Conservation Treatment of a Hunzinger Cantilevered Armchair Including the Use of Magnets to Create Tufting

Abstract

George Hunzinger (active 1860–1898) was an innovative furniture designer who inspired many with his unique manufacturing and production techniques. This paper discusses treatment of one of Hunzinger's innovations, a cantilevered seat scroll front edge armchair owned by the Munson-Williams-Proctor Arts Institute in Utica, New York. Although it no longer had its original show cover, and the profile of the seat had been dramatically altered during a previous reupholstery campaign, evidence of original materials was discovered during treatment. An identical chair, owned by the Brooklyn Museum of Art, that retained not only its original upholstery but also the true profile of the seat, provided crucial information for this treatment project. This paper presents information on the chair's construction and materials used to reupholster it as well as methods employed to re-create the original profile of the tufted seat. As part of the treatment, the ornate tufted seat with a vertical center decorative panel was re-created while original historical materials in the seat were retained. To avoid the stress of traditional tufting that creates holes in the fabric, magnets were selected as alternative securing elements. A comparison of noninvasive tufting techniques is included, along with basic information used for the selection of magnets.

Résumé – George Hunzinger (actif 1860–1898) était un designer de mobilier innovateur qui fut une source d'inspiration pour beaucoup par ses techniques uniques de fabrication et de production. Cet article présente le traitement d'une innovation d'Hunzinger, un fauteuil à siège cantilever (en porte-à-faux) et traverse avant en volute, propriété du Munson-Williams-Proctor Arts Institute à Utica, New York. Même s'il n'avait pas conservé sa tapisserie d'origine et que le profil du siège avait été fortement altéré lors d'une campagne de restauration antérieure, des matériaux originaux ont été mis en évidence durant le traitement. Un siège identique, propriété du Brooklyn Museum of Art, qui a conservé non seulement sa garniture d'origine mais aussi le profil original de son assise, a apporté des informations cruciales pour ce traitement. Cet article présente des informations sur la construction du siège et les matériaux utilisés pour le re-tapisser, ainsi que sur les méthodes employées pour recréer le profil original du siège capitonné. Au cours du traitement, le siège capitonné ornementé d'un panneau décoratif central vertical a été recréé, alors que des matériaux historiques originaux ont été préservés. Pour éviter les risques associés à un capitonnage traditionnel qui crée des trous dans le tissu et qui peut créer de la tension, des aimants ont été choisis comme éléments d'attache alternatifs. Une comparaison des techniques non invasives de capitonnage est inclue, accompagnée d'informations de base utilisées pour la sélection des aimants.

Resumen – George Hunzinger (activo desde 1860 hasta 1898) fue un diseñador de muebles innovador que inspiró a muchos con sus técnicas singulares de manufactura y producción. Este artículo discute el tratamiento de una de sus innovaciones: un sillón de brazos con el asiento en ménsula, de borde redondeado que termina en forma de enrollado, propiedad del Munson-Williams-Proctor Arts Institute (Instituto de Artes Munson-Williams-Proctor) en Utica, Nueva York. A pesar de que ya no tenía su cubierta original de exhibición y el perfil del sillón había sido dramáticamente alterado en una anterior campaña de retapizado, durante el tratamiento de conservación se encontró evidencia de los materiales originales. Un sillón idéntico, propiedad del Brooklyn Museum of Art (Museo de Arte de Brooklyn) que aún retenía no solo su tapizado original sino también el perfil verdadero, proporcionó información crucial para este proyecto de tratamiento de conservación. Este artículo presenta información sobre la construcción del sillón y los materiales usados para retapizarlo así como los métodos empleados para recrear el perfil original del sillón capitoneado. Como parte del tratamiento, fue recreado el asiento ornamentado capitoneado con un panel decorativo central y se mantuvieron los materiales históricos originales del sillón. Para evitar la tensión del capitoneado tradicional, que crea hoyos en la tela, se seleccionaron imanes como elementos alternativos para fijar el tapizado. Una comparación de las técnicas de capitoneado no agresivas es incluida, así como la información básica usada para la selección de los imanes.

