adhesive was left to dry overnight and then the flakes were gently ironed with a hot spatula to go back in plane. After this process the tissue was removed with deionised water.

The conserved wheelbarrow (Fig. 4) is now on display in Theatre and Performance, Rooms 103 – 106.

Cleaning of the surface was crucial to recover the contrast and the original colour of the decorative surface (Fig. 3). The surface was cleaned with 3% Triamonium Citrate in deionised water. The gilded decoration was cleaned with 5% sodium hydroxide.

The surface was then rinsed with deionised water.

Although the original varnish was aged and yellow, it was decided to keep it as it is part of the history of the object.

Given by The Wellcome Institute for the History of Medicine

19

materials to use in treatment. The non-accessioned status of the mask and its instabilities make retreatment unlikely. Consequently, the process of selecting materials for treatment could prioritize working properties rather than long-term stability.

Prior to treatment, the mask was in poor condition.

The overall shape was distorted from inadequate storage. Losses in the latex were visually distracting.

Though most of the latex retained some flexibility, the edges were embrittled and pieces of painted latex were shed when the mask was handled. The mask also has a distinct rubber smell, and accretions that resembled makeup around the mouth and chin on the interior illustrated its theatre use.

The mask was to be displayed beside an image from the 1980 theatre production that showed two similar masks being worn (Fig. 2). Therefore, the primary goal that informed treatment decisions was improvement of the mask’s shape and aesthetic appearance. Treatment needed to address structural instability, especially in areas that had already started to harden. Thoughtful mounting was required to reshape and provide support to the deformed latex.

Loss compensation was needed to make the areas of missing painted latex less visually distracting.

Fig. 1 Edward Heath theatre mask before treatment (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London)

This full-face latex caricature of Edward Heath was part of the Victoria and Albert Museum’s 2018 display Censored! Stage, Screen, Society at 50 that explored the role of censorship in the arts from the seventeenth century to contemporary creations (Fig. 1). The theatre mask, originally worn in the 1980 play A Short Sharp Shock, came to the Museum in an archive but was not accessioned due to its inherently unstable materials.

Despite its non-accessioned status, the poor condition of the mask necessitated treatment before exhibition, which posed challenges for formulating an approach that would meet the goals of treatment while adhering to ethical standards of conservation. Treating this nonaccessioned object provided unique circumstances to explore alternative approaches for stabilization and loss compensation.

With these goals in mind, experimentation was begun to determine the best methods and materials for treatment. Local patches applied to the interior of the mask would provide structural stability while limiting the visibility of the treatment. Medium-weight nonwoven polyester Reemay was selected as the backing, as it offers strong dimensional support and was able

V&A Conservation Journal No.66

Jacquelyn Peterson-Grace, MS Conservation student, Winterthur/University of Delaware Program in Art Conservation

V&A Conservation Journal No.66

Disguising Degradation: The Treatment of a Latex Theatre Mask

Fig. 3 The brittle edges of the losses were stabilized with patches of Reemay (a), the filled with Plasticine clay (b), before being in-painted with a multi-step process to blend with the surrounding latex (c) (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London) Fig. 4 The mask, after treatment and mounting (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London)

polyester wadding and black cotton jersey fabric.

Additional padding was added as needed to provide support and restore shape to the distorted mask.

to conform to the irregular surface of the mask. Beva 371 film was chosen as the adhesive for its ability to be heat-reactivated, thus avoiding the use of water or solvent on the sensitive latex surface, and for its strength, as the support patches would be required to flex as the mask was placed onto its display mount.

The patches extended well beyond the areas of loss to provide structural support to the degrading latex (Fig. 3).

The treatment protocol successfully met the goals of structural stabilization and visual reintegration of losses, and the custom mount offers support to hold the mask in a shape similar to its original configuration (Fig. 4). However, the materials used in the treatment pose degradation concerns of their own. Information provided by the manufacturer states that Plasticine can stiffen upon aging, and anecdotal information suggests that calcium salts may leach out. The fill material that best suited the aesthetic needs of the treatment does not have stable aging properties, which violates an important tenant of conservation treatment. However, the latex itself will continue to degrade and stiffen, and the mask was not to be accessioned due to its inherently unstable composition.

These parameters make retreatment highly unlikely.

