Posted on February 5th, 2014 by Rachel
At the end of this month we say good-bye to Passages Through the Fire: Jews and the Civil War. I, for one, will be sad to see it go. I’ve not only enjoyed the exhibit and the chance to work with Karen and Todd on our “Maryland edition”, but also the outstanding programs that Trillion put together and the fun we’ve had with our volunteer docents and museum educators on the special tours.
Closing February 27th!
I’ve gained dozens of new insights over the last few months but the one that sticks with me is actually about “saying good-bye”.
When Ross Kelbaugh came to speak at JMM at the beginning of December, he spoke about the boom in photography in Baltimore at the start of the Civil War (and the involvement of members of the Jewish community like the Bendann brothers and David Bacharach in this new “high tech” industry). As many as 50 photo studios were doing business here in 1861. Why the boom? Well one of the causes that Kelbaugh points to is a technological innovation know as cartes de visite. Just before the start of the war, photographers perfected the technique of printing multiple copies of playing card-sized images to card stock. These images were affordable, even for people of modest means and could be easily slipped into the mail for loved ones. You can imagine that soldiers sent to staging areas, like Baltimore, were very anxious to share pictures of themselves in uniform with their loved ones and images of nearby battlefields could bring the war home in a way that was unthinkable just 10 years earlier. This keen interest fueled the photography craze (more about this can be found in a New York Times’ “Disunion” column by Andrea Volpe from August 6, 2013).
School students visit Passages Through the Fire.
I look at this as a first revolution in the concept of “away”. For thousands of years, when husbands and sons went off to affairs of war or commerce, there was an absolute loss of connection. Their wives, children and siblings in most cases had only their memories to rely on (or perhaps an old portrait) to invoke the image of the person who was truly “away”. But the Civil War chipped away at the concept that saying good-bye completely severed visual contact with those who were away.
Today, we’ve experienced a second revolution in “away”. With Skype, Face Time, Facebook and more, we almost never completely lose visual contact with those who have gone away, whether they are at summer camp or at a base 10,000 miles from home. The technology has changed what it means to take leave and endure separation.
All this is not to say that we have solved the problems of being apart. Images can be a poor substitute for human contact. But nothing ever leaves us as completely as it once did, and we’ll have the pictures of the Civil War exhibit on our website to prove it.
(editor’s note: Passages Through the Fire closes on February 27th. Due to the fragile nature of the artifacts this will be the end of the exhibit tour, everything will be returned to the lenders. If you haven’t seen it yet, we encourage you to take advantage of your last opportunity)
A blog post by executive director Marvin Pinkert. To read more posts by Marvin, click HERE.
Posted on November 7th, 2013 by Rachel
If you are too young to know about Breck shampoo—or if you just want to reminisce about 1970s hair products—check out this Youtube video.
Incorporating original objects from the JMM permanent collection in exhibitions—especially traveling exhibitions—is an important way to bring the focus to Jewish life in Maryland. This was particularly true with Passages through the Fire: Jews and the Civil War. Maryland was truly a boarder state during the Civil War and Jews were as divided as other groups when choosing sides. While I knew about his role on the pulpit in Baltimore, I was surprised to learn that Rabbi Benjamin Szold was asked to intercede on behalf of Private George Kuhn, a young Jewish Union deserter. Although Szold was unsuccessful, he remained with the young man until he was executed.
You can see an original copy of this Harper’s Weekly depicting the aforementioned execution in the Passages through Fire exhibition.
In addition to the trunk that Szold used when he emigrated from Breslau, the Museum also owns the black velvet hat he wore at about the time he was recruited by Temple Oheb Shalom in 1859. This artifact was perfect for the The Minhag America section of the exhibition, explaining the diverse practices in each Jewish community at the start of the Civil War.
1998.115.2 A portrait of Rabbi Benjamin Szold
Unfortunately, the hat was in poor condition and could not be exhibited without conservation. As evidenced in the photo below, the velvet was completely split, and falling off the hat to expose a yellow/brown padding structure beneath, which too had tears, soiling, and damage. In addition to holes, the shape of the hat was distorted and crushed, and there was a considerable amount of dust accumulated across the surface!
