Early textiles are of special interest to me.  I love the textures of 19th century cottons, wools, and linens.  Their eye-pleasing colors, derived from natural sources, have a depth and richness that modern chemicals and methods cannot replicate.  And I appreciate the creativity and the skill that went into making the many beautiful pieces we cherish today. Antique textiles are composed of natural fibers such wool, cotton, linen, or silk.  They were mostly functional objects, therefore the history of their use, environmental conditions, and handling can affect their condition. Poor environmental conditions, careless handling, and inappropriate cleaning, storage, and display are factors that contribute to the degradation of natural fibers. Both natural and artificial light can fade color and cause permanent damage to many textile fibers. The rate at which damage occurs is determined by the level of illumination and the duration of exposure.  Unfortunately, because light damage is cumulative and irreversible, protecting textiles from light exposure is key to their preservation.  There are some simple and practical steps that can be taken: keep curtains, shades, and blinds drawn to protect textiles from strong direct light, and use ultraviolet light filtering glass when framing textiles for display. Keeping in mind that all types of light can damage early textiles, the risk of light damage can be also minimized by periodically rotating your textiles on and off display. High temperatures speed up the rate of many chemical reactions, and as a result, speed up the rate at which damage can occur in fibers, dyes, and other component materials of textiles. For this reason, textiles are best stored and displayed as far away from heat sources (fireplaces, spotlights, windows, etc.) as possible. Areas inclined to high temperatures (above 80°F) and those subject to sudden or great temperature changes, such as unfinished attics and basements, are not appropriate for the safe storage of textiles.   The organic materials that were used to make early textiles contained moisture, therefore fluctuations in temperature and humidity can cause these materials to expand and contract as they take in or lose moisture.  Potential problems associated with high humidity are mold and mildew, the corrosion of metals in the materials, and the bleeding of some dyes. A variety of pests can cause structural damage to early textiles. These pests include clothes moths, carpet beetles, silverfish, and mice. Clothing moths feed on materials that contain protein such as wool and feathers. Sometimes the cocoon webbing of clothes moths can be seen on the surface of infested textiles. When infestation is suspected, sticky traps should be placed near the storage or display area. Periodically inspecting and regular cleaning of areas where textiles are displayed and stored is the cheapest and safest way to protect your textiles. If an infestation is detected, isolate the piece in a sealed plastic bag and contact a professional conservator. Pollution, whether from outdoor or indoor sources, can weaken and degrade fibers. Cigarette smoke and aerosol sprays can deposit oily particles onto fibers causing irreparable damage. Wood, plastic, rubber, wood-based paper, cardboard, and newly painted surfaces emit chemicals that can discolor and degrade textiles. Proper handling is important for the long-term preservation of 19th century textiles.  Support a textile in a manner that distributes its weight evenly. Human skin contains oils and perspiration so washing hands frequently or wearing cotton gloves will protect the early textiles.  Yarns and fibers can be easily pulled, frayed, and weakened depending upon the textile’s condition, its component materials, and method of construction, so remove jewelry and anything else nearby that may cause a snag. Basic types of storage are flat, rolled, and hanging. Flat storage of textiles, such as using drawers, trays, shelves, or boxes is recommended, particularly for fragile items. Flat storage provides even support to minimize fiber damage. When selecting storage locations, it is important to choose materials that will not adversely affect textiles. Wood, uncoated metal shelves, and cardboard boxes should not be placed in direct contact with the textiles. If larger items need to be folded, the folded areas should be padded with acid-free tissue or polyester batting so tight creases do not form. The ideal method of storing rugs, quilts and large flat textiles is to roll the textiles onto acid-free tubes. The decorative side of rugs, velvet and embroideries should face outside on the roll. Fragile textiles should be layered between acid-free tissue.  Layering involves placing tissue on the front surface of the rug and then rolling the rug onto the tube with the tissue in place. Rolled textiles should be covered with unsized, washed muslin or acid-free tissue. Small flat textiles, such as samplers and other loosely woven textiles, are best protected when properly framed under glass. These pieces should first be attached to an acid-free rigid support, then placed in a frame. Spacers, typically strips of acid-free mat board, should be placed between the front surface of the sampler and the frame glass. This will provide air space between the glass and textile. The mat board can be adhered to the glass using double-sided tape. UV filtered glass will protect the textile from damage from light. Heavy textiles such as quilts, tapestries and rugs may be mounted on a frame, or hung using a Velcro support system. If the textile is to be displayed against a wooden wall, a piece of washed, unbleached muslin should be sewn to the back of the textile to separate and protect the textile from the wood. Making informed decisions regarding the handling, display, and storage of your early textiles can make the difference between a short life span and a textile’s preservation for your enjoyment and for future generations.