The treatment, though invasive, has resulted in much greater structural stability for the mask. It is unlikely that additional latex will be shed from the edges of existing losses, and as the latex continues to oxidize and harden it will retain its original shape thanks to the custom mount. The ageing properties of the Plasticine are questionable, but the fills will likely remain stable for the duration of the lifetime of the latex.

Once structural stabilization was addressed, options for loss compensation were considered and a variety of fill materials were tested. The fill material needed to be opaque and mouldable to mimic the texture of the surrounding latex, to remain flexible as the fills would inevitably flex as the mask was taken on and off its mount, and to accept paint, so the fills could be toned. Of all the materials tested, Newplast Plasticine modelling clay gave the best results. The clay, a blend of calcium salts, petroleum products, fats, and pigments, is non-drying, easily sculpted to impart surface texture, and retains its shape and flexibility over time. The losses, backed with Reemay, were filled with grey Plasticine clay that was sculpted to match the surrounding surface texture.

The matte surface of the mask dictated that the fills be toned with a matte inpainting medium, necessitating a multi-step inpainting process. Only acrylic paints would adhere to the waxy surface of the clay, so the fills were primed with acrylic matte medium before being toned with gouache paint mixed with fumed silica.

The fumed silica further matted the paint to blend well with the surrounding painted latex.

The mask was visually identified as latex by Brenda Keneghan, V&A Senior Polymer Scientist. Latex, a viscous plant sap that hardens to form natural rubber, is particularly susceptible to oxidative degradation that results in embrittlement of the initially flexible material. This inherent instability means that latex objects have a shorter lifespan than other materials, thus presenting interesting parameters for selecting

Fig. 2 An archival image from “Short Sharp Shock”, illustrating that several Edward Heath masks were used in the production © Victoria and Albert Museum, London

20

This treatment provided the opportunity to develop a protocol for addressing structural instabilities and visually distracting losses in flexible rubber-based objects. The protocol may be used on other objects, and avenues for future research include identifying a fill material with more stable ageing properties for future treatments.

A custom head-shaped mount was created from buckram (linen and wheat starch paste) covered with

21

materials to use in treatment. The non-accessioned status of the mask and its instabilities make retreatment unlikely. Consequently, the process of selecting materials for treatment could prioritize working properties rather than long-term stability.

Prior to treatment, the mask was in poor condition.

The overall shape was distorted from inadequate storage. Losses in the latex were visually distracting.

Though most of the latex retained some flexibility, the edges were embrittled and pieces of painted latex were shed when the mask was handled. The mask also has a distinct rubber smell, and accretions that resembled makeup around the mouth and chin on the interior illustrated its theatre use.

The mask was to be displayed beside an image from the 1980 theatre production that showed two similar masks being worn (Fig. 2). Therefore, the primary goal that informed treatment decisions was improvement of the mask’s shape and aesthetic appearance. Treatment needed to address structural instability, especially in areas that had already started to harden. Thoughtful mounting was required to reshape and provide support to the deformed latex.

Loss compensation was needed to make the areas of missing painted latex less visually distracting.

Fig. 1 Edward Heath theatre mask before treatment (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London)

This full-face latex caricature of Edward Heath was part of the Victoria and Albert Museum’s 2018 display Censored! Stage, Screen, Society at 50 that explored the role of censorship in the arts from the seventeenth century to contemporary creations (Fig. 1). The theatre mask, originally worn in the 1980 play A Short Sharp Shock, came to the Museum in an archive but was not accessioned due to its inherently unstable materials.

Despite its non-accessioned status, the poor condition of the mask necessitated treatment before exhibition, which posed challenges for formulating an approach that would meet the goals of treatment while adhering to ethical standards of conservation. Treating this nonaccessioned object provided unique circumstances to explore alternative approaches for stabilization and loss compensation.

With these goals in mind, experimentation was begun to determine the best methods and materials for treatment. Local patches applied to the interior of the mask would provide structural stability while limiting the visibility of the treatment. Medium-weight nonwoven polyester Reemay was selected as the backing, as it offers strong dimensional support and was able

V&A Conservation Journal No.66

Jacquelyn Peterson-Grace, MS Conservation student, Winterthur/University of Delaware Program in Art Conservation

V&A Conservation Journal No.66

Disguising Degradation: The Treatment of a Latex Theatre Mask

Fig. 3 The brittle edges of the losses were stabilized with patches of Reemay (a), the filled with Plasticine clay (b), before being in-painted with a multi-step process to blend with the surrounding latex (c) (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London) Fig. 4 The mask, after treatment and mounting (Photography by Jacquelyn Peterson-Grace © Victoria and Albert Museum, London)

polyester wadding and black cotton jersey fabric.

