|
HOW DOES ONE TAKE CARE OF AN EXISTING COLLECTION?
While no one would suggest that puppets be forever placed in a
“perfect protected environment” with little, if any, access,
we can suggest some very basic steps to stabilize or improve the
conditions under which your collection is stored or displayed. While
there is no guarantee that any items will last forever, these considerations
are in hopes that, with proper care, we can at least buy time in
which future generations can enjoy and benefit from this record
of the past.
Puppets (here, used generically) and items related to them, present
some unique challenges as to their preservation. The study and practice
of preservation and conservation is very complex and ongoing but
there are some general rules that govern the handling and maintenance
of most items and in most cases will provide a stable environment.
Environment, as used here, can mean anything from the proximity
of one page to another; one object to another; the type of storage
container used for any items; the room in which many items are stored;
or even the air quality in the city in which the collection is housed.
If your collection is usually stored either in the basement or in
an uninsulated attic or garage, try to remove it to a more stable
climate. A room or closet near the center of the house, preferably
on the first floor, is far superior to the extreme ranges of heat
and cold in an uninsulated attic. Many homes are insulated at the
ceiling level of the top floor rather than the inside roof area.
Although many basements are not prone to the extreme range of temperatures
of an uninsulated attic space, the higher levels of humidity which
may exist can damage many items by the formation of condensation,
and or mold and mildew, especially in older homes. Keep items, which
are not in protective enclosures, free of dust and dirt and follow
basic good housekeeping practices. If you are displaying a paper
document or photo, it is better to have copies made and display
the copies, leaving the original in storage.
As a rule of thumb, storage should be optimized to protect the most
fragile item, and in the case of most puppets this would include
(but not be limited to) textiles, leathers, plastics and catalyst-expanded
foams. The factors that most affect collections are many, but those
of primary concern and about which we can make a difference are
temperature, light, and humidity.
TEMPERATURE
Avoid extremes of heat and cold. Use the most stable (least fluctuating)
areas of climate for storage of important items. If space is at
a premium, then give priority to those items in the collection deemed
to be the most significant historically or artistically, or those
determined to be in the most fragile or vulnerable state. Relocate
any item that is near a source of heat such as a radiator, baseboard
heating units, registers from which hot air exits, windows, etc.
Mold or mildew may develop if the temperature is over 75° and
the relative humidity is over 60%. Since many puppets are made of
a combination of materials, (multi-media) they present some challenges
to the collector, but if a proper combination of temperature and
relative humidity is maintained, most damage can be avoided or delayed.
Perhaps more important than maintaining the optimum temperature
and humidity levels is the consistency or stability of the climate
in which items are stored or displayed. Rapid and/or extreme temperature
changes should be avoided especially when moving any object from
a very cold environment to a warm or hot environment. Condensation
may form on the surface or within the object. Moisture in any form
is damaging to many objects. As the seasons change and adjustments
are made to the systems that control heat and humidity, abrupt shifts
in the climate are to be avoided. Whenever possible, make a gradual
adjustment over several days, at the very least.
Heat variations can cause damage to untanned skins and hides since
they will shrink when exposed to heat. Some shadow puppets may be
made of untanned skins. Extreme heat and low humidity will dry out
and embrittle paper goods.
RELATIVE HUMIDITY is the measurement (expressed
in percent) of the moisture in the air as compared to the maximum
amount of moisture the air can hold (causing condensation) at that
same air temperature. The colder it is within the environment, the
greater the capacity of the air to condense moisture (humidity).
Ideally, the generally accepted conditions for most organic materials
(wood, leather, paper, textiles, natural fibers, etc.) are a constant
63° to 65° Fahrenheit and 40% to 50% relative humidity (RH).
Inorganic materials (metals and ceramics) and untanned skin or hides
are maintained best at lower RH levels of 35%-40%.
