Perforated Cardboards: A Support for Embroidery Used for Various Everyday Objects in the Victorian Age
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António João Cruz
António João Cruz received a PhD degree in Analytical Chemistry from the University of Lisbon, Portugal, in 1993. Since then he has been interested in the scientific study of works of art, the ancient art technological sources and the history and issues posed by the conservation and restoration of works of art. He has collaborated with Portuguese institutions and schools with interests in the conservation of the Cultural Heritage (namely the José de Figueiredo Laboratory) and in the Conservation-Restoration or in the Cultural Heritage education (from bachelor to PhD). Since 2005, he is editor of “Conservar Património”, an international journal published by ARP – Professional Association of Conservators-Restorers of Portugal. Currently, he is Assistant Professor at Polytechnic Institute of Tomar, Portugal, and director of its Master Course in Conservation and Restoration.
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Luciana Barros
Luciana Barros has a degree (2016) and Master degree (2018) in Conservation and Restoration from the Polytechnic Institute of Tomar, Portugal. Her Master’s dissertation involved the study of perforated cardboards and the conservation of an embroidery with glass beads in a perforated cardboard support. The present article is one of the publications resulting from this work. She worked in Vermelho Cinábrio, a private conservation-restoration company and, at present, she is doing a professional internship, in the same area, in a religious organization (Congregação das Servas de Nossa Senhora de Fátima).Leonor Loureiro received a Master’s degree in Arts / Paper Conservation from the University of The Arts London, UK, in 2003, with a grant from Calouste Gulbenkian Foundation. Since then, she has been interested in research, conservation and restoration of paper objects, with focus on coated and specialty papers. She has collaborated with several Portuguese institutions (namely José de Figueiredo Laboratory, Instituto de Investigação Científica Tropical, Convento de Cristo de Tomar, and Santa Casa da Misericórdia de Torres Vedras) and universities within Conservation-Restoration and Cultural Heritage Preservation. Recently she earned the Project TRAMA Prize with the Project DELFIM MAYA, her PhD thesis theme. Since 2008 she is an Assistant at the Polytechnic Institute of Tomar, Portugal, and Coordinator of IPT’s Paper Conservation Laboratory.
Abstract
Perforated cardboards were common and economic supports for embroidery in the Victorian Era. Despite their popularity, they had a brief life and are almost forgotten today. Different types of cardboard were chosen according to the materials and techniques to be applied. This article presents nineteenth century documentary sources on perforated cardboard and its use in various objects of everyday life. The types of cardboard, commercialization, decorative techniques and motifs and applied materials will be discussed.
Zusammenfassung
Bestickte perforierte Kartonbögen in viktorianischen Alltagsobjekten
Perforierte Kartons waren weit verbreitete und günstige Stickvorlagen im viktorianischen Zeitalter. Trotz ihrer großen Beliebtheit waren sie kurzlebige Materialien und sind heute fast vergessen. Je nach Materialien und Techniken, die darauf angewendet werden sollten, variierte auch die Art der Kartons. Der vorliegende Beitrag beschäftigt sich mit schriftlichen Quellen aus dem 19. Jhdt. zu perforierten Kartonbögen und ihrer Verwendung in unterschiedlichen Alltagsobjekten. Darüber hinaus werden Kartonarten, Vermarktung, Dekorationselemente und Motive sowie weitere applizierte Materialien beschrieben.
Résummé
Les cartons perforés: une revue du support papier utilisé pour la broderie dans de nombreux objets quotidiens victoriens
Les cartons perforés étaient un support commun et économique pour la broderie de l’ère victorienne. En dépit de leur popularité, leur vie fut brève et ils sont aujourd’hui quasiment tombés dans l’oubli. Il existait différents types de cartons perforés et certains d’entre eux étaient choisis selon les matériaux et les techniques auxquels ils devaient être appliqués. Cet article présente ce que l’on sait des sources documentaires sur ce matériau et sur les objets pour lesquels il était utilisé, à savoir son emploi, les types de cartons, leur commercialisation, les types d’objets, les motifs et techniques décoratives et les matériaux appliqués.
About the authors
António João Cruz received a PhD degree in Analytical Chemistry from the University of Lisbon, Portugal, in 1993. Since then he has been interested in the scientific study of works of art, the ancient art technological sources and the history and issues posed by the conservation and restoration of works of art. He has collaborated with Portuguese institutions and schools with interests in the conservation of the Cultural Heritage (namely the José de Figueiredo Laboratory) and in the Conservation-Restoration or in the Cultural Heritage education (from bachelor to PhD). Since 2005, he is editor of “Conservar Património”, an international journal published by ARP – Professional Association of Conservators-Restorers of Portugal. Currently, he is Assistant Professor at Polytechnic Institute of Tomar, Portugal, and director of its Master Course in Conservation and Restoration.
Luciana Barros has a degree (2016) and Master degree (2018) in Conservation and Restoration from the Polytechnic Institute of Tomar, Portugal. Her Master’s dissertation involved the study of perforated cardboards and the conservation of an embroidery with glass beads in a perforated cardboard support. The present article is one of the publications resulting from this work. She worked in Vermelho Cinábrio, a private conservation-restoration company and, at present, she is doing a professional internship, in the same area, in a religious organization (Congregação das Servas de Nossa Senhora de Fátima).
Leonor Loureiro received a Master’s degree in Arts / Paper Conservation from the University of The Arts London, UK, in 2003, with a grant from Calouste Gulbenkian Foundation. Since then, she has been interested in research, conservation and restoration of paper objects, with focus on coated and specialty papers. She has collaborated with several Portuguese institutions (namely José de Figueiredo Laboratory, Instituto de Investigação Científica Tropical, Convento de Cristo de Tomar, and Santa Casa da Misericórdia de Torres Vedras) and universities within Conservation-Restoration and Cultural Heritage Preservation. Recently she earned the Project TRAMA Prize with the Project DELFIM MAYA, her PhD thesis theme. Since 2008 she is an Assistant at the Polytechnic Institute of Tomar, Portugal, and Coordinator of IPT’s Paper Conservation Laboratory.
References
Note: the nineteenth century documentary sources are listed in Tables 1 and 2.Suche in Google Scholar
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© 2019 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Application of 3D Scanning for Documentation and Creation of Physical Copies of Estampages
- Comparing Non-destructive Mechanical Testing Methods for the Assessment of Brittle Papers – The Cantilever, Hanging Pear Loop, and Clamped Fold Tests
- Perforated Cardboards: A Support for Embroidery Used for Various Everyday Objects in the Victorian Age
Artikel in diesem Heft
- Frontmatter
- Application of 3D Scanning for Documentation and Creation of Physical Copies of Estampages
- Comparing Non-destructive Mechanical Testing Methods for the Assessment of Brittle Papers – The Cantilever, Hanging Pear Loop, and Clamped Fold Tests
- Perforated Cardboards: A Support for Embroidery Used for Various Everyday Objects in the Victorian Age
