Framing Antique
Textiles
Mal Reynolds GCF Adv(Textiles/Conservation)
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
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
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
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
Effects of UV Radiation
340 – 380 nm
Fading of fabric
300 - 340nm
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
Importance of Airspace
Spacer
★
★
★
Air Circulation will:
Equalize humidity across
the surface
Inhibit the growth of Mould
Radiated Room Heat
★
Glass
Artwork
Greatly reduce the chance of
transfer of Image to glass
Natural Convected
Air flow
Spacer
Fabric Classification Groups
Natural Fibres
Cellulose
Fibres (Plant)
Alkali Tolerant
Linen/Cotton
Protein
Fibres (Animal)
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’
Biological Problems
Most Damage caused by:
clothes moth and carpet beetle
Incidental Damage caused by:
Woodworm and Silverfish
Biological Problems
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
Mould
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
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.
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.
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.
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*
Techniques - Support
Use of Donor Materials
Preparation
Linen – stripped of dressing.
100% Cotton Wadding
EVACON – R
Linen laced to cotton
museum board
Techniques - Support
Sampler positioned on
support before sewing.
Sampler sewn to donor
linen after lacing
Strands from cotton thread.
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
Spacers
Spacers made by using EVA Con- R adhesive
to glue Plastazote to both conservation and cotton museum
mountboard.
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.
Comparison of Styles
Gosling Sampler before and after.
FramingWorkshops
Harlequin Frames, Lincolnshire
Textile, conservation & 3D framing workshops
Individually designed to meet your requirements
Contact: Mal Reynolds GCF Adv
01673860249
[email protected]