Additional padding was added as needed to provide support and restore shape to the distorted mask.

to conform to the irregular surface of the mask. Beva 371 film was chosen as the adhesive for its ability to be heat-reactivated, thus avoiding the use of water or solvent on the sensitive latex surface, and for its strength, as the support patches would be required to flex as the mask was placed onto its display mount.

The patches extended well beyond the areas of loss to provide structural support to the degrading latex (Fig. 3).

The treatment protocol successfully met the goals of structural stabilization and visual reintegration of losses, and the custom mount offers support to hold the mask in a shape similar to its original configuration (Fig. 4). However, the materials used in the treatment pose degradation concerns of their own. Information provided by the manufacturer states that Plasticine can stiffen upon aging, and anecdotal information suggests that calcium salts may leach out. The fill material that best suited the aesthetic needs of the treatment does not have stable aging properties, which violates an important tenant of conservation treatment. However, the latex itself will continue to degrade and stiffen, and the mask was not to be accessioned due to its inherently unstable composition.

These parameters make retreatment highly unlikely.

The treatment, though invasive, has resulted in much greater structural stability for the mask. It is unlikely that additional latex will be shed from the edges of existing losses, and as the latex continues to oxidize and harden it will retain its original shape thanks to the custom mount. The ageing properties of the Plasticine are questionable, but the fills will likely remain stable for the duration of the lifetime of the latex.

Once structural stabilization was addressed, options for loss compensation were considered and a variety of fill materials were tested. The fill material needed to be opaque and mouldable to mimic the texture of the surrounding latex, to remain flexible as the fills would inevitably flex as the mask was taken on and off its mount, and to accept paint, so the fills could be toned. Of all the materials tested, Newplast Plasticine modelling clay gave the best results. The clay, a blend of calcium salts, petroleum products, fats, and pigments, is non-drying, easily sculpted to impart surface texture, and retains its shape and flexibility over time. The losses, backed with Reemay, were filled with grey Plasticine clay that was sculpted to match the surrounding surface texture.

The matte surface of the mask dictated that the fills be toned with a matte inpainting medium, necessitating a multi-step inpainting process. Only acrylic paints would adhere to the waxy surface of the clay, so the fills were primed with acrylic matte medium before being toned with gouache paint mixed with fumed silica.

The fumed silica further matted the paint to blend well with the surrounding painted latex.

The mask was visually identified as latex by Brenda Keneghan, V&A Senior Polymer Scientist. Latex, a viscous plant sap that hardens to form natural rubber, is particularly susceptible to oxidative degradation that results in embrittlement of the initially flexible material. This inherent instability means that latex objects have a shorter lifespan than other materials, thus presenting interesting parameters for selecting

Fig. 2 An archival image from “Short Sharp Shock”, illustrating that several Edward Heath masks were used in the production © Victoria and Albert Museum, London

20

This treatment provided the opportunity to develop a protocol for addressing structural instabilities and visually distracting losses in flexible rubber-based objects. The protocol may be used on other objects, and avenues for future research include identifying a fill material with more stable ageing properties for future treatments.

A custom head-shaped mount was created from buckram (linen and wheat starch paste) covered with

21

A significant proportion of the Victoria and Albert Museum’s collections are currently stored at Blythe House in west London. Preparations began last year to get them ready for the move to the new Collection & Research Centre (CRC) at Here East in the Olympic Park, which will open in 2023. In addition to a complete audit of the collections at Blythe, condition assessments were carried out to evaluate the stability of the objects before packing begins. Two furniture conservators are currently working as part of the Blythe House Decant team, treating and preparing furniture and other wooden objects including, carvings, picture frames, architectural elements and puppets.

V&A Conservation Journal No.66

Philip Kevin, Furniture Conservator

V&A Conservation Journal No.66

Through the Looking Glass: conserving a mirror for the Blythe House Decant

With the enormity of the decant project, re-attaching separated/broken fragments, repairing breaks and reconstructing losses is not always possible, or necessary. In many instances these objects can travel safely with supportive packing. However, in this instance there were several reasons why a full reconstruction of this object was deemed necessary:

• The frame was broken, and the mirror was close to falling out.

