Celebrating the Launch of the Preservation Collection

Coming in September... New fabric and thread lines from Moda and Aurifil,
based on one of our quilts, with proceeds to benefit the museum.

Thank you for visiting us for the IQSCM/Preservation Release Event! The Preservation Collection benefiting IQSCM is a collaborative project involving Moda Fabrics, Aurifil Threads and the IQSCM. To learn more about these companies, take a peek at collections & exhibits, and take part in a fabulous giveaway, make sure to follow along via the links below. 

8/17: Aurifil

8/18: Moda

8/19: You're Here

We are so excited to have one of our quilts featured in Moda's Quilts for a Cause and to have an accompanying line of thread available from Aurifil. This Medallion Quilt, which was made by an unknown maker, probably in Allendale region, England, circa 1830, is truly a gem of our British quilt collection.

As we explained in our interviews with Aurifil and Moda earlier this week, the Medallion quilt appeared in the inaugural exhibition for our West Gallery. "Getting to Know You" featured twenty-six quilts, selected to represent the depth and breadth of our collection. Our curators chose about half of the pieces and the rest were selected by our volunteers, students, quilters and our visitors near and far.

Medallion, maker unknown, probably made in Allendale region,
England, circa 1830, 112 x 107 inches. IQSCM 2007.014.0001.

This one was among three British quilts selected by Fiona Diaper, former museum manager of the Quilt Museum and Gallery in York, England. From there, we asked people to vote online for the piece they most wanted to see displayed in the gallery. The Medallion quilt won with more than 50 percent of the vote.

A detail shot of the quilt label used in "Getting to Know You,"
which included an image of a 19th century textile printer's record book.

Voters explained why they wanted to see this quilt featured in our galleries:

"Although by heritage I should be voting for the Welsh quilt, I just loved the colours and work involved in the North Country quilt, so voted for that one."

"The colours are beautifully muted -no modern synthetic dyes, and the pattern holds attention for a good while - takes a time to work it out.  The fabrics probably reflect the fashion of that time, or show the range of one producer. I love that it has a wavy edge - I've had quite a few of those."

"I love this quilt. It looks very English to me with the variety of patterns and way it has been constructed. I like the stars and half triangle blocks making up the borders. It is probably pieced over papers and well designed."

"Totally British all the way with the flowers in the middle with lots of interesting blocks around the quilt."

"First of all I love the medallion form with several borders.  The collection of fabric is exciting and the variety of patchwork patterns adds to the over all interest. I love the 'jumble' effect of English medallions from this period."

The Medallion quilt, on the back wall, as it appeared in "Getting to Know You."

In her in-gallery description of this piece and its significance to British quilt history, Diaper wrote:

"These visually pleasing Medallion quilts, which were particularly popular from 1800 to 1850, vary immensely in terms of design, construction and materials. Just as with different dialects and landscapes across the UK, quilts can sometimes show regional influences too. This lively version comes from the north of England."

A visitor leaves a response in our in-gallery comment book.

While the quilt was on display, we asked viewers to share their thoughts on the piece's wall power:

"I love the quilts that remind me of grandmothers and mothers piecing together scrapes to use up old clothes. So nostalgic. <3"

"I believe a lot of love and creativity went into this quilt to pass on to the next generation."

"It is very nice, because I like fabric! Fabric is fabulous!"

Part of our responsibility as custodians of our world-class collection is to make sure pieces like this Medallion quilt remain in good condition for future generations to learn from and enjoy. We do this by storing our pieces in a climate-controlled setting, routinely refolding them and restricting how often they are handled and displayed. You can learn more about our care process in this video:

We also encourage you to take steps to care for your collection at home. Read our tips here.

Be sure to check out the other posts in our Blog Hop from Aurifil and Moda. Also, look for the Aurifil Moda lines in our Museum Shop when they are released in September.

*** GIVEAWAY ***

To enter-to-win one Preservation Aurifil Thread Collection and one Fat Quarter Bundle of Preservation, Collection for a Cause by Moda Fabrics, click here to head to the Rafflecopter entry page, or simply click on the image above. You do not have to complete all the options to be entered but the more options you choose, the more entries you have!  Entries will be accepted from now through 11:59 p.m. Eastern Time on Thursday, August 25! Winner will be randomly selected and announced here on Friday, August 26. Good luck!

a Rafflecopter giveaway

Field Trip to Ford Conservation Center

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Danielle Tucker

What is conservation? 

