Textile Conservation Research Articles

A new approach for conservation treatment of a silk textile in Islamic Art Museum, Cairo

Abstract The paper presents strategies for the conservation of historical textiles in Egypt that have been in uncontrolled storage and display. The silk textile is highly decorated, multicoloured and dates to the Ottoman period, and was exhibited in case # 12014. The textile has various types of deterioration. An examination and analysis of the textile was undertaken in order to develop a plan of conservation treatment. FTIR was used to identify the kinds of dyes and organic stains, and XR-D was used to identify mordants and dust. Light microscope and SEM were used to identify the kind of fibers, their condition and surface morphology. The effects of cleaning materials on the natural dyes were tested. The researcher designed a new metallic frame support system which has advantages over the wooden frames commonly used in Egypt. This presentation will review the conservation treatment step by step. Poultices were used to remove all the sticking cardboard and adhesive. Old conservation repairs were removed. Separated parts were supported. Cleaning included mechanical and wet cleaning. New silk fabrics dyed with natural dyes were used to complete the missing parts. The textile was supported on new linen fabric which was stretched on a metal frame. The method of exhibition will be discussed. Photographs are included to document the conservation process.

How It All Began: A Life in Textile Conservation

In this paper Karen Finch describes her early life in Denmark and how she became interested in textile conservation. Her career as a textile conservator and teacher culminated in the foundation of the Textile Conservation Centre at Hampton Court Palace in 1975.

Evaluating cross-disciplinary working: the application of textile conservation adhesive techniques to book conservation

Abstract Textiles may be present in different parts of book structures, for example, as covering materials and within the text block. Typical problems arising with these textile elements are the fragility of the fibres as they degrade, leading to splitting. Such damage is exacerbated by the stress the textiles may endure due to book function and handling. As a result, the textile elements of book structures may require support and strengthening during treatment. This article will evaluate three recent projects at the British Library undertaken as joint ventures between book conservators and a textile conservator. Adhesive techniques and fabric supports familiar in textile conservation were applied to book conservation to enable approaches that are sympathetic to textiles in book structures. Support fabrics of silk and polyester crepeline were pre-coated with Klucel G and Lascaux HV 360/HV 498 before being used as support for fragile textiles.

Princípios gerais de conservação têxtil

The main objective of this article is to discuss the conservation of textiles, in their different categories and offer support for the understanding of materials and structures that are part of them, thus helping in the storage, conservation and cataloguing. It is intended to deepen the study of textiles in historic research in Brazil, driving the attention of researchers in different levels for the documental importance of this kind of material. The reader that is not a conservator may find suitable support so that he may, whenever a capable professional is not available, help in the preservation of textiles.

Conservation of a silk map of ‘England & Wales’: the challenge of using an adhesive technique and a padded support for preservation and study purposes

Este trabajo se deriva de un proyecto de investigación de conservación como estudiante de Master en Conservación de Textiles, en el Centro de Conservación de Textiles (TCC) de la Universidad de Southampton, Inglaterra. El documento destaca los desafíos técnicos y las soluciones llevadas a cabo en un mapa de seda de Inglaterra y Gales que se requerían para su almacenamiento y estudio. Los objetivos del tratamiento fueron mejorar la conservación a largo plazo, conseguir una presentación estéticamente aceptable, permitir ser examinados ambos lados del documento y protegerlo frente a su manipulación. El uso de adhesivos para la consolidación de este textil frágil fue una opción válida para su conservación, ya que no podría ser consolidado por los medios tradicionales. Además, es importante observar la utilización de un soporte acolchado como parte fundamental del tratamiento de conservación.

A New Future for the Textile Conservation Centre at Glasgow University

A New Future for the Textile Conservation Centre at Glasgow University

The 8th NATCC: Plying the Trades. Pulling Together in the 21st Century

This review focuses on the most relevant aspects of the 8 th North American Textile Conservation Conference (NATCC), held from 8 to 11 November 2011 in the city of Oaxaca, Mexico. From the experience of attending this academic meeting, students from the B. A. in Restoration at the encrym-inah analyze the importance of the active participation of higher education students in interdisciplinary meetings and academic discussions of worldwide scope.

