Framing Antique Framing Antique TextilesTextiles

Framing Antique Framing Antique TextilesTextiles

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

Textile Conservators Main Textile Conservators Main PointsPoints

Textile Conservators Main Textile Conservators Main PointsPointsMaterials/Technique:Materials/Technique:

Always use the best materials/techniques Always use the best materials/techniques availableavailable

Never use materials/techniques that might Never use materials/techniques that might damage or alter an itemdamage or alter an item

Display of framed work - factors to consider: Display of framed work - factors to consider:

SunlightSunlight DampDamp

The effect of radiatorsThe effect of radiators

Materials/Technique:Materials/Technique:

Always use the best materials/techniques Always use the best materials/techniques availableavailable

Never use materials/techniques that might Never use materials/techniques that might damage or alter an itemdamage or alter an item

Display of framed work - factors to consider: Display of framed work - factors to consider:

SunlightSunlight DampDamp

The effect of radiatorsThe effect of radiators

Most Common MistakesMost Common MistakesMost Common MistakesMost Common MistakesQuality of Materials and Techniques Quality of Materials and Techniques

used in Framingused in Framing

Method of Support and Associated Method of Support and Associated ProblemsProblems

Type of Glazing and Distance from the Type of Glazing and Distance from the GlassGlass

Quality of Materials and Techniques Quality of Materials and Techniques used in Framingused in Framing

Method of Support and Associated Method of Support and Associated ProblemsProblems

Type of Glazing and Distance from the Type of Glazing and Distance from the GlassGlass

Enemies of TextilesEnemies of TextilesEnemies of TextilesEnemies of TextilesFabrics are essentially organic and as such they Fabrics are essentially organic and as such they

will degrade over timewill degrade over timeFabrics are essentially organic and as such they Fabrics are essentially organic and as such they

will degrade over timewill degrade over time

The rate of degradation will depend upon the The rate of degradation will depend upon the following factors:following factors:

The rate of degradation will depend upon the The rate of degradation will depend upon the following factors:following factors:

LightLight HumidityHumidity

HeatHeat Acids and AlkalisAcids and Alkalis

Biological Problems – Insects Biological Problems – Insects and Mould and Mould

Techniques and Materials used Techniques and Materials used in Framingin Framing

LightLight HumidityHumidity

HeatHeat Acids and AlkalisAcids and Alkalis

Biological Problems – Insects Biological Problems – Insects and Mould and Mould

Techniques and Materials used Techniques and Materials used in Framingin Framing

Light - UV RadiationLight - UV RadiationLight - UV RadiationLight - UV RadiationHigh EnergyHigh Energy

High Frequency - 200 -> 400 nmHigh Frequency - 200 -> 400 nmShort WavelengthShort Wavelength

High EnergyHigh EnergyHigh Frequency - 200 -> 400 nmHigh Frequency - 200 -> 400 nm

Short WavelengthShort Wavelength

UV Radiation represent 5% of the visible light but UV Radiation represent 5% of the visible light but causes 90% of damage to materialscauses 90% of damage to materials

UV Radiation represent 5% of the visible light but UV Radiation represent 5% of the visible light but causes 90% of damage to materialscauses 90% of damage to materials

Lower frequency range absorbed by the ozone layer the Lower frequency range absorbed by the ozone layer the remainingremaining

results in structural damage to fabrics and causes dyes results in structural damage to fabrics and causes dyes to fadeto fade

Lower frequency range absorbed by the ozone layer the Lower frequency range absorbed by the ozone layer the remainingremaining

results in structural damage to fabrics and causes dyes results in structural damage to fabrics and causes dyes to fadeto fade

Effects of UV RadiationEffects of UV RadiationEffects of UV RadiationEffects of UV Radiation

Fading due to UV radiationon old fabricFading due to UV radiationon old fabricFrequency Frequency 340 -> 380 nm340 -> 380 nm = Fading = Fading

Fading due to UV radiationon old fabricFading due to UV radiationon old fabricFrequency Frequency 340 -> 380 nm340 -> 380 nm = Fading = Fading

Example of UV radiation on 19th Century samplerExample of UV radiation on 19th Century samplerFrequency Frequency 300 -> 340 nm300 -> 340 nm = = Discolouration/embrittlementDiscolouration/embrittlement

Example of UV radiation on 19th Century samplerExample of UV radiation on 19th Century samplerFrequency Frequency 300 -> 340 nm300 -> 340 nm = = Discolouration/embrittlementDiscolouration/embrittlement

340 – 380 nm340 – 380 nmFading of fabricFading of fabric

300 - 340nm 300 - 340nm Damage to boardsDamage to boards

Importance of AirspaceImportance of AirspaceImportance of AirspaceImportance of Airspace

Rad

iate

d R

oom

Heat

Rad

iate

d R

oom

Heat

SpacerSpacer

SpacerSpacer

Natural Convected Natural Convected Air flowAir flow

GlassGlass

ArtworkArtwork

★ Air Circulation will:Air Circulation will:

★ Equalize humidity across Equalize humidity across the surfacethe surface ★ Inhibit the growth of MouldInhibit the growth of Mould

★ Greatly reduce the chance of Greatly reduce the chance of transfer of Image to glasstransfer of Image to glass

★ Air Circulation will:Air Circulation will:

★ Equalize humidity across Equalize humidity across the surfacethe surface ★ Inhibit the growth of MouldInhibit the growth of Mould

★ Greatly reduce the chance of Greatly reduce the chance of transfer of Image to glasstransfer of Image to glass

Fabric Classification GroupsFabric Classification GroupsFabric Classification GroupsFabric Classification GroupsNatural FibresNatural FibresNatural FibresNatural Fibres

Protein Protein Fibres (Animal)Fibres (Animal)

Protein Protein Fibres (Animal)Fibres (Animal)

Cellulose Cellulose Fibres (Plant)Fibres (Plant)

Cellulose Cellulose Fibres (Plant)Fibres (Plant)

Alkali TolerantAlkali TolerantAlkali TolerantAlkali Tolerant

Linen/CottonLinen/CottonLinen/CottonLinen/Cotton

Acid TolerantAcid TolerantAcid TolerantAcid Tolerant

Silk/WoolSilk/WoolSilk/WoolSilk/Wool

Fibres related to the same principalFibres related to the same principalgroups will usually react in a similar mannergroups will usually react in a similar manner

Fibres related to the same principalFibres related to the same principalgroups will usually react in a similar mannergroups will usually react in a similar manner

A good rule of thumb A good rule of thumb ‘‘Use silk with silk, cotton with cotton and linen with linen – if in doubt Use silk with silk, cotton with cotton and linen with linen – if in doubt

use cotton’use cotton’

A good rule of thumb A good rule of thumb ‘‘Use silk with silk, cotton with cotton and linen with linen – if in doubt Use silk with silk, cotton with cotton and linen with linen – if in doubt

use cotton’use cotton’

Most Damage caused by:Most Damage caused by: clothes moth and carpet beetleclothes moth and carpet beetle

Most Damage caused by:Most Damage caused by: clothes moth and carpet beetleclothes moth and carpet beetle

Incidental Damage caused by:Incidental Damage caused by:Woodworm and SilverfishWoodworm and Silverfish

Incidental Damage caused by:Incidental Damage caused by:Woodworm and SilverfishWoodworm and Silverfish

Biological ProblemsBiological ProblemsBiological ProblemsBiological Problems

Insect Damage: Insect Damage: Woodworm debris along top of slipWoodworm debris along top of slip

Hole possibly due to woodwormHole possibly due to woodwormOverall condition: Very poor; whole bottom Overall condition: Very poor; whole bottom

corner wouldcorner would probably disintegrate if removedprobably disintegrate if removed

Woodworm HoleWoodworm Hole

Woodworm debrisWoodworm debris

Biological ProblemsBiological ProblemsBiological ProblemsBiological Problems

MouldMouldMouldMould

Causes: Damp Conditions, poor air circulation andCauses: Damp Conditions, poor air circulation andRH above 70%RH above 70%

Causes: Damp Conditions, poor air circulation andCauses: Damp Conditions, poor air circulation andRH above 70%RH above 70%

Recognition: Musty Smell, 3D surface growthRecognition: Musty Smell, 3D surface growthRecognition: Musty Smell, 3D surface growthRecognition: Musty Smell, 3D surface growth

Remedy: Thoroughly dry the objectRemedy: Thoroughly dry the objectRemove surface growth?Remove surface growth?

Remedy: Thoroughly dry the objectRemedy: Thoroughly dry the objectRemove surface growth?Remove surface growth?

Note: Spores can remain dormant for many years - Note: Spores can remain dormant for many years - can be reactivated by a change of conditionscan be reactivated by a change of conditions

Note: Spores can remain dormant for many years - Note: Spores can remain dormant for many years - can be reactivated by a change of conditionscan be reactivated by a change of conditions

Always use the best quality materials and Always use the best quality materials and those that will not damage the fabric artthose that will not damage the fabric art

MOUNT BOARD – MOUNT BOARD – ConservationConservation wherever possiblewherever possible

No tapes or adhesives in direct contact No tapes or adhesives in direct contact with fabric artwith fabric art

Seal moulding rebate wherever Seal moulding rebate wherever applicableapplicable

Use material in same classification Use material in same classification group as fabric artgroup as fabric art

Cotton with cotton, linen with linen, silk with silk – if in doubt Cotton with cotton, linen with linen, silk with silk – if in doubt use cotton.use cotton.

MaterialsMaterialsMaterialsMaterials

Is it possible to clean my sampler and improve its Is it possible to clean my sampler and improve its appearance?  appearance?  

If it is stained, soiled or torn = professional restorer. If it is stained, soiled or torn = professional restorer.

If it has a dull dirty appearance this usually because the If it has a dull dirty appearance this usually because the glazing is dirty and the linen ground is contaminated with glazing is dirty and the linen ground is contaminated with

dust particles. dust particles.