According to Webster’s Dictionary, “conservation” involves preserving, repairing, and preventing deterioration of archaeological, historical, and cultural sites and artifacts.

But how does one go about preserving repairing, and preventing deterioration on historical artifacts? 

Aiming to give us a hands-on experience with current conservation efforts, Carolyn organized a class outing to the Gerald R. Ford Conservation Center in Omaha. While the Ford Conservation Center is a regional conservation facility, it is also a part of the Nebraska State Historical Society. Because of this partnership, the center provides its services to an array of clients ranging from private collectors to public museums. The center itself staffs four conservators and two technicians who work together to draft treatment plan proposals, execute said object treatments, and provide object storage and display recommendation..

One key thing I learned from our trip is that conservationists are not appraisers. Their job is not to attach a value to an object; instead, their job is to treat every object they are given as if it were priceless. Many items that come through the center are family heirlooms; therefore, they many not have a high monetary value, but the sentimental value is priceless.

Overall, one thing I have really come to love about our Care & Conservation course is the amount of time we get to dedicate to hands-on learning activities. We are always given interactive ways to engage with the material we are learning in class.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Why Deaccession?

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Danielle Tucker

The act of deaccessioning, which is the formal change in status of an item to officially remove it from the collection, is a taboo topic for many museums. Deaccessioning became a hot topic in the 1970s when many notable museums, such as The Met, experienced public backlash for their deaccessioning processes. Many thought the actions museums were taking when deaccessioning objects were not supported by set policies and procedures to ensure everything was being carried out in an ethical manner.

The key takeaway museums learned from this debacle was that the public wants to feel connected to the happenings at the institutions in their communities. The public wants to feel respected and appreciated. The way for museums to build that lasting relationship is by being as transparent as possible with their actions. Allow the public to see what it is you are doing, but be sure to explain WHY it is necessary.

So why do museums need to deaccession? 

The act of deaccessioning is necessary for the continual advancement of a museum’s collection. One of the biggest inhibitors for museums is s-p-a-c-e. Unless a museum has the land and funding to continually expand its building to house new objects, the museum must continually analyze its collection to see what items are no longer serving the mission of the institution. It’s inevitable, over time a museum will end up collecting items that do not fit its mission. On the flip side, museums will also attain better examples of pieces it currently owns. Items from both of these circumstances are perfect candidates for deaccessioning. By deaccessioning objects, a museum is able to keep itself relevant within the ever changing atmosphere of art and history.

Here is a quick look at how the deaccessioning process works. 
•  Unfold the quilt
•  Locate the object number tag
•  Find the coordinating paperwork for that object number
•  Begin filling out the deaccessioning form
•  Analyze the condition of the quilt
  -  look for tears, fabric decay insect damage, dye degradation, etc
•  Gently remove the object number tag and if a sleeve has been added, remove that as well
•  Photograph the quilt
•  Refold and box up

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Deaccessioning

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Kami Ahrens

Deaccessioning is a word that most of the public is either unfamiliar with or immediately conjures up ideas of back door dealings to bring in pay boosts for museum officials. However, deaccessioning is a very legitimate and necessary process. Deaccessioning can be defined as the process by which an object is permanently removed from a collection. However, it requires intense and detailed documentation and the actual removal of the object must be justified according to a strict set of criteria.

During class, we learned about how the IQSCM deaccessions objects and the circumstances surrounding the removal of certain artifacts. Here, quilts are evaluated on condition and uniqueness; they are generally deaccessioned if severely damaged or are duplicates.

We looked at several deaccession candidates that were beyond the museum’s ability to repair. Many of these damages were simply the result of inherent vices, such as unstable dyes or chemicals that caused the fabrics to decay. We helped complete the necessary paperwork on the artifacts and prepped them for removal.

