Textile Conservation Lab

The Textile Conservation Laboratory at the Cathedral of St. John the Divine was established in 1981 with a mission to conserve two sets of 17th century tapestries that were early gifts to the Cathedral. Under the direction of Marlene Eidelheit since 1992, the professional staff of conservators have undertaken exhaustive work on the Barberini Life of Christ set and have begun work on the other, The Acts of the Apostles.

In addition, leading museums, institutional and corporate collectors, galleries and individuals with personal collections bring textiles of all kinds to be conserved. The generous space of the Lab, located inside the Ithiel Town Building on the Cathedral’s Close, means conservators are able to treat objects of any size and type. Since the beginning, the Lab has been committed to training the new generations of conservators and continues this work through a robust internship program. Many former employees have gone on to head conservation labs around the world, and interns frequently move on to museum positions.

The Lab was founded with start-up grants from the National Endowment for the Arts, the Kress Foundation, the Getty Grant program, and the Municipal Council for the Arts. Today, grants fund continuing work on the Cathedral’s collections.

Our Process

Every object that comes to the Lab for treatment is carefully analyzed for its conservation needs. The goal of the Textile Conservation Lab is to preserve the integrity, provide stabilization and support, and minimize further deterioration of a piece. Research is undertaken to understand context and ensure the accuracy of the conservation work. Conservators consider the fibers, structural stability and test a variety of cleaning options to gather information on the materials, permanence of dyes and potential removal of soiling and stains, and environmental considerations. Larger pieces may be surveyed on site and fragile collections viewed in situ to assess their condition.

Following the American Institute of Conservation Code of Ethics, proposals are made based on best practices and the needs of the piece. Information gathered during examination determines the suggested course of action. This may include preventive recommendations, such as supportive storage or environmental guidelines, interventive conservation from surface to wet cleaning, stabilization through stitching or adhesive treatments, or hanging/mounting options. Discrete restoration may be considered where appropriate. Treatment options, time, and cost considerations are included in a written report for each client.

All projects are completed with a commitment to quality and attention to detail that these beloved pieces deserve.

Select Clients and Projects

Recent clients have included:

  • The Memorial Art Gallery, Rochester, New York
  • The Harvard Club, New York City
  • Jasna Polona, Princeton, New Jersey
  • The Anni Albers Foundation
  • The American Academy of Arts and Letters, New York City
  • Wrights Ferry Mansion, Pennsylvania
  • Lichtenstein Foundation
  • Fashion Institue of Techology
  • Brooks Brothers
  • New York Public Library
  • Maymont Mansion
  • Bronx Family Courthouse
  • Brooklyn Museum
  • Free Library of Philadelphia
  • Washington National Cathedral

Read more about recent projects:

The Cathedral Tapestries

Meet the Team

Learn more about the Textile Conservation Lab team.

History

The Textile Conservation Lab was established in 1981 by The Very Reverend James Parks Morton as a way to conserve the tapestries that were already in the Cathedral’s care as well as serve the community by training future conservators. From the start, the Lab began taking in work from other museums and over the years has consistently grown in reputation in the conversation community. The Lab continues to advance one of its core goals—to train new conservators—with its robust internship program.

Learn more about the history of tapestries at the Cathedral on our blog.

Contact

Email: textilelab@stjohndivine.org
Phone: 212-316-7523

Inquiries welcome.

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