• The mirror was taking up more shelf space in pieces

With over 250,000 objects to move and limited resources, difficult choices must be made when deciding which objects get allocated precious time in the conservation studio. The process is not without challenges, but it is also very rewarding, and even small interventions can significantly reduce potential risks to the objects. Most of our treatments will focus on stabilising the objects to minimise potential damage during transportation, working closely with Technical Services decant team to achieve this end. Many treatments are non- interventive and involve specialist packing, additional handling boards, boxes, crates and packing with protective museum-grade foam and tissue. Practical treatments often include stabilising flaking painted surfaces. However, there are some cases where more is needed; the small English japanned toilet mirror (Museum No. 661-1906) c1700-1725 is one such example (Fig. 1).

Fig. 2 661-1906 Mirror back amalgam coating (Photography by Philip Kevin © Victoria and Albert Museum, London)

The mirror was in poor condition: the frame was broken at the top with losses on one side, the top cresting had become detached, the decorative japanned surface was flaking, and localised old woodworm damage was causing some structural weakness and loss of wood. A turn screw that secured the mirror in place and allows it to tilt was missing and a non-original escutcheon (keyhole plate) had become detached. The broken frame and a loose backboard had created large gaps which had allowed dust and cobwebs to accumulate behind the glass. The toilet mirror is a tin mercury amalgam mirror, a technique used to make mirrors from the sixteenth century right up to the twentieth century. These types of mirrors are susceptible to degradation as the tin component of the amalgam oxidises and separates from the mercury, dulling areas of the mirror (Fig. 2). The mercury can be released into its liquid state, sometimes causing small droplets of mercury to form at the bottom of the mirror. Contact with dust and direct contact with the wooden backboard accelerates this process.

Fig. 1 661-1906 Japanned Toilet Mirror before treatment (Photography

by Philip Kevin © Victoria and Albert Museum, London)

22

than it would if reconstructed.

• Mercury can be hazardous and skin contact should be avoided. Reframing the mirror securely in its frame is the safest way to store the mirror and reduce this hazard.

• Reframing the mirror would allow the mirror to be displayed and stored in an upright orientation to minimise the risk of breaking.

• A gap should be maintained between the back of the mirror and the inside of the acidic wooden backboard to slow down the deterioration of the amalgam and help inhibit the corrosion process.

• Reconstruction would reduce the risk of further loss and damage to the broken wood edges, making a future treatment more difficult.

• Reconstruction would also allow the opportunity to carry out some consolidation of the decorative surface. Areas of the component parts normally not accessible when assembled could be accessed before it is reconstructed. With the mirror in pieces, consolidation and flake laying the surface of the elements piece by piece is easier as you are not trying to work against gravity.

• A reconstructed frame could be made dust resistant to further protect the back (amalgam side) of the mirror.

Fig. 3 Left to right: (a) broken frame with losses before conservation, (b) frame loss replaced viewed from front of frame (Photography by Philip Kevin © Victoria and Albert Museum, London) Fig. 4 Top frame cresting replaced viewed from behind the frame.

Also front and back new wood visible on the top right (Photography

by Philip Kevin © Victoria and Albert Museum, London)

could be lifted out of the frame to allow the necessary repairs to be carried out. To stabilise the frame, reconstruction of the broken side was necessary. There were substantial losses at both the front and back of the frame around the break (front view Fig. 3a).

These losses were replaced with new wood to make the frame stable again. Softwood blocks were glued in position front and back and carved to the shape of the lost pieces of japanned wood (Fig.3b). This made the frame rigid and strong enough to carry the weight of the heavy glass and backboard. The new wood was later stained and coloured in a neutral colour matching the dark blue/green background of the surrounding japanned decoration. The loose dovetail, which originally attached the cresting to the frame, was lost.

A new softwood dovetail was cut and secured into the dovetail housing and glued to the back of the cresting, replicating how it was originally secured (Fig. 4).

Several of the old triangular retaining blocks or wedges used to secure the mirror in the frame needed replacing as they were damaged. The original damaged retaining blocks were bagged, labelled and placed within a drawer of the toilet mirror.