Once deaccession candidates are approved by multiple officials at the museum, they are given to other museums, donated, or sold at public auction. Any funds gained from the sale of these specific artifacts goes towards bringing in new items that will better support the mission of the collection. Deaccessioning allows museums like IQSCM to manage the size of their collection and refine their goals as a public institution.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Fiber Analysis and Microscopy

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Sarah Walcott

Recently, our Care and Conservation class was afforded the opportunity to study and practice fiber analysis and microscopy.  Fiber microscopy in particular is an essential tool of the textile historian, as the ability to definitively identify the fiber or fibers used in a given quilt or other textile offer not only historical and cultural information, but can also be indicators of the best way to preserve the textile.

Fiber analysis may involve both non-technical and technical tests.  Non-technical methods of analysis include the way the textile looks and feels.  Technical tests may include burn tests on individual fibers, chemical tests, and microscopy.  Not every textile is a good candidate for technical tests.  In order to complete a technical test, the textile must have an area of damage, such as loose threads, split seams, fraying, abrasions, or holes, from which a tiny sample (ideally only a few fibers) may be extracted without further damage.  In order to practice fiber microscopy, our class was able to work with textiles which already had large areas of fraying and other damage, such as this crazy quilt from the education collection.  This textile was also ideal for study in that it included a wide variety of fibers.

The photograph above shows an area of damage from which a few fibers were able to be extracted using tweezers and small angled scissors.  Once the fibers were extracted, they were carefully placed on a microscope slide which had been prepped with a few drops of distilled water.

Once the slide was ready, the fibers were examined under the microscope, where it was determined that the brown striped fabric was made of wool.  This was easy to see thanks to the distinctive scales present on wool fibers, clearly visible under magnification.  Other class members analyzed cotton and linen fibers from different areas of the same quilt.  As our study concluded, it was clear that in the arsenal of tools available to the textile historian, fiber microscopy is incredibly valuable.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Lighting 'Blue Echoes'

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Christi Coufal-Tuya


Sometimes museums have a tendency to feel like libraries- people speak in hushed tones and there is little action or movement. Though there are quiet days at the museum, anyone who has been to a Quilt ID Day or one of the First Friday events knows that Quilt House is not like that, but even those events are comparison to what goes on behind the scenes. Last week it was tools, and ladders, cherry pickers, lighting instruments, and more. Those of us in Care and Conservation class are lucky to be a part of it.

Our main topic of discussion in class last week was exhibition lighting. Lighting is crucial to an exhibition for a number of reasons including object care, visibility, and exhibition design. There is no point in putting on an exhibition if visitors can’t see the objects, and effective lighting helps to tie exhibits together and make objects stand out. The problem is that textiles are highly susceptible to damage caused by light exposure in terms of fading and embrittlement. UNL Historic Costume Collection #2010.003.058 (below) is a 1910’s dress that is in beautiful condition except for the extreme fading due to excess light exposure.

David Saunders, current vice president of the International Institute of Conservation and former conservation scientist at the National Gallery in London once said that “any light must be seen as a concession.” Curators and museum goers have a different perspective and want objects to be seen as clearly as possible. Museum standards for lighting textiles and paper objects recommend maximum light levels of 50 lux (or 5 footcandles) for short periods of time. The IQSCM uses light meters to check light levels, UV filters on the doors to block UV rays, and controls gallery lights with timed motion sensors. In addition, permanent collection objects can remain on display under optimum conditions for just 1 year in a 10-year period.

After our discussion we spread throughout the museum working on a variety of projects. We worked on vacuuming objects and accessioning new pieces.
   

We also worked on installing and lighting the second rotation of Art Quilts of the Midwest in the Pumphrey Family Gallery downstairs. While it appears simple, this can be a tricky space to light due to the low ceilings and the closeness of the tracks to the gallery walls.

We also got to look in on the recently opened Blue Echoes: Quilts by Shizuko Kuroha to replace a couple of wonky light fixtures. This is a gorgeous show curated by Marin Hanson is the first solo exhibition by a Japanese artist ever at the IQSCM and features art quilts with intricate patterning and antique Japanese indigo dyed textiles. It is only on exhibition through May 25, so make sure to stop in and see it! If you can’t make it in, you can read about it and view the online images (which are much better than my own) under the exhibitions tab on the main website.