Demonstrating that the black velvet is literally being held on by a thread.
It looks like a toupee!
Conservation work can be time consuming and expensive—which is why the JMM only conserves select items, usually in conjunction with an exhibition. The American Institution of Conservation website was helpful in identifying specialized conservators by location. After we approved her treatment proposal, textile conservator Julia Brennan worked on Rabbi Szold’s hat. In her treatment report Julia explained the process of her work:
· The hat was humidified over several days in an enclosed chamber to slowly introduce moisture into the fabric. This made the hat more malleable, and throughout the humidification process it was gradually manipulated from its collapsed shape to its original shape. As the hat softened, it was gently filled out with tissue to hold the shape.
· The hat really took its original shape and the velvet is much more relaxed and supple.
· Large, split areas of the hat were lined with black cotton for stability. The split edges were then re-aligned and hand sewn to the black cotton with hand stitching, using a color-matched Skala thread. It was necessary to have the supports, as the velvet edges are too brittle to attach to each other.
Left, a split, broken area lined with black cotton. Right, the area stitched back into place. A small seam of the cotton is visible.
· In a large area where the velvet was missing entirely, a new piece of carefully matched black velvet was inserted and stitched into place with hand stitching. This fills the hole, and makes the hat more complete and attractive.
Left, a large hole in the hat. Right, the hole with new black velvet inserted to mask the hole.
Our biggest concern with the Szold hat was whether it would be stable enough for exhibition after treatment. In addition to conserving the hat, Julia built a custom support to keep it in its original, stable shape. The support consists of four parts:
1. A “donut” made of cotton stockinette and batting, exactly fitting the main body of the hat. This will prevent the velvet from the stress of collapsing, which contributed to the original splits.
2. A small, dome shaped piece made of ethafoam and batting, covered in a non-abrasive black stretch fabric. This supports the center of the body of the hat, which the donut does not support.
3. A flat disc made of ethafoam, batting, and black stretch fabric fit to the exact dimensions of the hat brim. This keeps the brim straight, preventing further wrinkling and making current wrinkling less obvious.
4. A second, taller disc for the entire supported hat to sit on, also made of ethafoam, batting, and covered in a cream colored stretch fabric. This elevates the hat when its other support pieces are in place so the brim does not touch the resting surface. It can also be used for display purposes. Or not.
Right Side Up
The hat has undergone a complete transformation! It is no longer limp and torn. It’s gone from Flat to Fluffy.
In the “Results and Recommendations” section of her report Julia cautions that the velvet is still extremely brittle, an irreversible problem. Some small splits remain in the velvet because the repair process is so stressful to the fabric that repairing them would cause more harm than good. The hat must be handled with extreme delicacy and caution, or more splits will occur, and current splits may get larger. The hat should be kept in a carefully monitored environment with low light. Cleaning should only be done by a conservation professional due to the delicacy of the fabric.
I got this travel sized Breck shampoo when I stayed at the Channel Inn in DC for the MAAM conference in October. It really makes your hair fluffy! Just don’t use it on historic artifacts.
Rabbi Szold’s hat is on view in the Passages through the Fire exhibition on view now at the JMM. Funding for this important project was made possible by the Associated.
A blog post by Senior Collections Manager Jobi Zink. To read more posts by Jobi click here.
Posted on October 21st, 2013 by Rachel
For those of you lucky enough to have already seen our new exhibit, Passages through the Fire: Jews and the Civil War, you might have noticed this portrait in the beginning of the exhibit, of Betsey Wiesenfeld, neè Friedenwald.
You might also have read the letter written by Betsey’s young daughter, Rosa Wiesenfeld, to her father while he was in prison during the war.
What you might not know, is that we have a celebrity in our midst. Beloved, long-time volunteer, Betsey Kahn, is Rosa’s granddaughter, and is Betsey Wiesenfeld’s namesake! The next time you see Betsey at the front desk, try to see if you can spot the family resemblance!
A blog post by Visitor Services Coordinator Abby Krolik. To read more posts by Abby, click here.