Presentation on theme: "Framing Antique Textiles"— 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 availableNever use materials/techniques that might damage or alter an itemDisplay of framed work - factors to consider:SunlightDampThe effect of radiators
3 Most Common MistakesQuality of Materials and Techniques used in FramingMethod of Support and Associated ProblemsType of Glazing and Distance from the Glass
4 Enemies of TextilesFabrics are essentially organic and as such they will degrade over timeThe rate of degradation will depend upon the following factors:LightHumidityHeatAcids and AlkalisBiological Problems – Insects and MouldTechniques and Materials used in Framing
5 Light - UV Radiation High Energy High Frequency - 200 -> 400 nm Short WavelengthLower frequency range absorbed by the ozone layer the remainingresults in structural damage to fabrics and causes dyes to fadeUV Radiation represent 5% of the visible light but causes 90% of damage to materials
6 Effects of UV Radiation 340 – 380 nmFading of fabricnmDamage to boardsExample of UV radiation on 19th Century samplerFrequency 300 -> 340 nm = Discolouration/embrittlementFading due to UV radiationon old fabricFrequency 340 -> 380 nm = Fading
7 Importance of Airspace Radiated Room HeatSpacerNatural ConvectedAir flowGlassArtworkAir Circulation will:Equalize humidity acrossthe surfaceInhibit the growth of MouldGreatly reduce the chance oftransfer of Image to glass
8 Fabric Classification Groups Natural FibresProteinFibres (Animal)CelluloseFibres (Plant)Alkali TolerantLinen/CottonAcid TolerantSilk/WoolFibres related to the same principalgroups will usually react in a similar mannerA good rule of thumb‘Use silk with silk, cotton with cotton and linen with linen – if in doubt use cotton’
9 Biological Problems Most Damage caused by: clothes moth and carpet beetleIncidental Damage caused by:Woodworm and Silverfish
10 Biological Problems Insect Damage: Woodworm debris along top of slip Woodworm HoleWoodworm debrisInsect Damage:Woodworm debris along top of slipHole possibly due to woodwormOverall condition: Very poor; whole bottom corner wouldprobably disintegrate if removed
11 Mould Recognition: Musty Smell, 3D surface growth Causes: Damp Conditions, poor air circulation andRH above 70%Recognition: Musty Smell, 3D surface growthRemedy: Thoroughly dry the objectRemove surface growth?Note: Spores can remain dormant for many years - can be reactivated by a change of conditions
12 Materials Always use the best quality materials and those that will not damage the fabric artMOUNT BOARD – Conservation wherever possibleNo tapes or adhesives in direct contact with fabric artSeal moulding rebate wherever applicableUse material in same classification group as fabric artCotton with cotton, linen with linen, silk with silk – if in doubt use cotton.
13 How does one remove the dust? 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 Customers should make one of the following decisions:Light VacuumingWashingDry Cleaning by conservatorDO NOTHINGBeware of SPOT CLEANINGWashing and/or dry cleaning is considered a CONSERVATION processand should always be accompanied with light vacuumingThere is very little that one can do to improve theappearance of antique fabric art such as samplers.
15 Assessment Questions a Framer should Consider Type of Embroidery Achievable - Help LineConservator/RestorerDiscuss Options with ownerLevel of Framing**FRAMING***Method of Support**Mount - if required**Box Framing - if required**Moulding**Glazing*
16 Linen – stripped of dressing. Techniques - SupportUse of Donor MaterialsPreparationLinen – stripped of dressing.100% Cotton WaddingEVACON – RLinen laced to cottonmuseum board
17 Strands from cotton thread. Techniques - SupportSampler positioned onsupport before sewing.Sampler sewn to donorlinen after lacingStrands from cotton thread.
18 Techniques and Materials Tapes and AdhesivesAny part of the moulding rebate or slips that might come in contact with the fabric should be sealedNote: Surfaces of slip and mouldingin contact with artwork are taped
19 Spacers Spacers made by using EVA Con- R adhesive to glue Plastazote to both conservation and cotton museum mountboard.
20 Frame Construction Plastazote: stable, safe and non reactive when in contact with a variety ofMuseum objects.RIBS: prevents ingressof moisture and protectsagainst off-gassing.
21 Gosling Sampler before and after. Comparison of StylesGosling Sampler before and after.
22 FramingWorkshops Harlequin Frames, Lincolnshire Textile, conservation & 3D framing workshopsIndividually designed to meet your requirementsContact: Mal Reynolds GCF Adv