To carry out the reconstruction of the frame, the backboard was first removed. The backboard was held within the rebate with steel cut nails; these had corroded badly and were removed but were not suitable for reuse. Makers knew the importance of separating the backboards from the back of the glass and they used small triangular blocks to create this gap. These blocks were also removed so the glass

Shrinkage had caused gaps to form on either side of the backboard between the outside vertical edges of the backboard and the frame rebate. Wood shrinks

23

A significant proportion of the Victoria and Albert Museum’s collections are currently stored at Blythe House in west London. Preparations began last year to get them ready for the move to the new Collection & Research Centre (CRC) at Here East in the Olympic Park, which will open in 2023. In addition to a complete audit of the collections at Blythe, condition assessments were carried out to evaluate the stability of the objects before packing begins. Two furniture conservators are currently working as part of the Blythe House Decant team, treating and preparing furniture and other wooden objects including, carvings, picture frames, architectural elements and puppets.

V&A Conservation Journal No.66

Philip Kevin, Furniture Conservator

V&A Conservation Journal No.66

Through the Looking Glass: conserving a mirror for the Blythe House Decant

With the enormity of the decant project, re-attaching separated/broken fragments, repairing breaks and reconstructing losses is not always possible, or necessary. In many instances these objects can travel safely with supportive packing. However, in this instance there were several reasons why a full reconstruction of this object was deemed necessary:

• The frame was broken, and the mirror was close to falling out.

• The mirror was taking up more shelf space in pieces

With over 250,000 objects to move and limited resources, difficult choices must be made when deciding which objects get allocated precious time in the conservation studio. The process is not without challenges, but it is also very rewarding, and even small interventions can significantly reduce potential risks to the objects. Most of our treatments will focus on stabilising the objects to minimise potential damage during transportation, working closely with Technical Services decant team to achieve this end. Many treatments are non- interventive and involve specialist packing, additional handling boards, boxes, crates and packing with protective museum-grade foam and tissue. Practical treatments often include stabilising flaking painted surfaces. However, there are some cases where more is needed; the small English japanned toilet mirror (Museum No. 661-1906) c1700-1725 is one such example (Fig. 1).

Fig. 2 661-1906 Mirror back amalgam coating (Photography by Philip Kevin © Victoria and Albert Museum, London)

The mirror was in poor condition: the frame was broken at the top with losses on one side, the top cresting had become detached, the decorative japanned surface was flaking, and localised old woodworm damage was causing some structural weakness and loss of wood. A turn screw that secured the mirror in place and allows it to tilt was missing and a non-original escutcheon (keyhole plate) had become detached. The broken frame and a loose backboard had created large gaps which had allowed dust and cobwebs to accumulate behind the glass. The toilet mirror is a tin mercury amalgam mirror, a technique used to make mirrors from the sixteenth century right up to the twentieth century. These types of mirrors are susceptible to degradation as the tin component of the amalgam oxidises and separates from the mercury, dulling areas of the mirror (Fig. 2). The mercury can be released into its liquid state, sometimes causing small droplets of mercury to form at the bottom of the mirror. Contact with dust and direct contact with the wooden backboard accelerates this process.

Fig. 1 661-1906 Japanned Toilet Mirror before treatment (Photography

by Philip Kevin © Victoria and Albert Museum, London)

22

than it would if reconstructed.

• Mercury can be hazardous and skin contact should be avoided. Reframing the mirror securely in its frame is the safest way to store the mirror and reduce this hazard.

• Reframing the mirror would allow the mirror to be displayed and stored in an upright orientation to minimise the risk of breaking.

• A gap should be maintained between the back of the mirror and the inside of the acidic wooden backboard to slow down the deterioration of the amalgam and help inhibit the corrosion process.

• Reconstruction would reduce the risk of further loss and damage to the broken wood edges, making a future treatment more difficult.

• Reconstruction would also allow the opportunity to carry out some consolidation of the decorative surface. Areas of the component parts normally not accessible when assembled could be accessed before it is reconstructed. With the mirror in pieces, consolidation and flake laying the surface of the elements piece by piece is easier as you are not trying to work against gravity.

• A reconstructed frame could be made dust resistant to further protect the back (amalgam side) of the mirror.

Fig. 3 Left to right: (a) broken frame with losses before conservation, (b) frame loss replaced viewed from front of frame (Photography by Philip Kevin © Victoria and Albert Museum, London) Fig. 4 Top frame cresting replaced viewed from behind the frame.

