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Framing Antique Textiles

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

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Framing Antique Textiles

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  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 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

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

  8. Natural Fibres Protein Fibres (Animal) Cellulose Fibres (Plant) Alkali Tolerant Acid Tolerant Silk/Wool Linen/Cotton Fibres related to the same principal groups will usually react in a similar manner Fabric Classification Groups 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 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 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. 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. Techniques - Support Use of Donor Materials Preparation EVACON – R Linen laced to cotton museum board Linen – stripped of dressing. 100% Cotton Wadding

  17. 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. 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 01673860249 mal@harlequin-frames.co.uk

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