Summer Reflections from Sara and Sarah

By Sara H. & Sarah P.

This article was originally published in Fall 2022 Historical Happenings, the quarterly newsletter of the Oshawa Historical Society. Subscriptions to Historical Happenings are available for Oshawa Historical Society members. To learn more about membership, see the OHS website: https://oshawahistoricalsociety.org/become-a-member/

Hi! We are Sarah and Sara, two of the students who were at the museum this summer. One of the main projects we worked on was a partial inventory of artefacts stored in the Robinson attic. This was a great introduction to the collection as we were able to really immerse ourselves in the artefacts, learn more about the museum, and the history of Oshawa. When we were first introduced to the attic, it was a bit daunting as neither of us had done an inventory before, and there are a lot of artefacts in our section of the attic. But, being this close to artefacts and having a “behind the scenes”’ look at the collection was a great way for us to become comfortable with the inventory process and learn about collections care and management. We also learned about the deaccession process and made some recommendations for deaccession. From the Canadian Museum Association, “deaccessioning is the formal process of removal of an object from the collection of an institution.”

The inventory and deaccessions gives us more room and more opportunities to expand our collection and represent more of Oshawa’s history.

We started by mapping out the attic and labelling everything according to its row and shelf. We went through each row and labelled them with ‘super professional’ sticky notes that had their row and shelf number. We then organized our Excel spreadsheet in the same sections so that if someone else had to find an artefact it would be easy for them to look through and figure out what section of the attic it lives in. We started going through the rows that were easiest to access, the end rows 1 and 3. These rows contained a lot of farm and yard care equipment, such as rakes, shovels and even an interesting looking baby stroller!

Baby stroller purchased in Oshawa c. 1917 (977.018-500.1)

The middle row was more challenging to access; we had to move shelves around so we could access the objects that lived on each one. It was very EXCITING to see and work with objects made from different types of materials, from wicker baskets and suitcases, to tiny ceramic figurines, and even all sorts of metal tools. Working with this collection has opened our eyes to how large and different museum collections can be. There were many artefacts, especially in the farming sections, that neither of us had seen before, but we were able to understand their importance within the collection. Even though the Oshawa Museum is a smaller community museum, the collection tells such a big and important story about our community. As we immersed ourselves in this environment, we realized that we had our favourite artefacts in the attic that we hope will someday be displayed in future exhibits at Oshawa Museum. We were particularly intrigued by our discovery of a typewriter on the bottom shelf of row 1 as it was in fantastic condition!

Small duck and bird figurines found in the Robinson Attic

The photograph shows the typewriter that immediately captured Sarah P.’s attention, a Remington Noiseless 6 from 1925. Prior to this artefact’s home in our lovely attic in Robinson House, this typewriter was located at Landers Coal, which later became Landers Stark Coal and Company. Like many of the artefacts in the attic, this typewriter inspires a sense of curiosity within us concerning the people who have used this object over the years. Sarah in particular has always wanted to own an old-fashioned typewriter, as she believed it would make her a great writer. Sadly, she must continue her writing pursuits using modern technology!

Remington Noiseless 6 typewriter (004.18.1)

Before we began this project, we usually only considered how museums acquire and exhibit their artefacts. Still, as we end the inventory process, we have been participating in recommending objects for deaccession. At first, we thought it would be difficult to consider which artefacts could be removed from the museum’s collection. However, once we were comfortable with these artefacts, we began to analyze how particular objects may no longer be relevant to the mandate and collection’s policy, or if the condition had deteriorated to the point that it was not fit for display. We also noticed numerous repeats of artefacts that often had us looking at each other, wondering how many spigots were necessary for our museum to possess. Even though we are not the individuals to make the final decision about what is removed from the collection, it was beneficial for us to learn about this critical aspect of working in a museum that is often forgotten by the general public.

Our table of proposed deaccessioned objects

We also have to mention how appreciative we are of having this phenomenal experience of working at the Oshawa Museum. All of our co-workers have honestly been amazing, we have learned so much from each of them and have had a great time with them along the way! We both have gathered so many new skills and experiences that have truly helped us grow in our passion for history and pursuing a career in this field.

Wishing the best of luck to Sara and Sarah with their future studies!

Dressing for Display

By Melissa Cole, Curator

Mounting a historic dress can be challenging, even for the experienced dress curators and conservators.  Inappropriate handling is one of the main causes of damage to museum objects.  Handling should be kept to a minimum; the risk of damage occurring can be reduced by good preparation before, during, and after the historic dress has been mounted.

The condition and structure of the historic dress should be carefully analyzed to determine if it has any structural weaknesses, previous damage, or fragile surfaces.  The condition of the dress will inform how to safely display the piece, or even if it can be displayed at all.  Ensure to consider its stability against environmental conditions and mounts while on exhibit.

A properly dressed mannequin is important for both the visitor experience at a museum and the artefact/garment itself.   The correct style of mount should be chosen, whether it is two dimensional or three dimensional.  For our display at the Oshawa Museum, we have chosen three dimensional mounts using mannequins in various shapes and sizes to create the correct silhouette.  It is important to remember when working with mannequins and dressing historic garments that it is not the same as dressing a store mannequin.  At a store, the mannequin is automatically the correct silhouette and the garment is new and can withstand the stress and handling.

When mounting historic garments, a mannequin should be chosen that is significantly smaller than the garment.  First, carefully measure the garment and ensure to take the time to measure properly.  Measure the entire bodice of a garment, not just straight across the chest.  Carefully measure all the way across the inside of the garment, following the curve of any space created for the bust.

Areas to measure on the mannequin and the historic dress.  The second photo indicates the measurement of the entire bodice, not just straight across.

 

Once the proper mannequin has been selected, it is time to start building out the mannequin so the historic dress is well supported throughout.  Supplies to build out mannequins include white cotton sheet, pantyhose, quilt batting, cotton twill tape, flexible fabric measuring tape, scissors, and straight pins.  A well-dressed mannequin should go unnoticed by visitors.  This means the visitor will focus on the historic dress itself and not on how it is displayed.  A poorly mounted mannequin can distract the visitor from focusing on the garment and its story.

When simply placed on a mannequin, this 1860s dress is neither supported nor provides a true representation of its silhouette.

 

The final stage is to ensure the proper silhouette is created.  This primarily comes into consideration with women’s and children’s clothing during certain periods.   Through the addition of appropriate under structure, the garment will be fully supported.  This is completed through the use of petticoats (antique or reproduction) from different time periods, for example, small pillows for bustles, and fabric tulle or netting can be used to create a 1950s crinoline or a 1830s full skirt.

By using petticoats to fill out the skirt and acid free tissue paper to stuff the sleeves, the garment presents a truer illustration of 1860s fashion.

 

Be sure to watch our social media channels for a glimpse behind the scenes in the upcoming weeks as we prepare for our upcoming exhibition, The Vintage Catwalk!