CONSERVATION OF THE GOLD-EMBROIDERED EPITAPHIOS FROM THE ST PAUL MONASTERY, MOUNT ATHOS: THE HIDDEN STORY OF AN ECCLESIASTICAL TEXTILE

This contribution presents the study of, and conservation strategy for, a historic fifteenth-century ceremonial textile from the St Paul Monastery, Mount Athos. This World Heritage Site is home to 20 Eastern Orthodox monasteries and forms a self-governed monastic state within the sovereignty of the Greek Republic. Bearing in mind that access is restricted and that only males are allowed entrance, the transportation of this important textile object to the female-operated textile conservation studio of the Directorate of Conservation of the Hellenic Ministry of Culture in Athens, was a major achievement. The very poor state of preservation, as well as several previous interventions, including an extensive overpainting of the embroidered surface, necessitated scientific investigation and special treatment for the object. The discoveries made during the examination and conservation processes, including the wealth of information on the reverse of the textile, are described and practical solutions to the preparation of the object for future display in the monastery are also revealed.

WITHDRAWN: Water dispersed polymers for textile conservation: a molecular, thermal, structural, mechanical and optical characterisation

This article has been withdrawn at the request of the author(s) and/or editor. The Publisher apologizes for any inconvenience this may cause. The full Elsevier Policy on Article Withdrawal can be found at http://www.elsevier.com/locate/withdrawalpolicy

Hole-istic Compensation: Needle Felted Infills For Losses in Fulled Wool

This paper outlines the fiber art technique of needle felting adapted to compensate for loss in fulled wool textiles. The fiber art method uses a single barbed needle to entangle wool fibers for applying felted designs to fabrics and for creating threedimensional shapes. As a loss compensation technique for textile conservation, the infill is needle felted onto a secondary support, which can be physically attached to the object or attached to a mount or lining to create a passive infill. The appearance of the needle felt mimics the texture of fulled wool, and the depth of the felt can be adjusted to the depth of the loss. Case studies of three conservation treatments performed at the National Museum of the American Indian describe variations to the basic technique, including the use of different types of wool and substrates, methods for obtaining a suitable infill surface, and color compensation.

The Development of Labor History in UK Museums and the People's History Museum

Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.

Recent Acquisitions and Conservation of Antiquities at the Ure Museum, University of Reading 2004–2008

The Ure Museum of Greek Archaeology, in the Department of Classics at the University of Reading, has experienced something of a renaissance in the 3rd millennium. It acquired status as a registered museum in 2001 and accreditation in 2008. It has boasted a bespoke web-accessible database since 2002 and a professionally designed website since 2004 (www.reading.ac.uk/ure). Finally, in 2005 its physical display was completely redesigned. While the existence of the Museum and some of its collections have long been well known to scholars of Gr vases – thanks to the tireless efforts of Percy and Annie Ure in the first half of the 20th Ct, including their 1954 publication of Corpus Vasorum Antiquorum. Great Britain 12. University of Reading (London, Oxford University Press, 1954), AR 9 (1962–1963) and some listings in Beazley and Trendall's volumes (see J.D. Beazley, Attic Red-figure Vase-painters, 2nd ed. [Oxford, Clarendon Press, 1963], A.D. Trendall and A. Cambitoglou, The Red-figured Vases of Apulia [Oxford, Clarendon Press, 1978–1982], A.D. Trendall, The Red-figured Vases of Lucania, Campania and Sicily (Oxford, Clarendon Press, 1967) – much of the collection remains unknown. Even in the 1960s, after all, the publication of fragments, lamps and Cypriote ceramics remained unfashionable. And the Ures, experts in Gr pottery, were little interested in publishing the Egyptian artefacts (approximately a 5th of the displayed collection) and other non-ceramic artefacts. As part of the Ure Museum's renaissance, University of Reading staff and students are researching and gradually publishing its hidden treasures: A.C. Smith, Corpus Vasorum Antiquorum. Great Britain 23. Reading Museum Service (Reading Borough Council) (Oxford, Oxford University Press, 2007) documents more than 150 vases, most in the Ure Museum, from the Reading Museum Service (Reading Borough Council); a forthcoming fascicule of the Corpus of Cypriote Antiquities will catalogue the Cypriote holdings in the Ure Museum; and another volume of Corpus Vasorum Antiquorum will detail approximately 200 holdings of the Ure Museum that are hitherto unpublished. The items discussed below, however, are those that have been acquired by the Ure Museum since 2004, as well a sample of the 19 Coptic textile fragments, which have been brought out of storage, conserved by the Textile Conservation Centre in Winchester and are now displayed in the Ure Museum (since 2005).

