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Ksynia Marko

See also Tapestry

For the purposes of conservation, it is necessary to place tapestries in a category of their own. There are several reasons for this. Tapestries have always been expensive and highly valued, especially since they often incorporate fine silk and metal threads. The skill of manufacture and pictorial subject matter, together with the fact that they were designed by such well-known artists as David Teniers (ii) and William Morris, have given them a cultural significance and monetary value more commonly associated with paintings than with textiles. From a practical point of view, certain characteristics of the tapestry-weaving technique, along with the great size and weight of many hangings, give rise to specific problems that need to be dealt with by specialist conservators. In addition, the space, equipment, and skill required in handling a delicate object that can measure as much as 4–6 m high and 10 m long, and the difficulties of maintaining a consistent standard of workmanship throughout a single treatment that might last many months or even years, mean that tapestry conservation has to some extent evolved as a separate discipline....


Sheila Landi

The fragments of ancient textiles recovered from bogs and burials around the world are among the first signs of the technological developments that are the basis of modern civilization. However, they have not always been treated with the respect they deserve, and much information has been lost through indifference on the part of archaeologists and dealers, and even some museum curators who were blind to the cultural significance of textiles. Increasing industrial pollution created by that very same civilization put at risk objects that were at last being recognized as of great historical interest when most museums were short of space and money, and provision for textiles was often particularly poor and overcrowded. As we advance into the 21st century, attitudes towards textiles have changed for the better, but there is still much to be done to encourage investment in the preservation of artifacts that are especially vulnerable to environmental fluctuations, the wear and tear of ordinary use, and poor storage conditions....


Swiss, 20th century, male.

Born 23 March 1920, in Lausanne; died 21 May 1981, in Fribourg.

Painter, watercolourist, draughtsman, lithographer, monotype artist, art restorer. Tapestry.

Raymond Meuwly served an apprenticeship as a builder's decorator and worked as assistant to Alexandre Cingria until his conscription into the armed services in ...