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Framing Antique Textiles Mal Reynolds GCF Adv(Textiles/Conservation)

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Presentation on theme: "Framing Antique Textiles Mal Reynolds GCF Adv(Textiles/Conservation)"— Presentation transcript:

1 Framing Antique Textiles Mal Reynolds GCF Adv(Textiles/Conservation)

2 Textile Conservators Main Points Materials/Technique: Always use the best materials/techniques available Never use materials/techniques that might damage or alter an item Never use materials/techniques that might damage or alter an item Display of framed work - factors to consider: Sunlight Damp Damp The effect of radiators The effect of radiatorsMaterials/Technique: Always use the best materials/techniques available Never use materials/techniques that might damage or alter an item Never use materials/techniques that might damage or alter an item Display of framed work - factors to consider: Sunlight Damp Damp The effect of radiators The effect of radiators

3 Most Common Mistakes Quality of Materials and Techniques used in Framing Method of Support and Associated Problems Method of Support and Associated Problems Type of Glazing and Distance from the Glass Type of Glazing and Distance from the Glass Quality of Materials and Techniques used in Framing Method of Support and Associated Problems Method of Support and Associated Problems Type of Glazing and Distance from the Glass Type of Glazing and Distance from the Glass

4 Enemies of Textiles Fabrics are essentially organic and as such they will degrade over time The rate of degradation will depend upon the following factors: Light Light Humidity Humidity Heat Heat Acids and Alkalis Acids and Alkalis Biological Problems – Insects and Mould Biological Problems – Insects and Mould Techniques and Materials used in Framing Techniques and Materials used in Framing Light Light Humidity Humidity Heat Heat Acids and Alkalis Acids and Alkalis Biological Problems – Insects and Mould Biological Problems – Insects and Mould Techniques and Materials used in Framing Techniques and Materials used in Framing

5 Light - UV Radiation High Energy High Frequency > 400 nm Short Wavelength High Energy High Frequency > 400 nm Short Wavelength UV Radiation represent 5% of the visible light but causes 90% of damage to materials Lower frequency range absorbed by the ozone layer the remaining results in structural damage to fabrics and causes dyes to fade Lower frequency range absorbed by the ozone layer the remaining results in structural damage to fabrics and causes dyes to fade

6 Effects of UV Radiation Fading due to UV radiationon old fabric Frequency 340 -> 380 nm = Fading Fading due to UV radiationon old fabric Frequency 340 -> 380 nm = Fading Example of UV radiation on 19th Century sampler Frequency 300 -> 340 nm = Discolouration/embrittlement Example of UV radiation on 19th Century sampler Frequency 300 -> 340 nm = Discolouration/embrittlement 340 – 380 nm Fading of fabric nm Damage to boards

7 Importance of Airspace Radiated Room Heat Spacer Spacer Natural Convected Air flow Glass Artwork ★ Air Circulation will: ★ Equalize humidity across the surface the surface ★ Inhibit the growth of Mould ★ Greatly reduce the chance of transfer of Image to glass transfer of Image to glass ★ Air Circulation will: ★ Equalize humidity across the surface the surface ★ Inhibit the growth of Mould ★ Greatly reduce the chance of transfer of Image to glass transfer of Image to glass

8 Fabric Classification Groups Natural Fibres Protein Fibres (Animal) Protein Cellulose Fibres (Plant) Cellulose Alkali Tolerant Linen/CottonLinen/Cotton Acid Tolerant Silk/WoolSilk/Wool Fibres related to the same principal groups will usually react in a similar manner Fibres related to the same principal groups will usually react in a similar manner A good rule of thumb ‘Use silk with silk, cotton with cotton and linen with linen – if in doubt use cotton’ A good rule of thumb ‘Use silk with silk, cotton with cotton and linen with linen – if in doubt use cotton’