Rediscovering the materials of Arraiolos tapestries: fibre and mordant analysis by SEM-EDS and μ-PIXE

Arraiolos tapestries are probably one of the richest artistic Portuguese expressions in terms of textile heritage. It is difficult to date the beginning of the production of rugs in Arraiolos (Southern Portugal), but they were already produced in the late 1600's as they are listed in the inventories of Portuguese aristocratic households in the beginning of the 18th century. Sensitive detection techniques play an increasing role in the chemical investigation of historical objects since the knowledge derived from the chemical composition of materials is of upmost importance for textile conservation and restoration purposes. Textiles deteriorate due to natural causes like heat, radiation, mechanical stress, moisture, microbiological and enzymatic attack. Deterioration of materials causes breakdown of the molecular structure and results in a loss of strength, extensibility and durability, discoloration and fading which affects the appearance of the textiles.

Evaluating the use of laser radiation in cleaning of copper embroidery threads on archaeological Egyptian textiles

Cleaning of copper embroidery threads on archaeological textiles is still a complicated conservation process, as most textile conservators believe that the advantages of using traditional cleaning techniques are less than their disadvantages. In this study, the uses of laser cleaning method and two modified recipes of wet cleaning methods were evaluated for cleaning of the corroded archaeological Egyptian copper embroidery threads on an archaeological Egyptian textile fabric. Some corroded copper thread samples were cleaned using modified recipes of wet cleaning method; other corroded copper thread samples were cleaned with Q-switched Nd:YAG laser radiation of wavelength 532 nm. All tested metal thread samples before and after cleaning were investigated using a light microscope and a scanning electron microscope with an energy dispersive X-ray analysis unit. Also the laser-induced breakdown spectroscopy (LIBS) technique was used for the elemental analysis of laser-cleaned samples to follow up the laser cleaning procedure. The results show that laser cleaning is the most effective method among all tested methods in the cleaning of corroded copper threads. It can be used safely in removing the corrosion products without any damage to both metal strips and fibrous core. The tested laser cleaning technique has solved the problems caused by other traditional cleaning techniques that are commonly used in the cleaning of metal threads on museum textiles.

Using digital and hand printing techniques to compensate for loss: Re‐establishing colour and texture in historic textiles

Abstract Conservators use a range of ‘gap filling’ techniques to improve the structural stability and presentation of objects. Textile conservators often use fabric supports to provide reinforcement for weak areas of a textile and to provide a visual infill in missing areas. The most common technique is to use dyed fabrics of a single colour but while a plain dyed support provides good reinforcement, it can be visually obtrusive when used with patterned or textured textiles. Two recent postgraduate dissertation projects at the Textile Conservation Centre (TCC) have experimented with hand printing and digital imaging techniques to alter the appearance of support fabrics so that they are less visually obtrusive and blend well with the colour and texture of the textile being supported. Case studies demonstrate the successful use of these techniques on a painted hessian rocking horse and a knitted glove from an archaeological context.

