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.
Posted on October 18th, 2013 by Rachel
Nearly 200 people joined us at the JMM this past weekend (Oct. 12 and 13) to celebrate the opening of Passages through the Fire: Jews and the Civil War. The exhibit comes to us from the American Jewish Historical Society and Yeshiva University Museum and has been enhanced by the JMM to include artifacts and stories that reflect the role of Maryland Jews in the war.
The exhibit sheds light on both how the Jewish community (which numbered 150,000 in 1860) participated in the war as well as how the war impacted the community.
Here are some of the opening event highlights:
guests in gallery
At Saturday evening’s members’ preview, guests enjoyed viewing the fascinating artifacts on display especially those that told local stories. It was fun hearing the chatter in the gallery as people constantly exclaimed how surprised they were to learn about the extent of Jewish involvement in the war effort.
Guest using the stereoscope viewer
The JMM installation featured several new activity stations. Here a guest explores the section of the exhibit on Civil War era photography by testing out a stereoscope viewer.
2nd South Carolina String Band
With their authentic period costumes and instruments, music of the Second South Carolina String Band gave the lobby a Civil War-era feel.
Karen leading tour
JMM curator Karen Falk led two filled-to-capacity exhibit tours where she shared stories about individual artifacts and stories on display.
Marvin leading tour
JMM executive director Marvin Pinkert premiered our new 1861 themed tour of the Lloyd Street Synagogue for guests at Saturday’s event. This tour takes visitors back in time to the 1860s as they explore what Jewish life was like in Baltimore at this time as well as the important role that the Lloyd Street Synagogue (then Baltimore Hebrew Congregation) played in the debate on slavery. This new tour will be given daily (Sun-Thurs) at 3pm.
We are so grateful to the two students from the Baltimore School for the Arts who attended the event in period costume. It was especially fun watching Amelia navigate tight corners in her hoop dress. Thank goodness fashion trends have changed!
guests viewing objects in case
Our member’s preview was followed by a successful opening to the public on Sunday. We were delighted to see many people – both longtime friends to the JMM and first time visitors – take in the exhibit. Many people brought their children who enjoyed playing with the exhibit’s activity stations.
visitor talking to re-enactor
On Sunday, we were privileged to have two Civil War re-enactors attend in authentic soldier uniforms. Guests enjoyed having the opportunity to speak with them as they learned about their uniforms’ details and items of significance.
Jonathan Karp, former director of the American Jewish Historical Society and one of the exhibit’s project directors, provided fascinating insights on the development of the exhibit and shared some of his favorite stories with our guests.
Passages through the Fire: Jews and the Civil War is on display at the Jewish Museum of Maryland through February 28, 2014. We hope you will stop by for a visit.
A blog post by Assistant Director Deborah Cardin. To read more posts by Deborah, click here. All photos by Will Kirk.