Conservation
This section provides general guidelines for care of antiques used in dolls. From textiles for clothes to bisque heads to
composition bodies, the conservation of the object varies. Topics in this section include the care of textiles, china, bisque,
wood, composition, and wax. These are general guidelines only. Any extensive restoration should be completed only by those
with experience in the repair and maintenance of that particular material. Cleaning and repairs performed by those
inexperienced with the material usually makes the damage worse rather than better.
First and Foremost: ANYTHING DONE TO ANY ANTIQUE SHOULD BE REVERSIBLE! Consider, for example, the practice
of putting oil in some composition doll's eyes that have crackled. Initially, the eyes look better but over time the oil yellows. The
eye then discolors and can not be repaired as the oil can not be removed from inside the eye!
Second: Generally any work should keep the doll as close to original as possible. Complete restorations and repaints should
be avoided if at all possible. The style of painting or restoration will be that of the repairer not the original artisan,
Third: There is an endless supply of advice, tricks and tips to repair or restore antique dolls. If you are experimenting with an
inexpensive doll that is valued for sentiment more than investment, try the different tricks. But, if you are handling an expensive
or valuable antique, most work should be undertaken only after a thorough understanding of the original material of the antique,
the short and long term effects of the repairing or cleaning agents, and a lot of practice under the guidance of someone with a
great deal of experience. Conservators spend years obtaining training and decrees in their fields of expertise. They have the
skills and knowledge to artistically maintain the piece while preserving it for the future.
Care of Antique Textiles
Antique fabric is responsive to many physical and chemical factors including heat, light and humidity as well as pollutants,
chemicals and pests. FIRST AND FOREMOST: ANYTHING DONE TO THE GARMENT SHOULD BE REVERSIBLE. This
rule cannot be emphasized enough. If this is not possible at home, then a professional conservator is required to protect the
piece.
Light damages fibers directly through the UV and IR spectrum and indirectly through heat produced. Consequently, natural light
must be filtered at worst or avoided at best. Incandescent and fluorescent lights can be filtered but the heat aspect must be
considered. Lights in a confined display case, even if filtered, produce heat that may be damaging the textiles. Covering
display cases with curtains may be a solution to provide long periods of relative darkness to protect fragile garments and limit
light exposure to those times when the items are viewed.
Heat and humidity can damage fibers directly and indirectly. Fluctuations in these two environmental factors cause expansion
and contraction of fibers ultimately weakening them. Excessive heat or too little humidity can cause dehydration of the fibers
producing brittle responses to handling. Too much humidity encourages the growth of mold and mildew and, when absorbed by
any dirt or dust on the garment, can speed the deterioration of the fabric. Fans, humidifiers or dehumidifiers, and small heating
or cooling units can all be used with caution if necessary to maintain a relatively constant temperature and humidity level.
While all those factors must be balanced, airflow still must be maintained to manage any potential mold or mildew growth.
Pests such as moths, sliver fish and mice can cause extensive damage before even being noticed. Any new textile should be
quarantined before inclusion in a collection until it is secure from any pests. After quarantine, climate control is the safest
means to control these pests. Chemical means to control pests should be avoided as they may damage the textile as well.
Should climate control and quarantine be insufficient to control pests, an expert should be consulted.
Even controlling all of these factors, some fabrics will deteriorate on their own. During the late nineteenth and early twentieth
centuries, many silk manufacturers treated their fabrics with metallic salts (usually containing tin and iron) to give them a
heavier, more luxurious feel. However, as these fabrics have aged, the metals in the fibers have accelerated their decay and
caused them to become extremely brittle. The shredded or “shattered” effect this causes is the reason for the name. In this
case, the environment of the textile contributes very little to the deterioration from the metallic salts, though exposure to light
may accelerate it even further.
