Discoveries and Connections at the Museum

Posted on July 19th, 2017 by

A blog post by Exhibitions Intern Jillie Drutz. To read more posts from JMM interns, past and present, click here.

My first day as an intern with the JMM, we learned about PastPerfect, the (kind of crazy cool to be honest) collections software the museum uses, and were instructed to explore and practice the many ways you can use the software to research objects, archives, and people. Exploring the collections–menus from the Suburban House, Kiddush cups, and old photographs from Pikesville–I could not help but feel as if I were rummaging through my own grandparent’s basement. With Jewish grandparents born and raised in Baltimore, I started searching their names in PastPerfect expecting some interesting results. The only thing I found was that I would need to do more genealogical research on my paternal family to yield any results. One name did catch my eye: “Samson Benderly.” I knew the name Benderly because it was my maternal great grandmother’s maiden name. I never considered looking for my mother’s family in the JMM collection because they immigrated to the United States from Israel recently.

Dr. Samson Benderly 1900 (Age 24). JMM 1974.8.2

Dr. Samson Benderly 1900 (Age 24). JMM 1974.8.2

Looking at a photo of a Happy Birthday certificate Samson Benderly wrote to Rabbi Benjamin Szold from the JMM collection, I quickly texted my grandmother, the true matriarch and keeper of all family knowledge, if she knew of a Samson Benderly in the family. She said she had not but our Benderly’s all came from Tzfat in Israel and that might help. Born in Tzfat, Dr. Samson Benderly (1876-1944) was rapidly gaining my interest. Benderly came to Baltimore in 1898 where he became the revolutionary father of American Jewish education. He guided many people who would later go on to become influential institutional leaders. He even knew the powerhouse that was Henrietta Szold, a Zionist leader, and founder of Hadassah.[1] I looked through a family history book compiled for a three day Benderly family reunion held in 1998 and there I found a Shimshon (or Samson) Benderly, who was recorded as coming to the US in 1898 and became involved in education. My family and I were amazed when we read this. It was just really cool! But it also made me realize that even though I am a Jewish Marylander, it was not until I discovered Samson Benderly did I really feel a connection to the JMM. And I was kind of surprised at how closed I had been as a visitor.

Certificate commemorating Rabbi Benjamin Szold’s 70th birthday from Dr. Samson Benderly (1899) JMM 1995.34.1

Certificate commemorating Rabbi Benjamin Szold’s 70th birthday from Dr. Samson Benderly (1899) JMM 1995.34.1

It is so easy to walk in a nicely air conditioned museum exhibit, gawk at the foreign objects in glass cases adorned with didactic plaques, and forget that they tell our stories. And my discovery reminded me this and that the people exhibited (even if we cannot fully understand them) are real. It would take thousands of blog posts to even begin to describe let alone capture how much emotional, cultural, and social value museums provide to people, in terms of learning and understanding. But, unless you work for a museum, personal connection is the one museum experience that we forget about. Learning and more importantly understanding are not possible without connection, or in other words, the attempt to relate. It certainly helps to have discovered a potential ancestor in the collections of a museum or already relate to the content to connect to it, but that is not really necessary. It all comes down to the openness of the museum visitor. Even with all the painstaking work curators and educators put into designing exhibits and educational strategies that foster connections, without the visitor’s effort, connecting is not possible. And I challenge you to connect; explore a museum (its exhibits, website, resources) with not only a keen eye for understanding, but also an open heart for connecting. While I initially intended this blog post to focus on sharing a cool discovery of mine, I appreciate your patience in letting me take a different turn to remind us all that that museums are beyond interesting and even beyond relevant—they are personal.

All that being said, did you know you do not need Past Perfect to look at the JMM’s collections? Our collections, archives, and photographs are available for your exploration on the JMM website. What will you discover?

 

 

[1] Krasner, Jonathan B. The Benderly Boys and American Jewish Education. Brandeis University Press2011.

 

Posted in jewish museum of maryland




From Flat to Fluffy: The Conservation of Rabbi Szold’s hat

Posted on November 7th, 2013 by


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.

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

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.

Demonstrating that the black velvet is literally being held on by a thread.

 It looks like a toupee!

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.

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.

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.

Interior Support

Interior Support

Right Side Up

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.

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.

JobiA blog post by Senior Collections Manager Jobi Zink. To read more posts by Jobi click here.

Posted in jewish museum of maryland