9 Most Damage caused by: clothes moth and carpet beetle clothes moth and carpet beetle Most Damage caused by: clothes moth and carpet beetle clothes moth and carpet beetle Incidental Damage caused by: Woodworm and Silverfish Incidental Damage caused by: Woodworm and Silverfish Biological Problems

10 Insect Damage: Woodworm debris along top of slip Hole possibly due to woodworm Hole possibly due to woodworm Overall condition: Very poor; whole bottom corner would probably disintegrate if removed probably disintegrate if removed Woodworm Hole Woodworm debris Biological Problems

11 MouldMould Causes: Damp Conditions, poor air circulation and RH above 70% Causes: Damp Conditions, poor air circulation and RH above 70% Recognition: Musty Smell, 3D surface growth Remedy: Thoroughly dry the object Remove surface growth? Remedy: Thoroughly dry the object Remove surface growth? Note: Spores can remain dormant for many years - can be reactivated by a change of conditions

12 Always use the best quality materials and those that will not damage the fabric art MOUNT BOARD – Conservation wherever possible No tapes or adhesives in direct contact with fabric art Seal moulding rebate wherever applicable Use material in same classification group as fabric art Cotton with cotton, linen with linen, silk with silk – if in doubt use cotton. MaterialsMaterials

13 Is it possible to clean my sampler and improve its appearance? Is it possible to clean my sampler and improve its appearance? If it is stained, soiled or torn = professional restorer. If it has a dull dirty appearance this usually because the glazing is dirty and the linen ground is contaminated with dust particles. How does one remove the dust? Use a low power suction cleaner with a fine nozzle. It is likely to be brittle and in extreme cases can simply fall to bits! If you have been able to remove 30% of it, then you have done well.

14 Washing/Cleaning Framers should never wash a customers fabric art fabric art Washing and/or dry cleaning is considered a CONSERVATION process and should always be accompanied with light vacuuming and should always be accompanied with light vacuuming There is very little that one can do to improve the appearance of antique fabric art such as samplers. Customers should make one of the following decisions: Light Vacuuming Washing Dry Cleaning by conservator DO NOTHING Beware of SPOT CLEANING

15 Questions a Framer should Consider Type of Embroidery Achievable - Help Line Conservator/Restorer Discuss Options with owner Level of Framing **FRAMING** *Method of Support* *Mount - if required* *Box Framing - if required* *Moulding* *Glazing* Type of Embroidery Achievable - Help Line Conservator/Restorer Discuss Options with owner Level of Framing **FRAMING** *Method of Support* *Mount - if required* *Box Framing - if required* *Moulding* *Glazing* AssessmentAssessment

16 Techniques - Support Use of Donor Materials Techniques - Support Use of Donor Materials EVACON – R Linen laced to cotton museum board Linen – stripped of dressing. 100% Cotton Wadding Linen – stripped of dressing. 100% Cotton Wadding Preparation

17 Techniques - Support Sampler positioned on support before sewing. Sampler positioned on support before sewing. Strands from cotton thread. Sampler sewn to donor linen after lacing Sampler sewn to donor linen after lacing

18 Techniques and Materials Tapes and Adhesives Note: Surfaces of slip and moulding in contact with artwork are taped in contact with artwork are taped Any part of the moulding rebate or slips that might come in contact with the fabric should be sealed

19 SpacersSpacers Spacers made by using EVA Con- R adhesive to glue Plastazote to both conservation and cotton museum mountboard.

20 Plastazote: stable, safe and non reactive when in contact with a variety of Museum objects. Museum objects. RIBS: prevents ingress of moisture and protects of moisture and protects against off-gassing. Frame Construction

21 Gosling Sampler before and after. Comparison of Styles

22 FramingWorkshops Harlequin Frames, Lincolnshire Textile, conservation & 3D framing workshops Individually designed to meet your requirements Contact: Mal Reynolds GCF Adv FramingWorkshops Harlequin Frames, Lincolnshire Textile, conservation & 3D framing workshops Individually designed to meet your requirements Contact: Mal Reynolds GCF Adv


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