There are a few key rules to the care and preservation of antique textiles:
1. Handle with care
a. Any fabric is composed of threads which have been handled, stressed, twisted or otherwise stressed in order to create
the fabric. As such, any garment, especially vintage or antique ones are FRAGILE. Any stress may irreparable break the
fibers. Therefore handling of costumes must be at a minimum and then only with clean hands or gloves. Any jewelry, snagged
nails or cuticles may damage the fibers. Support all areas that tend to fold or crease with acid free paper (available from
museum and conservator supply). Any handling, maintenance or display must be away from pets, foods, smoke, and grease,
anything that could damage the fabrics. Many of these environmental factors are airborne and can be absorbed by the fibers.
Other environmental additives that can harm garments include pens, pins, labels, irons, etc. Garments should not have anything
added, such as labels that were not already a part of the garment. All closures to the garment should be fastened to support
the garment in its shape.
2. No wearing—careful mounting
Dress form made to the dimensions of the garment will support the structure of the piece
a. Doll clothes on truly original bodies are supported by that body and should not be arbitrarily removed. However, parts of
the garment, such as the skirt or sleeves, may still need support. Many of the antique or vintage costumes used on dolls were
not originally made for that “body”. As such the garment needs to be supported and protected from the “body” and the shelf
upon which the doll sits. Many of the doll bodies are directly damaging to the garment. Accumulated dirt on the body is a major
source of damage to the garments. However, components of doll bodies are also damaging to the garments because of their
composition and pH. Kid, muslin packed with sawdust, papier mache and composition are all acidic and damaging to fabrics
over time. If a body cannot be cleaned, it can be covered with a very thin layer of clean unbleached muslin or cotton and then
the garment placed over the layer. Parts of the garment may need to be supported while on the doll. Sleeves, skirts and trims
may need to be supported with acid free paper, unbleached cotton or muslin. Glass shelves are non-reactive with fabric and
therefore are effective bases for display of the garment and doll. Wood or metal must have a barrier between them and the
base of the garment. Clear mylar is a discrete non reactive barrier that can be placed under garment
3. No washing
a. Most dust and dirt, when mixed with water, is acidic. Acid and fabric do not mix well and, once mixed, cannot be
reversed. Before adding water to any fiber, conservationists need to know the type of fiber and its reaction to water, the dyes
and mordants used and how they react to water, the type of finish and its reaction to water, what soil is being treated and how it
reacts to all of the above, what cleaning agent is used and its effect on the above, and how long the piece can tolerate water
and the process. The water should be distilled as public water has minerals which will deposit on the textile. If all of that is
known and the garment still must be cleaned in a wet environment, the piece should be completely supported with a mesh frame
as above. Once completely supported, the garment and mesh can be lowered horizontally into the bath. The cleaning agent
can be sponged, never rubbed over, the garment through the mesh. Once rinsed at least four times, the frame and garment can
be left to dry flat.
b. Garments should be inspected for evidence of insects. If any are found the garment should be isolated and the
insects/mold/mildew destroyed before they can spread to other items.
c. Musty smells can be removed by airing the garment in an environment away from light and moisture.
d. According to Kent State University:
To remove dust, vacuum at low speed, (a computer vacuum works well) holding the wand of the machine at an angle just above
the textile. Protect the surface with a piece of nylon mesh or window screen. Bind the edges of the screen with tape to keep it
from snagging the garment. If the garments have noticeable stains, the best thing to do is to consult a textile conservator. Keep
steaming and ironing to a minimum or refrain from doing it altogether. Heat accelerates the deterioration of textiles. Ironing also
applies physical pressure to the structure and thus is harmful to the item.
4. Store in a stable environment
a. Areas for storage must have minimal fluctuations in heat, light, humidity and good air circulation. Ideal conditions include
stable temperature below 70 degrees and maintained at approximately 50% humidity. Kent State notes:
heat accelerates the acidic deterioration of cellulose fibers. Low humidity, often activated by high temperatures, can remove the
natural moisture content from fibers and cause fabrics to become brittle and further weakened. High relative humidity, very likely
to occur temporarily in the absence of ventilation, allows the growth of molds. Fluctuations in temperatures and humidity can
cause the fibers to expand and contract, resulting in internal wear.
