Abstracted in free translation by Karen Finch (1998) from: Sofus Larsen. (1939) Nordisk Guldspinding og Guldbroderi i den tidlige Middelalder. København: Ejnar Munksgaard. Note on the translation: I wish to stress that the information abstracted relates mainly to the practical…
Organisation The work on cataloguing the Collection began in 1975 when it was moved from 7 Western Gardens, Ealing to Hampton Court Palace. There were many difficulties to overcome because of the lack of space and inadequate facilities and progress…
At present, in England, we have no accepted course of training for anyone who wishes to work at the conservation of textiles. Indeed there is hardly anyone outside a museum, or without some personal contact with the work, who would…
A knowledge of materials used in Textile objects and their history is the basis of sound conservation and is essential to Textile Historians and Conservators alike. This knowledge may be gained in part from tutors and colleagues but in the…
Introduction Our first alumni meeting was about the dyeing of support fabrics. The meetings were a means of catching up with new developments, relating new experiences – and getting to know about how to organise such meetings. Mary Brooks asked…
The Beginning When I married and came to England in 1946 I had just completed a three-year course in weaving and design at Kunsthåndværkerskolen in Copenhagen. At that time the Art School was still housed in the Museum of the…
Two exciting projects came into being during our campaign for The Textile Conservation Centre which is now housed at Hampton Court Palace. The first one was the conservation of the King’s Bed at Knole Park. I had been concerned with…
The survival of so many important objects should always be considered when assessing the means of their collecting and their possible repatriation. The British heritage of textiles of artistic, cultural and historic importance including tapestries, embroideries, furnishings and a wide…
There are in existence a great number of important tapestries woven in the European tradition. Many of these are in need of conservation. This does not necessarily mean that conservation treatment can, or would be, considered a budget priority by…
Delft 1964 In 1964 we attended the IIC Textile Conference in Delft organised by Dr Leene to bring together textile curators, conservators and scientists – a very important step in the development of textile conservation. Dr Leene had invited me…
Abstract The common cause of conservators and curators is to preserve objects in their care in all the aspects of their creation and survival and to display and interpret them for the benefit of the public. 1. Introduction When an…
A wool and linen tapestry hanging which was made about fifteen years ago for the United Nations’ conference building in New York by the Märta Måås‐Fjetterström AB workshop in Sweden showed grave signs of deterioration. The hangings were returned to…