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
Display of framed work - factors to consider:
Sunlight
Damp
The effect of radiators

3. Most Common Mistakes
Quality of Materials and Techniques used in Framing
Method of Support and Associated Problems
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
Humidity
Heat
Acids and Alkalis
Biological Problems – Insects and Mould
Techniques and Materials used in Framing

5. Light - UV Radiation High Energy High Frequency - 200 -> 400 nm
Short Wavelength
Lower frequency range absorbed by the ozone layer the remaining
results in structural damage to fabrics and causes dyes to fade
UV Radiation represent 5% of the visible light but causes 90% of damage to materials

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

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

8. Fabric Classification Groups
Natural Fibres
Protein
Fibres (Animal)
Cellulose
Fibres (Plant)
Alkali Tolerant
Linen/Cotton
Acid Tolerant
Silk/Wool
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’

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

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

11. Mould Recognition: Musty Smell, 3D surface growth
Causes: Damp Conditions, poor air circulation and
RH above 70%
Recognition: Musty Smell, 3D 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. Materials 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.

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 Vacuuming
Washing
Dry Cleaning by conservator
DO NOTHING
Beware of SPOT CLEANING
Washing and/or dry cleaning is considered a CONSERVATION process
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.

15. Assessment 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*

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

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

18. Techniques and Materials
Tapes and Adhesives
Any part of the moulding rebate or slips that might come in contact with the fabric should be sealed
Note: Surfaces of slip and moulding
in 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 of
Museum objects.
RIBS: prevents ingress
of moisture and protects
against off-gassing.

21. Gosling Sampler before and after.
Comparison of Styles
Gosling Sampler before and after.

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