This one, A Gift from the Sky (2013), is my personal favorite, and it is huge!

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Lighting "Art Quilts of the Midwest'

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Jami Swartz


Museum exhibition lighting helps showcase displayed objects in their full glory. When installed properly exhibition lighting will go mostly unnoticed by the average museum guest. However, as our Care and Conservation class learned last week, the task of illuminating quilts for exhibition at IQSCM is a considered process that balances visual enjoyment with preservation and care. Improper lighting can lead to irreversible damage of textiles and quilts, which is counter to IQSCM’s mission of long term preservation and care. Because of this, many factors including the type of bulb used, the intensity of illumination, as well as the position and angle of light sources are carefully considered and measured when illuminating exhibitions at IQSCM.

The author holding a light meter up to a quilt included in
the Art Quilts of the Midwest exhibit at IQSCM.

IQSCM employs Light Emitting Diode (LED) bulbs for gallery illumination. In addition to their long lifespan, LED lights emit very little damaging ultraviolet (UV) and virtually no infrared (IR) radiation.  Both UV and IR rays cause permanent damage to textiles regarding both fiber structure and color. Despite the fact that LED bulbs emit less UV and IR rays than halogen, incandescent, or fluorescent options, careful attention is paid to the light intensity for the purpose of preservation.

Fellow Care and Conservation classmate Sarah holds a
light meter up to a quilt in the Art Quilts of the Midwest exhibit at IQSCM. 

A light meter is held close to the surface of each quilt in order to measure the intensity of illumination. The person measuring the light intensity moves the meter across the entire surface of the quilt to make sure that no part is receiving light over the set threshold of 50 lux, or 5 foot candles. If the light meter reads over 50 lux (or 5 foot candles) the light source must be adjusted.

David Crews adjusts a light fixture while fellow
Care and Conservation classmate Christi holds a light
meter up to a quilt in the Art Quilts of the Midwest exhibit.

David Crews helps Sarah add a filter to a light fixture. 

Adjusting light sources is generally left up to IQSCM’s lighting guru David Crews, who has illuminated all but one exhibit at IQSCM. Crews informed our class that the light intensity is altered by either adding a filter or gel, or adjusting the fixture to change the angle and/or position of the light. There are some fixtures at IQSCM that do not need filters and whose intensity can be adjusted by turning a knob—the wonders of technology. Making sure that objects do not suffer the ill effects of light is only one part of gallery illumination.

David Crews and Sarah make some final lighting decision.

IQSCM offers visitors the chance to view exceptional and often rare quilts in beautiful spaces, and lighting plays a key role in this. David Crews’ lighting lessons also involved paying attention to the visual aesthetics of exhibited objects. One must make sure the object’s true colors are displayed correctly and respect any artistic intent (if present). In addition to making sure the object is presented in a pleasing and accurate manner, Crews also makes sure that none of the lighting fixtures shine on or at museum guest while they are in the gallery space—untoward glare from a light fixture is not a pleasant experience.

The halogen bulb graveyard: IQSCM recently switched from
halogen to LED bulbs. The halogens bulbs will be recycled. 

As you have seen, lighting museum exhibitions is a multifaceted task with issues concerning preservation as well as aesthetics. Careful planning and artful employment of lights helps museum guests enjoy IQSCM’s collections while keeping the irreversible damages of light to a minimum.


The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

UNL Quilt Show

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.


By Christi Coufal-Tuya

Last week was perhaps my favorite Care and Conservation class thus far. All of the quilts for the UNL employee quilt guild show had arrived and were ready to be installed in the Beavers Terrace Gallery and the third floor conference room and hallway.  While I have helped to install shows in the Robert Hillestad Textiles Gallery in the Home Economics building, this was my first experience installing an exhibition at the IQSCM. It was an enlightening experience, to say the least.

This show is particularly difficult from a logistics standpoint. A traditional exhibition a requires many months, sometimes more than a year, of planning.  Curators spend months prepping for exhibitions- determining a theme, selecting objects, designing the exhibition, planning the layout, and much, much more. A major part of exhibition planning includes examining objects for size, shape, and condition to identify the best way to hang the object for display. The quilts for the UNL Employee show arrived sporadically over the days before the install, some coming in as late as Monday morning, which left little time to prep them, check that each had a proper hanging sleeve, and confirm measurements to insure that each quilt would fit on the wall in its intended space.

