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These earrings were collected between 1895 and 1908 possibly from a maker originated from Wrangel Island. It was in ownership of Henrietta Constantine to Agnes Etherington in 1929 where it was displayed at the Douglas Library from 1929-2014 at the Special collections library. It was then stored in the Agnes vault for safekeeping. There is no evidence in the archives regarding the Constantine collection if the loss had been apparent when collected in 1895 or if they had been broken after collection.
The materials involve glass beads, leather, sinew, walrus ivory (?) and dentalia shells. These shells were considered currency in pre-contact areas, especially in the pacific north-west coast where they were farmed by the people of the coast, known as the Nuu chal nulth people, and traded throughout the rest of Canada. Today, the harvesting of these shells is an intangible cultural heritage tradition and is protected in treaties between the BC provincial government and the federal government of Canada as a material harvesting for an important non-food marine item. Earrings were a luxury item by the Inuit of the north and only people of high importance would lavish themselves with decorative pieces. The earrings made by different tribes in the southern plains wore them for different reasons, such as chiefs who would decorate themselves depending on war time or not.
The glass beads may have been traded or had been supplied by Anglican or Christian missionaries and explorers who had made travels to the north. Further analysis of the residue present on the beads using FTIR showed presence of gum Arabic, which is indicative of European methods of production. The sinew and leather may have been sourced from the same animal due to the scarcity of the material and the resourcefulness of the Inuit. The hooks seem to be carved with a stone tool or sharp implement where there are vertical striations to make the flat edge of each earring.
During analysis using pXRF it was found that numerous areas on the earring had a trace presence of arsenic. This suggests that the earrings were treated with pesticides upon collection by the Agnes Etherington Art Center. Due to this presence, all subsequent handling had to be done using personal protective equipment.
Here are the after treatment photographs of the earrings. The summary of the treatment is as follows:
- Mechanical surface cleaning with scalpels, HEPA filtered vacuum, brushes, and acupuncture needles.
- Solvent surface cleaning with ethanol.
- Consolidate sinew and leather components with 1% Kucel G in isopropanol.
- Consolidate shell components with 1% Klucel G in isopropanol. Mark with UV fluorescent adhesive to ensure that it will not be confused with original material.
- Thread new shell components onto the sinew. Hold in place with a drop of adhesive on the tip of each sinew with Paraloid B72.
- Create box for storage, display, and transport of the earrings to ensure minimal handling as necessary.
The decision was made to incorporate original material due to a variety of reasons. There were various methods tested such as using plasticine mould, a silicone rubber mould and a clay model which could then be casted. Each method offered substantial problems which affected the limited amount of time that I had to complete the project. Japanese tissue paper was also considered with various adhesives and number of layers however the texture and rigidity did not allow for a slight curve to the object. Epoxy and plaster were thought to be too heavy and risk further damage to the sinew and therefore original material would be used as a fill for the earrings. To prevent further confusion, it was decided that UV marker consolidant would be used to distinguish between the original and the newly added material as well as the visual indication of the clear white shell compared to the shell which has collected dirt accretions from sourcing and use over the years.
Table of the various source locations of the dentalium shells and the associated cultural group with the source locations taken from thesis by AJ Barton 1994.
In discussion with my supervisor, it was decided that it would be under the CAC ethical guidelines to use original material as it a part of an intangible cultural heritage aspect of the nuu chah nulth people of the west coast of North America. The collecting of dentalium shells in the west coast is a protected intangible cultural heritage aspect which is protected under UNESCO federation. It was also a part of their self-governance agreement where they would have control of the sourcing and distribution of such beautiful material. In the early days of trade and exploration dentalium shells were of a significant monetary value to the nuu chah nulth peoples and so they sustained themselves through the trade and bargaining of these materials with other nations and explorers in the area. In sourcing the material, it was decided to source from a first nation community in Ontario so in conserving the object we give back some economy to the first nations community. With the Truth and reconciliation task force commission (TRC) and the United Nations on the Rights of Indigenous peoples (UNDRIP) being implemented in Canada and within the university, it was imperative that we also consult with a cultural bearer/knowledge keeper who is familiar of the culture and traditions in which these earrings were manufactured and used. I took it upon myself to contact Alaska State Museum to see if they had any information on these earrings. It was found that these were Tlingit in origin.
As a part of indigenous knowledge and learning, it is important to use the aspect of give and take in terms of knowledge sharing. These earrings are to be exhibited in the next two years at the Agnes Etherington Art center and it is important to discuss with the curator the appropriate display of these objects. I am recommending that an explanation of text beside the object of the use of “new” original material which has been incorporated into the area of loss. It is important for the audience to know that these earrings were conserved in tandem with the intangible cultural heritage aspects. As a part of the ethics guiding the practice of an indigenous emerging conservator, I find it important to incorporate indigenous learning and knowledge as a part of treatment course when dealing with any indigenous object.
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