Many items in puppet collections are composed almost entirely, or
in part, of humidity-sensitive materials such as wood. Humidity
sensitive materials (especially wood) react to changes in the atmosphere’s
relative humidity by changing dimension. When moisture is absorbed,
objects swell. When objects dry out or release moisture to the air,
the objects shrink. This fluctuation in humidity causes the dimensions
of the various components to change; joints may stick because of
swelling and perhaps undue stress placed upon them, and paint can
lift from wooden surfaces as they constantly change dimension.
Extreme levels of humidity can promote the growth of mold and mildew
on organic materials, corrode metals, swell and soften untanned
skins and the emulsion layer of photographs.
Methods and instruments to measure relative humidity are available
in the several catalogs offered by Light Impressions, and University
Products.
LIGHT causes irreversible
damage to light sensitive artifacts. Materials such as silk, paper,
and watercolors are more light sensitive than others and damage
caused by light results in the fading of colors, yellowing of papers,
and weakening of fibers. The American Association of Museums recommends
a display light level of seven to ten foot candles. Second-hand
light meters are inexpensive and easy to come by, offering a simple
way to verify light levels. Those items that are extremely light
sensitive should not be displayed for extended periods.
Ultra-violet light is the most damaging radiation to light-sensitive
artifacts. Filters that absorb Ultra Violet light are available
from the several catalogs offered by Light Impressions, and University
Products.
Highly Light-Sensitive Materials - Textiles; paper; watercolors;
color photographs; dyed leather; furs and feathers; natural fibers;
wood.
Moderately Light-Sensitive Materials - Undyed leather; horn; bone;
ivory; unpainted wood.
Light-Insensitive Materials - Metal; stone; porcelain; ceramics;
jewelry.
Relocate any item that is in direct sunlight. Sunlight has the highest
level of ultra-violet light and is the least controllable form of
light. The recommendation is that objects NEVER be exposed to sunlight.
Shutters, shades, or curtains can be used to reduce the effects
of sunlight. Windows can also be filtered for ultra-violet light.
Incandescent bulbs have approximately 5% UV and are difficult to
filter because of the high heat. UV filters can be used on cases
away from the hot bulbs. Open displays present other problems. Using
dimmer switches can reduce illumination levels. Because of the heat
generated by incandescent bulbs, they should never be placed closer
than 20 inches to an object and well vented to avoid heat build-up.
Fluorescent Tubes, though cooler than incandescent bulbs, have approximately
12 -15% UV but are easily filtered using plastic UV shields that
slip over the tubes. The illumination levels of fluorescent tubes
can also be controlled with appropriate dimmer switches. If the
tubes are used inside a case, the ballasts must be vented to prevent
heat build-up.
To avoid
high level or direct light sources:
- Point the light source at a white wall and use the reflected
light for illuminating the artifacts.
- Point the light source between artifacts rather than right at
the center of them.
- Reducing the ambient light levels in the general areas of the
exhibit space will help to reduce the need for high lighting levels
on the artifacts.
- Use lower wattage bulbs.
- Reduce the duration of exposure to light. Turn off the lights
when items are not being viewed.
- Keep light sensitive objects in proper storage in the dark.
Some basic
rules for paper goods:
- Stable climate.
- As little exposure to light as possible.
- No transparent tape on paper items
.
- No rubber cement.
- Only rustproof paperclips or staples IF they must be used at
all.
- Archival quality storage boxes, folders, photo and negative
holders only.
Puppets exist to be seen, usually in performance, sometimes on
display. When not used for either performance or display, they often
are placed in storage. Those who collect puppets and related items
are eager to share these collections and will, using various methods,
place these items on exhibit.
That eagerness to display those puppets and related items contributes
to the problem at hand. The constant exposure to light, heat, humidity,
pollutants and wear and tear leads to the degradation of these items.