Garments can be stored vertically or horizontally. Vertical storage can be on hangars or dress forms. Contact me for
information on dress forms for antique doll garments. Even on forms, additional support may be needed for those areas of the
garment not in contact with the form. Forms must be nonreactive with the garment or they will contribute to deterioration of the
textile. Horizontal storage in boxes requires care in folding to prevent creasing fibers. All parts of the garments need to be
supported with archival or acid free papers and fabrics such as unbleached cotton or muslin as paper, wood and plastics give
off acids which ultimately yellow fabric. Avoid synthetic fibers and plastics for storage as they attract static electricity and
decrease air flow. If possible, store metal parts such as pins and jewelry separately as the metal will stain the garment.
Unfortunately, many antique doll clothing have metal trims that cannot be removed and may ultimately damage the garment
anyway.
5. Do not expose to light
a. Light fades garments and creates heat which can damage tender fabrics. Covering the garment in clean unbleached
cotton or muslin limits light exposure but risks damage when the piece is unwrapped. Alternatively, the cabinet in which the
piece is stored can be covered to minimize light exposure. Removing the covering from the cabinet does not risk damage to the
piece itself but still protects.
Care of Wood
Care of Composition
Early composition (such as in the 19th century) was composed of scraps--sawdust, rag, wheat paste or other vegetable matter,
paint with oils and paper among many other "secret" ingredients. Later composition formulas were also composed of the basic
wood scrap-sawdust, glue and paint. As such dolls of this material are subject to damage from environmental factors such as
heat, light and humidity, but also subject to damage from rodents and other animals as well as wear and tear from actual play.
Wear from play is usually manifested as missing pieces (hair, clothes, arms), rubs to the paint on the face or the joints, faded
color or matted, relaxed or even cut hair. Light, humidity and temperature cause damage over time to the actual material itself.
Absorbing moisture can cause the sawdust to swell, bubbling or cracking finishes, causing splintering or even breakage.
To avoid these problems, there are a few "rules" that can prevent or stop the progression of damage. They are very similar to
the guidelines for the care of textiles.
Care of Vinyl
Unlike wood or composition, vinyl does not react to humidity, so cracking and crazing are minimal. If vinyl cracks, it is usually a
seam separation more than an actual crack. Vinyl can be easily cleaned with water but care must be taken not to get water
inside the doll and carefully dry the vinyl. It will however absorb ink so care must be taken to avoid handling vinyl dolls with
pens or pencils in your hands. Light and heat can still fade and damage vinyl though. And of course, damage from play and
animals (usually pets) can destroy a vinyl doll. While I was away one day, my own Patti Playpal lost her toes in an amputation
performed by my pet cocker spaniel. I still remember the doll. And the dog.
Care of Bisque, Porcelain and China
Care of Wax
Resources
MacDowell Labs
www.dept.kent.edu/museum/staff/care
www.lynnwaring.com
Suppliers of archival quality boxes & paper
Archivart
40 Eisenhower Drive
Paramus, NJ 07652
Tel: 1-800 628 1498
Fax: 1-215 625 4946
www.archivart.com
Gaylord Brothers is
P.O. Box 4901
Syracuse, NY 13221-4901
Tel: 1-800-448-6160
Fax: 1-800-272-3412
www.gaylord.com
Light Impressions
P.O. Box 787
Brea, CA 92822-0787
Tel: 1-800-828-6216
Fax: 1-800-828-5539
www.lightimpressionsdirect.com
Talas
20 West 20th Street, 5th Floor
New York, NY 10011
Tel: 1-212-219-0770
Fax: 1-212-219-0735
www.talasonline.com
University Products Inc.
517 Main Street
Holyoke, MA 01040
Tel: 1-800-628-1912
Fax: 1-413-532-9281
www.universityproducts.com
composition bodies, the conservation of the object varies. Topics in this section include the care of textiles, china, bisque,
wood, composition, and wax. These are general guidelines only. Any extensive restoration should be completed only by those
with experience in the repair and maintenance of that particular material. Cleaning and repairs performed by those
inexperienced with the material usually makes the damage worse rather than better.