Careful conservation and display techniques will ensure that you get pleasure from your early watercolors for years to come. Early watercolors were usually on parchment made of linen rags and cellulose (an insoluable substance of plant cell walls and vegetable fibers) making them more resilient to deterioration. From the 1840s onwards, paper was made from wood pulp and acidic chemicals. These additives contributed to the paper turning brown and brittle that led to foxing. While these vulnerabilities cannot be completely avoided, there are techniques that will help to avoid decaying of the paper and pigments. Frames should be secure, sealing gaps to prevent openings for dust, contaminants, and insects. Old framed pieces should be checked for signs of acidic decay. Backing boards and mounts made from acidic materials can lead to damage and the appearance of brown marks on the artwork.  Paper absorbs moisture from the atmosphere and may weaken the tissue fibers. Mold and foxing are also exacerbated by increased humidity. Very low humidity from direct sources of heat such as radiators, hot air vents, and fireplaces can also be a problem, as this can cause the paper to become dark, yellow, and brittle. Any work of art should not be displayed in direct sunlight; early watercolors are particularly fragile. Even a few weeks in direct sunlight or in a very bright room with reflected light can fade the pigments and make the paper brittle, bleached, or yellowed.  Clear glass does provide some protection to works on paper, but it still allows harmful ultraviolet rays to filter through. Ultraviolet filtering glass blocks most ultraviolet light and protects the watercolor from becoming brittle and faded. The glass should not be in direct contact with the paper, as the glass may stick to the paper and deteriorate the pigments in contact with the glass. Placing spacers between the glass and the paper will avoid this damage. Taking these steps to protect and preserve your watercolor will help ensure years of enjoyment.

We love them when they sing, bringing birdsong into our early mornings, their songs telling others that they survived the night. We love them in the evening when their songs are quieter, a call and response, as if saying “good-night”.  We dislike them when their droppings dirty our cars, walkways, patio furniture.  A wild turkey once parked itself on the hood of my car, refusing to leave no matter how much I yelled and waved.  Yet I still enjoy watching the wild turkeys boldly marching in a straight column up my street, oblivious to the cars lined up waiting for them to pass.  What is it about birds that pique our interest, our fears, our fascination? The soaring freedom of their flight, their ability to inhabit earth and sky . . . birds symbolize the human and cosmic spirit; the belief that birds are souls and represent goodness and joy.  Birds play a role in many creation myths, endowed with celestial and earthly powers.  Another belief is that birds communicate with divinities and bring messages from them (thus, “a little bird told me”). Birds represent wisdom and intelligence; early Shamans wore feathers and bird masks so that they could “fly” to higher levels of knowledge – far from our modern uncomplimentary “bird-brained”.  In Hinduism, people believed that some birds are holy and symbolize truthfulness and purity.  In Asia, birds are seen as messengers from the spirit world and a reminder of our ancestors.  In some early cultures they served as messengers or signs from higher powers that led tribes and nations to new sources of food, shelter, and other necessities. Eagles, hawks, falcons and other birds of prey became bearers of both good news and death. In many cases, these birds served as messengers from the gods carrying either their blessings or punishments. The Ancient Greeks believed that eagles represented Zeus, king of the gods. Other cultures believed hawks to be messengers from the underworld.  Birds featured in old English folklore have often been seen as omens of death or misfortune. We frequently see birds, or abstract representations of birds in folk art. The meanings attributed to different bird species have evolved over centuries of folklore, ancient traditions, and rituals.  These connotations have, in most cases, led the artist to depict the bird that best represents the artist’s intended message. Eagles are symbols of fertility, life, and power.  Many Native American communities considered eagles, especially the bald eagle, to be sacred animals, a symbol of wisdom, bravery, and a connection to the spiritual realm. Owls symbolize wisdom, knowledge, and intelligence. They are often depicted as teachers of other animals, such as in Aesop’s fables. The owl can also be a symbol of death or witchcraft. In Native American folklore, the owl is believed to be a spiritual guide that can help humans attain higher levels of consciousness The Dove represents peace and love. To Christians, the dove is a symbol of salvation and peace. Other religious people view the dove as a symbol of purity and gracefulness. In some cultures, because of its symbol of goodness, the dove is used to ward off evil spirits, while other cultures view the dove as a symbol of freedom. Phoenix is a mythical bird. The lore is that every few hundred years, when the Phoenix feels its time has come, it builds a pile of sticks and sets itself on fire. When the rising sun ignites the flames, the Phoenix dies, and from its ashes an even more beautiful bird arises. The Phoenix is also associated spiritual enlightenment and eternal life. It is believed that Phoenix is associated with the Sun, and therefore it represents the renewal of life after death. The Blue Jay is native to North America. It is known for its tenacity, determination, patience, intelligence, and aggressiveness. It symbolizes the ability to use any situation to one’s benefit. This comes from the bird’s ability to build nests in any tree or environment that is available. The Robin, the quintessential early bird, is known for its end-of-winter appearance, cheery songs, and red/orange-colored breast. While a robin is associated with new growth, ancient Europeans considered the robin to be a symbol of divine sacrifice and rebirth. In Ancient Rome, the Cardinal was thought of as a spiritual messenger sent by those who died and went to heaven. To Native Americans, the cardinal has strong ties to other realms and acts as a messenger from the ancestors. Several southeastern tribes associated cardinals with the sun and as a symbol of good fortune. So, when you see a bird in that piece of folk art, look for the deeper meaning; think about the message the artist is trying to convey.  A hawk gliding overhead, the blue jay’s clamorous squawking, the blue bird of happiness dropping a gift on your car (it’s supposed to be good luck). Here are some examples of birds depicted in folk art.  Can you discern their meanings?