Handle all items with great care. Although some puppets are made
to withstand a lot of use, never touch them with bare hands and
handle all puppets as little as possible. Oils deposited on an object
from the fingers and hands can be potentially damaging. When handling
any item, including metal objects, hands should be washed and clean,
and always wear white cotton gloves. Wash these gloves when soiled
and dry them without using fabric softener, which imparts a slight
amount of wax onto fabric. When handling heavy, smooth items, latex
surgical gloves are best as they allow a firm non-slip grip. Older,
more fragile puppets should be handled as little as possible and
when moved or displayed, given as much support as possible to avoid
stress on the various parts.
One has to understand that while the materials one chooses for puppet
construction may serve the puppeteer for a time they may not serve
posterity. So consider other means of "preserving" such
items that may “...molder in dust away”. Make photographic
or digital records of these items at the very least. While it is
nice to be able to see some of them up close and personal, a photograph
can generate a lot of information about an object. Because puppetry
is a movement art form, the ultimate record would be to video the
puppet operated by its maker.
(Thanks to Fred Thompson for his excellent paper on preservation.)
THINKING ABOUT THE FUTURE OF YOUR PUPPET COLLECTION
Now that your collection is in a stable environment,
we move on to one of the first questions:
What
is the purpose, or quality of the Collection?
We have broken collections into roughly three types: Museum Quality,
Performance Quality, and Sentimental Value.
Are
the puppets of Museum quality?
By Museum quality, we mean puppets that have either a historic,
cultural or artistic significance. This is not always easily determined
by a layperson, so it is advisable to have them evaluated by a professional.
Some collections, even small ones, may contain items of particular
value and significance to the art and history of puppetry which,
while “owned” by the collector, places upon him a responsibility
to “steward” those items with the understanding that they
are really “on loan” and temporarily in his charge. Ethical
considerations arise and the onus is on the current owner/”curator”
to protect, preserve and maintain these items as they were received.
While the tendency might be to “refurbish” a figure before
presenting it to a museum it is important to remember that part
of the “history” or historical record of an object (document)
is the patina that has developed with use over the years. With puppets,
each performance takes its toll, and the figures retain these “scars”
of a useful life. Any attempt to refurbish or restore the figure,
particularly by repainting the face or exposed body parts or replacing
worn or broken parts is to destroy an important part of an historical
document. (In restoring an oil painting by an old master, the conservator
replaces the missing area using a medium, which can be removed and
applies it with strokes in contrast to those used by the original
artist.) Repairs to the body or costume must be recorded (documented)
and done in such a fashion so that it can be distinguished from
the original construction. A standing rule of restoration is that
anything done in the way of restoration must be UN-DO-ABLE.
WHEN IN DOUBT, DON’T! Don’t do anything to a puppet, particularly
if it has historical or artistic significance, until you have consulted
with a professional conservator. Locate a conservator through a
local museum, historical society or through Northeast Document Conservation
Center, 100 Brickstone Square, Andover, Massachusetts, 01810-1494
Telephone (508) 470-1010
Except in very rare cases, museums will not endeavor to add your
puppets to their collection. Almost every museum that has a puppet
collection has the puppets because the collector took the initiative
and approached the museum. If you want your puppets in a museum,
you must take the initiative.
At the back of this booklet is a list of institutions that currently
have puppet collections. This does not mean that they are willing
to accept new figures, but is intended to serve as a resource to
understanding the type of institution that might be willing to house
a collection.
When searching for an institution to house your collection, start
close to home. It is also very important to have your information
organized and easy to present. Think of this as marketing. You have
to know why your puppets are important, not to you, but to other
people. So- before you begin to look for an institution here are
the things you need to know about your own puppets.
Documentation
As far as museums are concerned, one well-documented puppet is equal
in value to a whole box-full about which nothing is known. The provenance,
or history, of the puppet, is critical in order for the institution
to preserve the "meaning" of an artifact and interpret
it for their visitors. You need to know the answers to as many of
these questions as possible for each of your puppets.
- Who built the puppet?
- When?
- What materials did they use?
- In what show, if any, was the puppet used?