First and Foremost: ANYTHING DONE TO ANY ANTIQUE SHOULD BE REVERSIBLE! Consider, for example, the practice
of putting oil in some composition doll's eyes that have crackled. Initially, the eyes look better but over time the oil yellows. The
eye then discolors and can not be repaired as the oil can not be removed from inside the eye!
Second: Generally any work should keep the doll as close to original as possible. Complete restorations and repaints should
be avoided if at all possible. The style of painting or restoration will be that of the repairer not the original artisan,
Third: There is an endless supply of advice, tricks and tips to repair or restore antique dolls. If you are experimenting with an
inexpensive doll that is valued for sentiment more than investment, try the different tricks. But, if you are handling an expensive
or valuable antique, most work should be undertaken only after a thorough understanding of the original material of the antique,
the short and long term effects of the repairing or cleaning agents, and a lot of practice under the guidance of someone with a
great deal of experience. Conservators spend years obtaining training and decrees in their fields of expertise. They have the
skills and knowledge to artistically maintain the piece while preserving it for the future.
Care of Antique Textiles
Antique fabric is responsive to many physical and chemical factors including heat, light and humidity as well as pollutants,
chemicals and pests. FIRST AND FOREMOST: ANYTHING DONE TO THE GARMENT SHOULD BE REVERSIBLE. This
rule cannot be emphasized enough. If this is not possible at home, then a professional conservator is required to protect the
piece.
Light damages fibers directly through the UV and IR spectrum and indirectly through heat produced. Consequently, natural light
must be filtered at worst or avoided at best. Incandescent and fluorescent lights can be filtered but the heat aspect must be
considered. Lights in a confined display case, even if filtered, produce heat that may be damaging the textiles. Covering
display cases with curtains may be a solution to provide long periods of relative darkness to protect fragile garments and limit
light exposure to those times when the items are viewed.
Heat and humidity can damage fibers directly and indirectly. Fluctuations in these two environmental factors cause expansion
and contraction of fibers ultimately weakening them. Excessive heat or too little humidity can cause dehydration of the fibers
producing brittle responses to handling. Too much humidity encourages the growth of mold and mildew and, when absorbed by
any dirt or dust on the garment, can speed the deterioration of the fabric. Fans, humidifiers or dehumidifiers, and small heating
or cooling units can all be used with caution if necessary to maintain a relatively constant temperature and humidity level.
While all those factors must be balanced, airflow still must be maintained to manage any potential mold or mildew growth.
Pests such as moths, sliver fish and mice can cause extensive damage before even being noticed. Any new textile should be
quarantined before inclusion in a collection until it is secure from any pests. After quarantine, climate control is the safest
means to control these pests. Chemical means to control pests should be avoided as they may damage the textile as well.
Should climate control and quarantine be insufficient to control pests, an expert should be consulted.
Even controlling all of these factors, some fabrics will deteriorate on their own. During the late nineteenth and early twentieth
centuries, many silk manufacturers treated their fabrics with metallic salts (usually containing tin and iron) to give them a
heavier, more luxurious feel. However, as these fabrics have aged, the metals in the fibers have accelerated their decay and
caused them to become extremely brittle. The shredded or “shattered” effect this causes is the reason for the name. In this
case, the environment of the textile contributes very little to the deterioration from the metallic salts, though exposure to light
may accelerate it even further.
There are a few key rules to the care and preservation of antique textiles:
1. Handle with care
a. Any fabric is composed of threads which have been handled, stressed, twisted or otherwise stressed in order to create
the fabric. As such, any garment, especially vintage or antique ones are FRAGILE. Any stress may irreparable break the
fibers. Therefore handling of costumes must be at a minimum and then only with clean hands or gloves. Any jewelry, snagged
nails or cuticles may damage the fibers. Support all areas that tend to fold or crease with acid free paper (available from
museum and conservator supply). Any handling, maintenance or display must be away from pets, foods, smoke, and grease,
anything that could damage the fabrics. Many of these environmental factors are airborne and can be absorbed by the fibers.
Other environmental additives that can harm garments include pens, pins, labels, irons, etc. Garments should not have anything
added, such as labels that were not already a part of the garment. All closures to the garment should be fastened to support
the garment in its shape.