Also front and back new wood visible on the top right (Photography

by Philip Kevin © Victoria and Albert Museum, London)

could be lifted out of the frame to allow the necessary repairs to be carried out. To stabilise the frame, reconstruction of the broken side was necessary. There were substantial losses at both the front and back of the frame around the break (front view Fig. 3a).

These losses were replaced with new wood to make the frame stable again. Softwood blocks were glued in position front and back and carved to the shape of the lost pieces of japanned wood (Fig.3b). This made the frame rigid and strong enough to carry the weight of the heavy glass and backboard. The new wood was later stained and coloured in a neutral colour matching the dark blue/green background of the surrounding japanned decoration. The loose dovetail, which originally attached the cresting to the frame, was lost.

A new softwood dovetail was cut and secured into the dovetail housing and glued to the back of the cresting, replicating how it was originally secured (Fig. 4).

Several of the old triangular retaining blocks or wedges used to secure the mirror in the frame needed replacing as they were damaged. The original damaged retaining blocks were bagged, labelled and placed within a drawer of the toilet mirror.

To carry out the reconstruction of the frame, the backboard was first removed. The backboard was held within the rebate with steel cut nails; these had corroded badly and were removed but were not suitable for reuse. Makers knew the importance of separating the backboards from the back of the glass and they used small triangular blocks to create this gap. These blocks were also removed so the glass

Shrinkage had caused gaps to form on either side of the backboard between the outside vertical edges of the backboard and the frame rebate. Wood shrinks

23

V&A Conservation Journal No.66

Conservation Department

Head of Conservation (Vacant)

Fig. 5 Modified backboard after conservation (inside face shown) (Photography by Philip Kevin © Victoria and Albert Museum, London)

Fig. 6 6116-1906 in packing/storage case (Photography by Philip Kevin © Victoria and Albert Museum, London)

more across the grain (backboard width) than along the grain (backboard length). These gaps allowed dust to accumulate and insects to gain access behind the glass. Thin fillets of soft wood were glued along each side and planed to size to create a snug fit between frame and backboard (Fig. 5). Brown gummed tape was applied to the mirror side of the board, where knots in the wood had become loose and tiny holes were visible, to secure the knots in position and keep out dust.

a discussion with the curator it was decided to remove the remaining non-original turn screw and replace with a pair of new turn screws. The turn screw that was replaced was labelled and bagged and placed inside a mirror drawer.

Once conservation treatment was complete, the object was placed within a newly-made bespoke packing case (Fig. 6). The case will allow the toilet mirror to be transported to the new storage facility safely. It is proposed that the toilet mirror, along with others similarly treated and vulnerable objects, will remain within their bespoke cases for future storage.

The corroded cut nails were replaced with a different system to secure the backboard in place. Small square blocks were attached to the rear rebate with brass screws. The blocks and screws will allow future conservators easy access to the inside of the frame.

Old cut nails were kept with the old retaining blocks inside a mirror drawer. Gummed linen tape was then applied across the rebate gap at the back to further seal from dust while still allowing some air circulation.

Acknowledgements

Thanks to Lee Emment, V&A Technician for help and support with the new carry frame to transport and store the mirror and Zoe Allen, Head of Furniture Conservation for advice on the preservation and treatment of the mirror back.

One turn screw used to secure the mirror and allow tilting movement on the stand uprights was missing and the one that remained was not original. Following 24

Staff Chart April 2019

Objects Conservation

Textiles & Fashion

Paper, Books & Paintings (PBP)

Science

Victoria Oakley

Joanne Hackett

Alan Derbyshire

Boris Pretzel

Ceramics & Glass Fi Jordan Margot Murray (c) Hanneke Ramakers

Textiles Albertina Cogram Susana Fajardo Lara Flecker Elizabeth-Anne Haldane Isobel Harcourt (c) Frances Hartog Maria Kinti (c) Rachael Lee Gill MacGregor (c) Nora Meller Keira Miller Roisin Morris Lauren Osmond (f) Katy Smith Lilia Prier Tisdall

Paper Lauren Ashley-Irvine Clair Battisson Victoria Button Susan Catcher Simon Fleury Chris Gingell Victoria Haddock (c) Eoin Kelly