Material culture in action: conserving garments deliberately concealed within buildings

The study of material culture encompasses the material and the symbolic properties of things. Approaches based on an understanding of material culture can help with the conservation of textiles because they encourage considerations regarding changes in their properties, both material and symbolic, over time. Examples of textile conservation illustrate material culture in action to the extent that they analyze the challenges posed by garments deliberately concealed within buildings to conservation. The significance attributed to such textiles varies: some are valued as rare samples of clothing; others are appreciated for their protective function; while others are viewed as rubbish. The conservation strategies are indicated by the significance attributed to these textiles.

Synthetic organic dyes, 1856–1901: an introductory literature review of their use and related issues in textile conservation

The aim of this literature review is to provide a broad introduction to the little-researched subject of early synthetic organic dyestuffs and their use on historic textiles. Early synthetic organic dyes are briefly described, as is the relevant terminology. A brief history of the development of synthetic dyes up to 1901 is given, followed by a discussion of the problems arising from their use in the nineteenth century. Conservation issues relating to early synthetic dyes addressed in the literature from 1950 to 2003 are cited. The extent of use on historic textiles is described. The role of dye analysis in the study of early synthetic organic dyestuffs is indicated, with examples to illustrate its importance. A table of the 22 most commonly used early synthetic dyes is provided with International Colour Index numbers.

An Evaluation of the Role of Semi-Transparent Relining in the Conservation of Thangka Paintings

Thangkas (Tibetan painted banners) are composite objects and, when in use, they are frequently rolled and unrolled. The painted part is rendered on both sides and often bears an inscription recalling the thangka's consecration ceremony. These inscriptions should not be obscured as they give spiritual dimension to the thangka. After briefly describing the technique of Tibetan painting and the most frequently encountered conservation problems, the issue of relining is discussed, keeping in mind the need for legibility of the inscription and respect for the material characteristics. Collaboration between painting and textile conservators is essential. A technique of transparent relining with silk crepeline using reactivation of acrylic adhesive and hand pressure is proposed, which respects both the physical characteristics and spiritual meaning of the thangka. It also proves safe and efficient in consolidating the damaged elements. Alternative approaches using materials available in the Himalayan region are studied; this introduces the concept of a sustainable technique that can be applied to all teaching programmes in the field.

Painted textiles and canvas paintings: A collaborative approach to lining and mounting

Abstract Textile and paintings conservators at The British Museum, London, collaborated in the conservation of two very different textiles with applied paint: a Roman‐period Egyptian painted linen shroud and a twentieth‐century Ethiopian secular painting on cotton. The original context of each artefact is considered together with its proposed future role. The choice of lining fabric, methods of preparing this fabric, and some common lining and mounting techniques used by textile and paintings conservators for fixed mounts are explored. Treatment requirements, and in particular the appropriate tensioning of lining fabrics, are discussed alongside ethical considerations. The differing nature and condition of each artefact and the extent of applied paint led to an interdisciplinary sharing of approaches resulting in a range of adhesive and stitched lining techniques. Possible areas for future investigation are considered.

Paper: Managing Digital Image Repositories as Key Tools in the Preservation of Cultural Objects

A number of preservation efforts are currently under way to develop standardized digital repositories of images and information about cultural objects. At opposite ends of the size spectrum are the Fiber Reference Imaging Library and the World Trade Center Archive digital repositories. Both contain images on fragile objects, both in terms of structural integrity and vulnerability from exposure to uncontrolled environments. At the micro level, to address the needs of textile conservation and research efforts worldwide, the textile community has begun planning for the establishment of a digital repository of textile fibers, for search, access and retrieval by textile conservationists and scientists worldwide. With standardized metadata elements based on the Dublin Core metadata elements; this repository can provide important artifact information for a range of microscopic textile fibers. At the extreme macro level, the 9/11 archive includes an image and information repository of rusting steel columns, large complex composite structures, crushed vehicles, and the Last Column, the final steel support column with large amounts of ephemera attached, such as paper memorabilia, photos, and personal items. These digital repositories of cultural objects pose many digital management challenges, including: Metadata, content and rights management, access and retrieval.