- When did the artist live?
- When did he/she work?
- How big is the puppet? (For most collection records, puppets
are measured to the height of the figure, omitting the strings
and controller. DO NOT remove them, the museum will not either,
but they might adjust the string length for display purposes)
- Do you have photos of the puppet in use?
Even if you find an institution to house your collection, it is
also important to know that your puppets might not be exhibited.
Over 95% of the puppets in museums’ collections are safely
kept in storage. They are rarely exhibited. As we learned above,
in the section on maintaining a collection, keeping them in a safe
environment will prolong the life of the puppet.
Finally, to repeat, one has to be extremely objective in making
the choices concerning which puppets or related items are worthy
of adding to a collection. Since it is a costly business to conserve,
store and display ANY items, there are some hard choices involved.
Perhaps you could find a home in a museum for some of the collection
and pass the rest to another puppeteer. This brings us to our next
question.
Are
they Performance quality? OR Do
you want the puppets to be used by another puppeteer or by puppetry
students?
Passing your puppets on can help or inspire other performers, but
this will assure that their costumes, paint and strings will deteriorate.
If the figures are not of museum quality, but are well made, it
is possible that a puppeteer will want to add them to their own
performing stock. There are several routes to take, to find a new
home for these figures. Please understand that by asking someone
to add a puppet to their stock you are giving them permission to
refurbish the puppet in anyway they want, including repainting and
re-costuming.
Festivals- At every puppetry festival there is a Puppetry
store, offering the figures for sale at these events is one way
to ensure that professionals will see them.
Classifieds – There are several websites that host classified
ads by puppeteers, such as www.puppeteers.org
or www.puppetry.info,
and of course ebay.com. Placing
an ad describing the figures and offering them for sale is an option
if traveling to a puppetry festival is not feasible. An ad should
list the style of puppet, the maker, the size of figure, and a description
of the character. Don’t forget your contact information.
Donation – Contact your local puppetry guild and see
if they would like to have the figures for workshops or to auction
as a fund-raiser. Local theaters might also be interested in having
the figures to use as props or for workshops. Schools are also an
option.
Adoption – Visiting the same websites listed above and
offering the puppets “free to a good home” is an excellent
way to match the figures with entry level puppeteers or other people
with an interest in puppetry. In the adoption notice it is appropriate
to ask the person adopting to pay the postage.
If you have decided to pass your figures on for adoption then some
refurbishment might be in order, UNLESS it is a one-of-a-kind (i.e.
RARE or SINGULAR) puppet. If one feels that repairs appear necessary
and have sufficient other examples of this particular artist’s
work, then one might attempt a simple repair using similar materials
and methods as the original artist. You MUST keep a record the repair,
and all the details relating to it. It’s is worth restating
that many of these items will be passed on to future generations.
Allow their new caretaker the privilege and thrill of seeing the
puppets as you first saw them.
A few basic rules for puppet repair:
- No hot glue. Never! Ever! Unless hot glue was used in the original
fabrication of the item.
- No epoxy.
- No aliphatic resin glues. (Franklin Carpenter’s glue, yellow
glue.)
- For wood, hide glue (animal glue) can be used. It is strong,
and can be undone by using methylated spirits (denatured alcohol).
It can be thinned somewhat for lighter application. Care must
be used as denatured alcohol can
- remove or damage some paint and finishes.
- No acrylic paints.
- No oil paints.
- No latex.
- Water color IF YOU FEEL YOU MUST!
Do
they have Sentimental Value?
In many ways this should be the first question answered. Although
it is good to know if the puppets are museum quality for purposes
of preservation, it is still wise to check with family and friends
first before dispersing the puppet collection.
In the big picture, your collection may not be of such historical
significance as some larger permanent collections but, relatively
speaking, the items may have sentimental or historical value to
you. The common thread, which runs through all philosophical considerations
concerning any collection, is that if you prize it, you must protect
it.
