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A Simple Non-adhesive, Non-sewn Exhibition Mount Idea

Innovative Solution for Displaying Delicate Textiles

The New Brunswick Museum recently lent a number of works by New Brunswick artist Violet Gillett to the McCain Gallery in Florenceville, NB for a temporary exhibition. Among them was a long panel of rayon fabric hand printed by the artist in the 1940s in a pattern of jack-in-the-pulpit flowers (New Brunswick Museum A49.34), as shown in Image 1.

Conservation-Minded Mounting Challenge

The museum team decided to send this piece already mounted for exhibition. Due to the delicate nature and pristine condition of the artifact, they wanted to avoid either sewing the fabric to the mount or using any adhesives, necessitating a mechanical fastening method. The solution emerged from a collaboration between the New Brunswick Museum’s Conservator Dee Stubbs-Lee, Art Curator Peter Larocque, Collections Manager Cheryl Thorne, and Humanities Collections Assistant Michelle Hébert, resulting in a quick, inexpensive, and effective approach based on friction fit and using materials already on hand.

The Innovative Mounting Process

As shown in Images 2-4, the team repurposed a padded, surgical stockinette jersey-covered cardboard tube that had been prepared for a previous textile exhibition. Their creative approach involved several key steps:

  1. A 30 cm length of Tyvek was cut 4 cm wider than the fabric panel
  2. The Tyvek was cut into 5 widthwise parallel slits spaced at 2 cm intervals, stopping 2 cm from the edges
  3. The edges of the Tyvek were stapled to the jersey-covered roller support
  4. The top end of the artifact was woven through these slits, alternating over and under the Tyvek
  5. The roller with the attached fabric artifact was then rolled to secure it, allowing the free end to fall to the exact length agreed upon by the McCain Gallery and the New Brunswick Museum for the exhibition
  6. To prevent further unrolling than desired, a twill tape stopper was stitched across the top of the roller
  7. Screw eyes on the wooden end caps on the roller were adjusted to the proper angle for attachment to hooks to be installed from the ceiling, ensuring the textile would balance in the correct position
  8. The remaining free edge of the textile was lined with acid-free tissue and wound around the roller mount
  9. The entire assembly was secured with twill tape ties and wrapped in a protective covering of tissue and clear polyethylene wrapping for protection during transit

Exhibition Considerations

Finally, detailed installation and deinstallation instructions were written and accompanied the traveling condition report and the work, which were hand-couriered to the Gallery. This thorough preparation ensured that the delicate textile could be properly displayed without risking damage to the historic fabric.

This mounting solution demonstrates how museum professionals can collaborate to develop effective, conservation-minded approaches to exhibition challenges using readily available materials. The friction-fit method provides an excellent alternative to potentially damaging mounting techniques for delicate textiles, ensuring that these fragile artifacts can be safely displayed for public appreciation while maintaining their long-term preserva

Image 1: Violet A. Gillett's "Jack in the Pulpit" painted textile panel (New Brunswick Museum A49.34), showing the delicate rayon fabric hand printed by the artist in the 1940s
Image 2: Woven support structure for friction hold of the artifact
Image 3: Top end of artifact threaded through the friction mount,
Image 4: twill tape stopper which must be oriented at the top side of the mount for installation, trial installation