How does one remove the dust? How does one remove the dust?

Use a low power suction cleaner with a fine nozzle.Use a low power suction cleaner with a fine nozzle.It is likely to be brittle and in extreme cases can It is likely to be brittle and in extreme cases can

simply fall to bits! simply fall to bits! If you have been able to remove 30% of it, then you If you have been able to remove 30% of it, then you

have done well. have done well.

Washing/CleaningWashing/CleaningFramers should never wash a customersFramers should never wash a customers

fabric art fabric art

Washing and/or dry cleaning is considered a Washing and/or dry cleaning is considered a CONSERVATIONCONSERVATION process process and should always be accompanied with light vacuumingand should always be accompanied with light vacuuming

There is very little that one can do to improve the There is very little that one can do to improve the appearance of antique fabric art such as samplers.appearance of antique fabric art such as samplers.

Customers should make one of the Customers should make one of the following decisions:following decisions:

Light VacuumingLight VacuumingWashing Washing

Dry Cleaning by conservatorDry Cleaning by conservatorDO NOTHINGDO NOTHING

Beware of SPOT CLEANINGBeware of SPOT CLEANING

Questions a Framer should ConsiderQuestions a Framer should ConsiderQuestions a Framer should ConsiderQuestions a Framer should ConsiderType of Embroidery

Achievable - Help Line Conservator/Restorer

Discuss Options with ownerLevel of Framing

**FRAMING***Method of Support**Mount - if required*

*Box Framing - if required**Moulding**Glazing*

Type of EmbroideryAchievable - Help Line Conservator/Restorer

Discuss Options with ownerLevel of Framing

**FRAMING***Method of Support**Mount - if required*

*Box Framing - if required**Moulding**Glazing*

AssessmentAssessmentAssessmentAssessment

Techniques - SupportTechniques - SupportUse of Donor MaterialsUse of Donor MaterialsTechniques - SupportTechniques - Support

Use of Donor MaterialsUse of Donor Materials

EVACON – REVACON – R Linen laced to cotton Linen laced to cotton museum boardmuseum board

Linen – stripped of dressing.Linen – stripped of dressing.100% Cotton Wadding100% Cotton Wadding

Linen – stripped of dressing.Linen – stripped of dressing.100% Cotton Wadding100% Cotton Wadding

PreparationPreparation

Techniques - SupportTechniques - SupportTechniques - SupportTechniques - Support

Sampler positioned on Sampler positioned on support before sewing.support before sewing.Sampler positioned on Sampler positioned on support before sewing.support before sewing.

Strands from cotton thread.Strands from cotton thread.Strands from cotton thread.Strands from cotton thread.

Sampler sewn to donor Sampler sewn to donor linen after lacing linen after lacing

Sampler sewn to donor Sampler sewn to donor linen after lacing linen after lacing

Techniques and MaterialsTechniques and MaterialsTechniques and MaterialsTechniques and MaterialsTapes and AdhesivesTapes and AdhesivesTapes and AdhesivesTapes and Adhesives

Note: Surfaces of slip and mouldingNote: Surfaces of slip and moulding in contact with artwork are tapedin contact with artwork are taped

Any part of the moulding rebate or slips that might Any part of the moulding rebate or slips that might come in contact with the fabric should be sealedcome in contact with the fabric should be sealed

SpacersSpacersSpacersSpacers

Spacers made by using EVA Con- R adhesiveSpacers made by using EVA Con- R adhesiveto glue Plastazote to both conservation and cotton to glue Plastazote to both conservation and cotton

museum mountboard.museum mountboard.

Plastazote: stable, safe Plastazote: stable, safe and non reactive when in and non reactive when in contact with a variety ofcontact with a variety of

Museum objects. Museum objects.

RIBS: prevents ingressRIBS: prevents ingress of moisture and protects of moisture and protects

against off-gassing. against off-gassing.

Frame ConstructionFrame ConstructionFrame ConstructionFrame Construction

Gosling Sampler before and after.Gosling Sampler before and after.

Comparison of StylesComparison of StylesComparison of StylesComparison of Styles

FramingWorkshopsFramingWorkshops

Harlequin Frames, LincolnshireHarlequin Frames, Lincolnshire

Textile, conservation & 3D framing workshopsTextile, conservation & 3D framing workshopsIndividually designed to meet your requirementsIndividually designed to meet your requirements

Contact: Mal Reynolds GCF AdvContact: Mal Reynolds GCF Adv0167386024901673860249

mal@harlequin-frames.co.uk

FramingWorkshopsFramingWorkshops

Harlequin Frames, LincolnshireHarlequin Frames, Lincolnshire

Textile, conservation & 3D framing workshopsTextile, conservation & 3D framing workshopsIndividually designed to meet your requirementsIndividually designed to meet your requirements

Contact: Mal Reynolds GCF AdvContact: Mal Reynolds GCF Adv0167386024901673860249

mal@harlequin-frames.co.uk