The following is the policy on collecting from the Center for Puppetry
Arts in Atlanta. We hope it is useful for the reader to see how
a major collection must restrict the choices that are made.
Donations
to the Collection
The Center for Puppetry Arts Museum generally accepts donations
of puppets only if it intends to accession them into its collections.
The Museum must be very selective out of necessity to ensure that
objects acquired are appropriate to The Collection's mission statement
and can be properly cared for and displayed. A sub-committee formed
from our Museum Advisory board will be the deciding factor in accepting
Museum pieces. Fractional interest in an object, whereby the donor
retains a percentage of ownership, is not acceptable. Both the donor
and an authorized representative of the Center must sign a deed
of gift for transferring full ownership of the item(s) to the Center.
There are numerous considerations for both donors and the museum
in arranging a gift. All inquiries regarding gifts to Center for
Puppetry Arts are completely confidential. For further information
about donating gifts or bequests of objects, please contact the
Museum Manager.
Advisors
The information in this Collections Pamphlet was assembled by a
committee created by the Puppeteers of America with advice from
many sources, including:
- Steve Abrams, author and puppet historian
- Larry Baranski, curator Detroit Institute of Arts
- Gary Busk, collector, historian, curator of Puppeteers of America
Audiovisual Archive
- Alan Cook, collector (over 3,000 puppets), historian, curator
- Paul Eide, editor of Puppetry Journal, Preservation Committee
chair
- Mary Robinette Kowal, chair of Collections Committee
- Bob Nathanson and Elise Handelman, produced videotaped oral
histories of many puppeteers of note
- Lettie Connell Schubert, collector,
- Nancy Staub, collection of puppets from around the world donated
to the Center for Puppetry Arts, inaugurating their museum
- Fred Thompson, marionette consultant for Puppeteers of America,
COLLECTIONS
American Puppetry Collections, History and Performance Edited by
Phyllis T. Dircks, Foreword by Steve Abrams, McFarland & Co.
Jefferson NC, 2004 copyright Theatre Library Association, ISBN 0-78641896-6
Includes essay “Fundamentals of Marionette Care” Mina
Gregory, Maureen Russell, Cara Varnell. Appendix lists over 60 puppet
collections including those mentioned below.
The following list gives some idea of the range of museums that
have puppet collections. Donors of puppets can try local or state
historical societies, university museums and libraries, children's
museums, and museums of popular culture
American
Museum of the Moving Image
35th Ave. and 36th St.
Astoria, Queens, NY, NY 11106
www.ammi.org
35 puppets
from the Morey Bunin and Yoda from Empire Strikes Back
American Museum of Natural History
Central Park West & 79th St.
NY, NY 10024
www.amnh.org
Over 3000
puppets including 1,325 Chinese puppets collected by Dr. Berthold
Laufer
*Ballard Institute & Museum of
Puppetry, University of Connecticut
Fine Arts Dept.
6 Bourn Place U-212
Storrs, CT 06269
860-486-4605
E-Mail Address
www.sp.uconn.edu/~wwwsfa/bimp
Frank Ballard, Curator
Bill Hall, Chairperson of Board,
Opened 1996
collection has well over 2000 puppets
Boston Public Library
666 Boyleston St. (Copley Sq.)
Boston, MA 02116
www.bpl.org
40 figures
by W. A. Dwiggins donated by family in 1966
Bread & Puppet Theatre Museum
Box 153 Route 122
Glover, VT 05839
*Center for Puppetry Arts
1404 Spring St. NW
Atlanta, GA 30309
404-873-3391
www.puppet.org
One of the
finest collections in the country with over 1000 puppets
Charles H MacNider Art Museum
303 Second St. SE
Mason City, IA 50401
www.macniderart.org
300 puppets
by Bil Baird first exhibited 1981
Chicago Historical Society
1601 N Clark St.
Chicago, IL 60614
www.chicagohistory.org
Burr Tillstrom
puppets and archive
Columbia University Rare Book and Manuscript Library
535 W 114th St.
NY, NY 10027
www.columbia.edu/cu/lweb/indiv/rbml/
Brander Matthews
Theatre Museum 1910 was one of the earliest collectors of puppets.