Another thing that made for a challenging installation were the close quarters hat the quilts were to be displayed in. The main galleries have beautiful high ceilings and wide open spaces but issues still arise when hanging shows in those spaces. The third floor hallway and conference room do not have those luxuries, and hanging a show in those spaces requires problem solving and careful maneuvering.

When we arrived for class on Monday, Assistant Curator of Exhibitions Jonathan Gregory had already been hard at work preparing the exhibition spaces and setting the layout so we could all get right to work. He created a layout plan using the ground plan of each space and images of the quilts. Below is the layout of the hallway. On the walls there were images of each quilt in their approximate location with their hanging cords in place.

The class split into two teams each under the tutelage of a curator- Jamie and I worked with Jonathan on the third floor while Sarah, Kami, and Danielle worked with Curator of Collections (and class professor) Carolyn Ducey. Unfortunately, I don’t have many pictures because the whole process was all hands on deck! We used long, clean, tables to layout the quilts and slide in the slats to prepare them for hanging. You’ll notice that in the pictures we aren’t wearing any gloves- this is usually taboo at the museum, but there are some exceptions. It is too hard to sew accurately with thick cotton museum gloves on, so gloves are removed when sewing labels on to the back of objects. The hanging hardware used by the IQSCM is made of metal and tighten with small thumb screws; it would be far too slippery to hang the quilts safely with gloves on. Instead we all wash our hands every 15-30 minutes and be careful not to touch our face or hair, any food, or anything that could transfer to or harm the quilts.

We utilized three different methods of hanging quilts for this show. The majority of the quilts were hung from slats and suspended from two cords and secured with clips. Jamie can be seen tightening a clip after checking that the Seward City Mills quilt was level.


The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Egyptian Tent Panel & New England Coverlet

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Jamie Swartz

One of the many perks of taking Textile Care & Conservation at IQSCM is the hands-on experience of working with, and helping care for the museum’s collection. Being up close and personal with objects from the collection—while maintaining a safe distance and always wearing gloves while handling any object—is an experience afforded to very few people. While museum guests have the option to schedule a Behind-the-Scenes tour, which grants visitors a view into the inner workings of Collections storage and a look at objects from the IQSCM collection not on display, being a part of the Care & Conservation course is a wholly unique experience. As detailed in previous posts by my fellow classmates, each class period has been marked with a new learning experience in the particulars of museum care, specifically regarding quilts.

Did you know that IQSCM’s collection contains textiles and objects that aren’t necessarily quilts?  Last week our class interacted with two examples: a hand-appliqued Egyptian tent panel and stenciled coverlet from New England.

The tent panel is one of two similar recent acquisitions that exemplify the “International” in IQSCM. My classmates had the pleasure of carefully examining the appliqued panels and writing condition reports for both. I simply admired the hand-sewn appliqued designs and took photos for your viewing pleasure. It would be wise to keep abreast of future exhibitions at the museum, and you might have a chance to view the panels in person one day.

Our class was called into the photography studio where a stenciled coverlet from New England was being photographed for an upcoming IQSCM publication.

The stenciled coverlet from the Ardis and Robert James Collection has been professionally conserved in order to stabilize and preserve the overall integrity of the object. The conservation work can be seen in the photos.

The conservation work that was performed on this coverlet prevents the textile from being folded for storage. Our class had the pleasure of carefully rolling the coverlet onto a conservation-grade tube, which was no easy task. When a quilt or textile object is rolled for storage the object is sandwiched between two layers of acid-free tissue paper and rolled onto a tube that is wider than the object. Carefully attention is paid to make sure the quilt or textile does not pucker or crease while being rolled. All hands were occupied during the rolling of the coverlet, so no photos exist of the careful and methodical process.

The Egyptian tent panel and the New England coverlet offered unique a hands-on learning experience in our Care & Conservation coursework while granting an remarkable experience of interacting with the IQSCM’s collection.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.