Val Blyth Lucia Burgio Brenda Keneghan Bhavesh Shah

Furniture Zoë Allen Tristram Bainbridge Nigel Bamforth Yukiko Yoshii Barrow Philip Kevin (c) Dana Melchar Boudewien Westra (c) Metals Diana Heath Joanna Whalley Sculpture Victor Borges Sarah Healey-Dilkes Adriana Francescutto Miró (c) Johanna Puisto Mariam Sonntag Stained Glass Sherrie Eatman

Key Senior Management Team (c) (f)

Contract Fellowship

Books Anne Bancroft Anna Espanol Costa (c) Jane Rutherston Paintings Nicola Costaras Nina Jimenez Gray (c) Condition Reporting Liaison Louise Egan RIBA Charlotte Anstis Lisa Nash

V&A Conservation Journal No.66

Conservation Department

Head of Conservation (Vacant)

Fig. 5 Modified backboard after conservation (inside face shown) (Photography by Philip Kevin © Victoria and Albert Museum, London)

Fig. 6 6116-1906 in packing/storage case (Photography by Philip Kevin © Victoria and Albert Museum, London)

more across the grain (backboard width) than along the grain (backboard length). These gaps allowed dust to accumulate and insects to gain access behind the glass. Thin fillets of soft wood were glued along each side and planed to size to create a snug fit between frame and backboard (Fig. 5). Brown gummed tape was applied to the mirror side of the board, where knots in the wood had become loose and tiny holes were visible, to secure the knots in position and keep out dust.

a discussion with the curator it was decided to remove the remaining non-original turn screw and replace with a pair of new turn screws. The turn screw that was replaced was labelled and bagged and placed inside a mirror drawer.

Once conservation treatment was complete, the object was placed within a newly-made bespoke packing case (Fig. 6). The case will allow the toilet mirror to be transported to the new storage facility safely. It is proposed that the toilet mirror, along with others similarly treated and vulnerable objects, will remain within their bespoke cases for future storage.

The corroded cut nails were replaced with a different system to secure the backboard in place. Small square blocks were attached to the rear rebate with brass screws. The blocks and screws will allow future conservators easy access to the inside of the frame.

Old cut nails were kept with the old retaining blocks inside a mirror drawer. Gummed linen tape was then applied across the rebate gap at the back to further seal from dust while still allowing some air circulation.

Acknowledgements

Thanks to Lee Emment, V&A Technician for help and support with the new carry frame to transport and store the mirror and Zoe Allen, Head of Furniture Conservation for advice on the preservation and treatment of the mirror back.

One turn screw used to secure the mirror and allow tilting movement on the stand uprights was missing and the one that remained was not original. Following 24

Staff Chart April 2019

Objects Conservation

Textiles & Fashion

Paper, Books & Paintings (PBP)

Science

Victoria Oakley

Joanne Hackett

Alan Derbyshire

Boris Pretzel

Ceramics & Glass Fi Jordan Margot Murray (c) Hanneke Ramakers

Textiles Albertina Cogram Susana Fajardo Lara Flecker Elizabeth-Anne Haldane Isobel Harcourt (c) Frances Hartog Maria Kinti (c) Rachael Lee Gill MacGregor (c) Nora Meller Keira Miller Roisin Morris Lauren Osmond (f) Katy Smith Lilia Prier Tisdall

Paper Lauren Ashley-Irvine Clair Battisson Victoria Button Susan Catcher Simon Fleury Chris Gingell Victoria Haddock (c) Eoin Kelly

Val Blyth Lucia Burgio Brenda Keneghan Bhavesh Shah

Furniture Zoë Allen Tristram Bainbridge Nigel Bamforth Yukiko Yoshii Barrow Philip Kevin (c) Dana Melchar Boudewien Westra (c) Metals Diana Heath Joanna Whalley Sculpture Victor Borges Sarah Healey-Dilkes Adriana Francescutto Miró (c) Johanna Puisto Mariam Sonntag Stained Glass Sherrie Eatman

Key Senior Management Team (c) (f)

Contract Fellowship

Books Anne Bancroft Anna Espanol Costa (c) Jane Rutherston Paintings Nicola Costaras Nina Jimenez Gray (c) Condition Reporting Liaison Louise Egan RIBA Charlotte Anstis Lisa Nash

Autumn 2019 Number 66

Conservation Journal