After 1960 the museum closed. The material merged into the Rare
Book collection. Most items are in storage. Puppets include Remo
Bufano’s Oedipus Rex figures, a Bunraku puppet.
COPA
(Conservatory of Puppet Arts)
980 N Fair Oaks Ave
Pasadena, CA 91103
www.COPA-puppets.org
The
Alan Cook collection,-over 3000 puppets- one of the most significant
in the country.
Cooper-Hewitt National Design Museum-Smithsonian
Institution
2 E. 91st St. at Fifth Ave.
NY, NY 10028
www.si.edu/ndm/
The Cooper
Hewitt collection became part of the Smithsonian in 1968 and moved
in 1972. The original Cooper-Hewitt Museum opened at Astor Place
in 1898. It has a few French shadow puppets from the Theatre Seraphin.
In addition, Frank and Elizabeth Haines donated a large collection
of puppets from their career.
*Detroit Institute of Arts
5200 Woodward Ave.
Detroit, MI 48202
www.dia.org
Original
bequest of 274 puppets made in 1952 The DIA has over 1000 puppets
and is one of the finest collections in the USA
The Field Museum
1400 South Lake Shore Drive
Chicago IL 60605-2496
www.fieldmuseum.org
Catalogue
has 153 puppets mostly Asian.
Harvard Theatre Collection
Pusey Library
Harvard University
Cambridge, MA 02121
E-Mail Address
http://hcl.harvard.edu/houghton/departments/htc/theatre.html
Over 700 puppets
including Asian puppets and 80 Greek Theatre puppets by Peter Arnott
Hirshhorn Museum and Sculpture Garden-Smithsonian
Independence Ave. & 8th St. NW
Washington, DC 20506
www.hirshhorn.org
This branch
of the Smithsonian has 7 marionettes by Alexandra Exter
Historical Society of Western Pennsylvania
1212 Smallman St.
Pittsburgh, PA 15222
www.pghhistory.org
Czech puppets
from 1900
Zimmerli Art Museum
Rutgers University
71 Hamilton St.,
New Brunswick, NJ 08901
www.zimmerlimuseum.rutgers.edu
This museum’s
collection includes a few of the shadow puppets from the Chat Noir
Cabaret in Paris.
Mercer Museum
84 S Pine St. at Ashland St.
Doylestown, PA 18901
www.mercermuseum.org
3 from Java,
14 Sicilian marionettes, Punch & Judy set (7)
Museum of Fine Arts
107 W Palace Ave.
PO BOX 2087
Santa Fe, NM 87503
www.museumofnewmexico.org
70 puppets
of Gustave Bauman catalog by Ellen Zeiselman
Museum of International Folk Art
PO BOX 2087
706 Camino Lejo
Santa Fe, NM 87505
www.moifa.org
There are
approx. 1800 puppets in collection
Museum of Jewish Heritage
One Battery Park Plaza
NY, NY 10004
212-968-1800
www.mjhnyc.org
A few puppets
by Simche Schwarz designed by Marc Chagall
Museum of Science & Industry
5700 S. Lake Shore Drive
Chicago, IL 60637
www.msichicago.org
160 puppets
from Kungsholm Theatre, opera with puppets.
Nantucket Historical Association
PO BOX 1016
Nantucket, MA 02554
www.nha.org
Has Tony Sarg
material
Peabody/Essex Museum
150 Essex St.
Salem, MA 01970
www.pem.org
12 Asian puppets
Pittsburgh Children’s Museum
10 Children’s Way
Pittsburgh PA 15212
www.pittsburghkids.org
Collection
of Margo Lovelace opened 1985 includes 400 puppets
Seattle Asian Art Museum/ Seattle
Art Museum Volunteer Park
1400 E Prospect St.
Seattle WA 98112
www.seattleartmuseum.org
360 Chinese
shadow puppets (exhibited in 1999 for Seattle festival) puppets
can be seen on line.
