COLLECTION CONDITION more -->
A close examination of the Bolivian Doll Collection showed that all the items needed some form of conservation. Restoration needs varied from a simple cleaning, to the repair of a small hole or the stitching of a split seam, to the repair and support of items that had been severely damaged by insects. One major conservation problem identified was the shattering of fabric used in the doll clothing, which is common to some vintage silks. There was also some damage that could not be addressed like the fading of coloured fabrics from age and exposure to sunlight. Photographs were taken to document the condition and lists made of the conservation needed. I research the general care of textiles and vintage dolls (Baker 2008; Van Patten 2000). I also research on the care of historical clothing and found it helpful, as the dolls are wearing miniature clothing (Thomson 1986). I then researched specifically for methods of cleaning, repairing and protecting textiles that would address the needs of this collection. Consideration to the preservation of the original materials and the reversibility of any work was the top priority in all conservation actions chosen. The result of the examination, photos, lists of repairs and research were assembled in a Conservation Proposal. This report was a detailed proposal of the conservation actions and the methods that should be used. The Proposal was submitted to the museum curator for approval before any action was taken.
CLEANING
According to the Canadian Conservation Institute the goal of mechanical cleaning in a museum setting “is to remove only the dirt that is disfiguring and potentially damaging the textile, without causing further damage (2010). The use of a vacuum with a HEPA filter was the preferred method, using a section of screen at the end of the nozzle, which would catch any pieces that may come loose (CCI 2010). The small size of some of the beads and coils of fine wire that held on sequins gave me some concern due to the strength of the suction of the vacuum. I felt that rather than the screen, a piece of cloth at the end of the nozzle might reduce the strength of the suction and allow for the catching of any item no matter the size. I affixed the vacuum on to a desk, under a bright overhead light so that I could hold each item with one hand and gently brush them with a small artist’s paintbrush with the other; this procedure worked well. However there was one fur item in the collection that displayed some shedding from this treatment. I researched the conditioning of fur to stop shedding but could not find a reliable, practical solution and took no further steps. In the next step in cleaning I wiped all surfaces lightly with a cosmetic sponge to remove any surface dirt left by vacuuming (Gleeson 2015). This practice works well and removes a remarkable amount of dirt. However caution must be used, I suggest that a small test area be tried to insure that the textile is not damaged using this method.
ACCESSION NUMBERS
All the dolls and accessories in this collection had their accession number attached to them with a paper tag on a loop of cotton string. The old tags were replaced with new tags made from a strip of acid free Tyvek. The accession number would be written with an archival pen on a strip of Tyvek that had a dried base coat of clear nail polish. Once dry the written numbers were covered with a topcoat of clear nail polish. Each label was hand sewn at both ends in discreet positions. Notably, some labels could only be sewn on one end due to the size and shape of the article.