2. No wearing—careful mounting
Dress form made to the dimensions of the garment will support the structure of the piece
a. Doll clothes on truly original bodies are supported by that body and should not be arbitrarily removed. However, parts of
the garment, such as the skirt or sleeves, may still need support. Many of the antique or vintage costumes used on dolls were
not originally made for that “body”. As such the garment needs to be supported and protected from the “body” and the shelf
upon which the doll sits. Many of the doll bodies are directly damaging to the garment. Accumulated dirt on the body is a major
source of damage to the garments. However, components of doll bodies are also damaging to the garments because of their
composition and pH. Kid, muslin packed with sawdust, papier mache and composition are all acidic and damaging to fabrics
over time. If a body cannot be cleaned, it can be covered with a very thin layer of clean unbleached muslin or cotton and then
the garment placed over the layer. Parts of the garment may need to be supported while on the doll. Sleeves, skirts and trims
may need to be supported with acid free paper, unbleached cotton or muslin. Glass shelves are non-reactive with fabric and
therefore are effective bases for display of the garment and doll. Wood or metal must have a barrier between them and the
base of the garment. Clear mylar is a discrete non reactive barrier that can be placed under garment
3. No washing
a. Most dust and dirt, when mixed with water, is acidic. Acid and fabric do not mix well and, once mixed, cannot be
reversed. Before adding water to any fiber, conservationists need to know the type of fiber and its reaction to water, the dyes
and mordants used and how they react to water, the type of finish and its reaction to water, what soil is being treated and how it
reacts to all of the above, what cleaning agent is used and its effect on the above, and how long the piece can tolerate water
and the process. The water should be distilled as public water has minerals which will deposit on the textile. If all of that is
known and the garment still must be cleaned in a wet environment, the piece should be completely supported with a mesh frame
as above. Once completely supported, the garment and mesh can be lowered horizontally into the bath. The cleaning agent
can be sponged, never rubbed over, the garment through the mesh. Once rinsed at least four times, the frame and garment can
be left to dry flat.
b. Garments should be inspected for evidence of insects. If any are found the garment should be isolated and the
insects/mold/mildew destroyed before they can spread to other items.
c. Musty smells can be removed by airing the garment in an environment away from light and moisture.
d. According to Kent State University:
To remove dust, vacuum at low speed, (a computer vacuum works well) holding the wand of the machine at an angle just above
the textile. Protect the surface with a piece of nylon mesh or window screen. Bind the edges of the screen with tape to keep it
from snagging the garment. If the garments have noticeable stains, the best thing to do is to consult a textile conservator. Keep
steaming and ironing to a minimum or refrain from doing it altogether. Heat accelerates the deterioration of textiles. Ironing also
applies physical pressure to the structure and thus is harmful to the item.
4. Store in a stable environment
a. Areas for storage must have minimal fluctuations in heat, light, humidity and good air circulation. Ideal conditions include
stable temperature below 70 degrees and maintained at approximately 50% humidity. Kent State notes:
heat accelerates the acidic deterioration of cellulose fibers. Low humidity, often activated by high temperatures, can remove the
natural moisture content from fibers and cause fabrics to become brittle and further weakened. High relative humidity, very likely
to occur temporarily in the absence of ventilation, allows the growth of molds. Fluctuations in temperatures and humidity can
cause the fibers to expand and contract, resulting in internal wear.
Garments can be stored vertically or horizontally. Vertical storage can be on hangars or dress forms. Contact me for
information on dress forms for antique doll garments. Even on forms, additional support may be needed for those areas of the
garment not in contact with the form. Forms must be nonreactive with the garment or they will contribute to deterioration of the
textile. Horizontal storage in boxes requires care in folding to prevent creasing fibers. All parts of the garments need to be
supported with archival or acid free papers and fabrics such as unbleached cotton or muslin as paper, wood and plastics give
off acids which ultimately yellow fabric. Avoid synthetic fibers and plastics for storage as they attract static electricity and
decrease air flow. If possible, store metal parts such as pins and jewelry separately as the metal will stain the garment.