*Smithsonian-National Museum of American
History
Constitution Ave. & 14th St. NW
Washington, DC 20560
www.americanhostory.si.edu
Has Kermit,
Charlie McCarthy, Howdy Doody and others including a donation by
Hazelle Rollins
Smithsonian National Museum of the
American Indian
4th St and Independence Ave SW
Washington, DC 20560
www.nmai.si.edu
Extensive
Native American material, some rare puppets.
UCLA Fowler Museum of Cultural History
Box 951549
Los Angeles, CA 90095
www.fmch.ucla.edu
Asian Puppets:
Wall of the World, Melvyn Helstein 1963 shows some of the museum’s
1322 puppets
University of California at Santa Cruz (UCSC)
Theatre Arts Center McHenry Library-Special Collections 1156 High
St.
Santa Cruz, CA 95064
http://library.ucsc.edu/speccoll/
Composer Lou
Harrison’s puppet collection
University of Pennsylvania Museum
of Archaeology & Anthropology
33rd and Spruce St.
Philadelphia, PA 19104
www.museum.upenn.edu
250 Puppets
Asian puppets all in storage
The University of Texas, Austin
Harry Ransom Humanities Research Center
PO BOX 7219
21st and Speedway
Austin, TX 78713
www.hrc.utexas.edu
Important
collection of Sicilian marionettes donated by Stanley Marcus in
1969.
Vent Haven Museum
33 W Maple Ave.
Ft Mitchell, KY 41011
www.venthaven.org/wsberger.htm
Has about
500 ventriloquist figures. A major collection mostly exhibited.
Whitman College
345 Boyer
Walla Walla, WA 99362
www.whitman.edu
16 Bunraku
heads-exhibit, on line,
www.whitman.edu/offices_departments/sheehan/DollTheater/11.html
CANADA
British Columbia Provincial Museum
675 Belleville St.
Victoria, BC V8W 1A1
www.rbcm1.rbcm.gov.bc.ca
Some Native
American marionettes
*Canadian Museum of Civilization
100 Laurier St.
Hull PQ JBX 4H2
www.civilization.ca
Ontario Puppetry
Association donated a 400-puppet collection in 1994, which includes
traditional puppets of various cultures and 20th century Canadian
puppets. Excellent web site showing puppets
Museum of Anthropology, University of British Columbia
6393 NW Marine Drive,
Vancouver BC V6T 1W5
www.moa.ubc.ca
Exceptional
museum with examples of Native American puppets.
Rosalynde Stearn Collection
McGill University Library
3459 McTavish St.
Montreal, Quebec H3A 1Y1
www.libary.mcgill.ca
100 well cataloged
puppets and extensive printed material. donated in the 1960’s
by Rosalynde Osborne Stearn
Royal Ontario Museum
100 Queen’s Park
Toronto, Ontario M5S 2C6
www.rom.ca
Have examples
of NW coast marionettes and African rod puppets.
Collections associated with theatres
Aurora Valentinetti Puppet Museum
249 Fourth Street
Bremerton, WA 98337
Bob Baker Marionette Theater
1345 West First St
Los Angeles, CA 09926
Meredith Bixby Marionette Exhibit
BOX 198
Saline, MI 48176
Cleveland Playhouse
8500 Euclid Ave
Cleveland, OH 44106
In the Heart of the Beast Puppet and Mark Theatre
1500 E. Lake St
Minneapolis, MN 55407
International Mask and Puppet Museum Open Hand Theater
518 Prospect Ave
Syracuse, NY 13208
Northwest Puppet Center
9123 15th Ave NE
Seattle, WA 98115
Puppet Works
338 6th Ave at 4th St
Brooklyn, NY 11215
|
