R. Bruce Hutchison was one of the most well-known and respected textile conservators of his generation. He began his conservation career in San Francisco in 1973, under the tutelage of Ms. Pat Reeves (visiting from the Los Angeles County Museum of Art). Hutchison worked closely with Anna and Ralph Bennett to establish a textile conservation facility at San Francisco's M.H. de Young Museum. There, he helped develop innovative techniques for tapestry and costume conservation that became models for other textile conservation practices throughout the country.
In 1975 he was awarded a National Endowment for the Art Fellowship which enabled him to spend a year to work and study textile conservation at ateliers in Denmark, Sweden, England, and Switzerland. Upon his return to the U.S., Hutchison became Textile Conservator for the Fine Arts Museums of San Francisco. He was instrumental in preparing two major exhibitions -- "Five Centuries of Tapestry" and "A Century of Brides"--and contributed to the training of numerous textile department interns and volunteers. From 1979 to 1982, Hutchison established a freelance conservation practice in San Francisco.
From 1982 to 1992, Hutchison was Textile Conservator for the Textile Conservation Laboratory of the Cathedral Church of St. John the Divine, New York City, where he worked to develop a full service facility with an emphasis on large scale tapestries and textiles. In 1992, Bruce returned to San Francisco, to re-establish a freelance conservation practice.
Hutchison played an active part in the formation and development of several professional associations. From 1986 to 1988, he was President of the Textile Conservation Group, N.Y.C. He also helped to establish the Textile Specialty Group of A.I.C. He served as an officer for the BAACG and was a regular participant in WAAC activities. In 1987 he was asked to deliver a paper at "The Conservation of Tapestries and Embroideries" meeting at the IRPA, Brussels (his paper was Gluttony and Avarice: Two Different Approaches). Throughout his career, he was committed to the training of students, and was known for emphasizing meticulous care and craftsmanship in all aspects of studio work.