Unfortunately, many antique doll clothing have metal trims that cannot be removed and may ultimately damage the garment
anyway.
5. Do not expose to light
a. Light fades garments and creates heat which can damage tender fabrics. Covering the garment in clean unbleached
cotton or muslin limits light exposure but risks damage when the piece is unwrapped. Alternatively, the cabinet in which the
piece is stored can be covered to minimize light exposure. Removing the covering from the cabinet does not risk damage to the
piece itself but still protects.
Care of Wood
Care of Composition
Early composition (such as in the 19th century) was composed of scraps--sawdust, rag, wheat paste or other vegetable matter,
paint with oils and paper among many other "secret" ingredients. Later composition formulas were also composed of the basic
wood scrap-sawdust, glue and paint. As such dolls of this material are subject to damage from environmental factors such as
heat, light and humidity, but also subject to damage from rodents and other animals as well as wear and tear from actual play.
Wear from play is usually manifested as missing pieces (hair, clothes, arms), rubs to the paint on the face or the joints, faded
color or matted, relaxed or even cut hair. Light, humidity and temperature cause damage over time to the actual material itself.
Absorbing moisture can cause the sawdust to swell, bubbling or cracking finishes, causing splintering or even breakage.
To avoid these problems, there are a few "rules" that can prevent or stop the progression of damage. They are very similar to
the guidelines for the care of textiles.
- Minimize handling and protect the composition from dirt and oil on hands
- No "washing"--water is the enemy here. Wood and composition made from wood are dry sponges waiting to absorb
moisture--in fact that is the problem with storage in high humidity. Oil based cleaners and solvents can also be absorbed
by the wood and should not be used without practice and skill. The piece may look clean for awhile but gradually the
cleaner seeps into the small invisible stress lines of the finish making crazing very noticeable. - stable storage. Light, temperature and humidity should vary minimally. Temperatures of 68-72 degrees F are appropriate.
Place the dolls away from vents as blowing hot or cold air will dry out the composition. Constant even humidity is critical to
prevent the continual absorption and release of water which causes the warping and crazing of composition and often the
peeling of the paint coverings. A humidifier/dehumidifier may be necessary to maintain even humidity. To prevent the
build up of dust and dirt, glass or plastic cases with venting are necessary. No sunlight! Even fluorescent light causes
fading over time. Covering the glass or plastic cabinets with a sheet or using conservation UV resistant glass helps.
Care of Vinyl
Unlike wood or composition, vinyl does not react to humidity, so cracking and crazing are minimal. If vinyl cracks, it is usually a
seam separation more than an actual crack. Vinyl can be easily cleaned with water but care must be taken not to get water
inside the doll and carefully dry the vinyl. It will however absorb ink so care must be taken to avoid handling vinyl dolls with
pens or pencils in your hands. Light and heat can still fade and damage vinyl though. And of course, damage from play and
animals (usually pets) can destroy a vinyl doll. While I was away one day, my own Patti Playpal lost her toes in an amputation
performed by my pet cocker spaniel. I still remember the doll. And the dog.
Care of Bisque, Porcelain and China
Care of Wax
Resources
MacDowell Labs
www.dept.kent.edu/museum/staff/care
www.lynnwaring.com
Suppliers of archival quality boxes & paper
Archivart
40 Eisenhower Drive
Paramus, NJ 07652
Tel: 1-800 628 1498
Fax: 1-215 625 4946
www.archivart.com
Gaylord Brothers is
P.O. Box 4901
Syracuse, NY 13221-4901
Tel: 1-800-448-6160
Fax: 1-800-272-3412
www.gaylord.com
Light Impressions
P.O. Box 787
Brea, CA 92822-0787
Tel: 1-800-828-6216
Fax: 1-800-828-5539
www.lightimpressionsdirect.com
Talas
20 West 20th Street, 5th Floor
New York, NY 10011
Tel: 1-212-219-0770
Fax: 1-212-219-0735
www.talasonline.com
University Products Inc.
517 Main Street
Holyoke, MA 01040
Tel: 1-800-628-1912
Fax: 1-413-532-9281
www.universityproducts.com