Resumo – George Hunzinger (activo entre 1860 e1898), foi um inovador projetista de móveis que inspirou a muitos com suas técnicas únicas de fabricação e produção. Este artigo analisa o tratamento de uma das inovações de Hunzinger, uma poltrona reta na parte frontal de propriedade do Munson-Williams-Proctor Arts Institute (Instituto de Arte Munson-Williams-Proctor) em Utica, New York. Apesar de já não conservar seu revestimento original, e o perfil do assento ter sido drasticamente alterado durante o último trabalho de re-estofamento, restos dos materiais originais foram descobertos durante o tratamento. Uma cadeira idêntica, possuída pelo Brooklyn Museum of Art, que mantem além da tapeçaria original, também o perfil verdadeiro do assento, serviu de informação fundamental para este projeto de tratamento. Este artigo apresenta informações sobre a construção da cadeira e dos materiais usados para o re-estofamento, assim como os métodos empregados para recriar o perfil original do assento estofado com enchimento. Como parte do tratamento, o assento estofado ornamentado com um painel decorativo central foi recriado retendo os materiais históricos originais. Para evitar a tensão do acolchoamento tradicional que cria perfurações no tecido, foram selecionados imãs como alternativa para os elementos de fixação. Uma comparação de técnicas não-invasivas de enchimento, com informação básica usada para a seleção dos imãs.

Keywords:

• Hunzinger
• tufting
• upholstery
• magnets
• non-invasive, springs

Acknowledgments

There are many who made this project successful including Anna D'Ambrosio, Director and Chief Curator at the Munson-William-Proctor Arts Institute, and Barry Harwood, Curator of Decorative Arts at the Brooklyn Museum of Art, who spent several hours discussing the chair with me while I did my measurements of the tufted seat. The magnets and washers would not have been foremost in my mind without Ron Harvey, Tuckerbrook Conservation, and Linda Carroll and Judy Mayer, Conservation Technicians at the Maine State Museum, who helped develop the mounting methods for the 2009 exhibition at the Maine State Museum in Augusta, Uncommon Threads: Wabanaki Textiles, Clothing, and Costume. My thanks also to the many who communicated via telephone or email, including Heather Porter and Ann Frisina. Finally, thanks to the others who helped with the treatment and this paper, including Ron DuCharme, furniture conservator, Diane Shewchuk, Interim Director and Curator at the Columbia County Historical Society, and Barbara Owens, whose enthusiasm was essential throughout the process.

Source of Materials

Magnets

K & J Magnetics Inc.

2520 NW Boca Raton Blvd.

Boca Raton, FL 33431-6608

[phone]

http://www.kdsmagnets.com

Cotton webbing

TestFabrics, Inc.

415 Delaware Avenue

P.O. Box 26

West Pittston, PA 18643

[phone]

http://www.testfabrics.com

Nomex

Active Industries, Inc.

20 Solar Drive Clifton Park, NY 12065

[phone]

Fender

washers These can be found at most hardware stores.

Needle punch batting

Buffalo Felt

14 Ransier Drive

West Seneca, NY 14224

[phone], x207

High loft batting

Gaylord Brothers

P.O. Box 4901

Syracuse, NY 13221-4901

[phone]

http://www.gaylord.com

Decorative panel

Cass Daley Designs

C 915 N Sheridan Avenue

Colorado Springs, CO 80909

[phone]

[email protected]

Show cover & trims

Thistle Hill Weavers

Baxter Hill Road

RD 2 Box 75

Cherry Valley, NY 13320

[phone]

Additional information

Notes on contributors

Gwen Spicer

gwen spicer is a textile, upholstery, and objects conservator with 25 years of experience, including 17 years in private practice at Spicer Art Conservation. She earned her MA in Art Conservation from Buffalo State College, and has since taught and lectured around the world. In her private practice, she assists many individuals and organizations of all sizes with storage, collection care, and exhibitions, and has become known for her innovative conservation treatments. Ms. Spicer also provides expertise in the areas of housekeeping strategies, integrated pest management, and disaster planning. She is a Fellow and active member of the AIC. Address: Spicer Art Conservation, 305 Clipp Road, Delmar, NY 12054; [email protected].