Category: Textiles Conservation

9th Biennial NATCC registration now open

Conserving Modernity: The Articulation of Innovation
The 9th Biennial North American Textile Conservation Conference (NATCC)
November 12-15, 2013

San Francisco, California
Registration for the conference, workshops, and tours is now open! Go to http://natcconference.com for a glimpse of the papers and posters to be presented and to register. Keep in mind that space is limited for workshops and tours, so be sure to sign up now!
Full conference registration includes:

  • Entrance to all paper and poster presentations at the de Young Museum in Golden Gate Park on November 14th and 15th, as well as refreshments and lunches.
  • The opening reception, which will take place in Jackson Square and is being co-hosted by the Lotus Gallery and Peter Pap Oriental Rugs.
  • The closing reception at San Francisco’s Asian Art Museum.

For questions, please contact Yadin Larochette: yadinl [at] gmail [dot] com
 

AIC 41st Annual Meeting – Textile Session, May 31, "Emergence of 'Antique' Synthetic Textiles by Ebenezer Kotei"

Ebenezer Kotei, Objects Conservator for the Hagley Museum and Library, provided an informative overview of the history and use of the earliest synthetic textiles. The earliest man-made textiles began with the production of Rayon, a silk-like filament, created in France in 1884 from regenerated cellulose. Rayon and the other early man-made textiles have come of age. Nylon, the first truly synthetic fiber, is now celebrating its 75th year. (An exhibit that focuses on the history of nylon is currently on view at Hagley.)
Although the name nylon was never trademarked, Du Pont produced other polyamide fibers for different uses, among them are Quiana, used briefly for luxury clothing, Kevlar for bulletproof vests, and Nomex, used as a waterproof barrier layer with the ability to transmit  vapor. Nylon fiber textiles are to be found everywhere; from women’s nylons, fine gowns, bed-sheets, children’s clothes, sportswear and uniforms, to parachutes and blood bags. It was by far the most widely used and successful of the first synthetic and semi-synthetics (as compared with rayon, acetate and acrylic).
Mr. Kotei points out that these materials have crossed into the category of antique and that it is time to focus on them and evaluate them more closely to determine how these materials have aged, rather than simply viewing them through the romantic lens of time. His concern is partly due to the fact that many of these early fibers in their very first synthesized formulations were Du Pont company creations, now part of the Hagley collection.  Although acrylic and nylon fibers appear to be quite durable, other textiles have vulnerabilities. Some examples of the problems occurring with man-made fibers are; Rayon is prone to mildew and silverfish; Spandex (polyurethane rubber) is prone to yellowing from heat, light and nitrogen gas.     
An Institute of Museum and Library Services grant has allowed for the evaluation of these early textiles in Hagley collections by textile conservators in order to identify recommendations on storage and care for these early textiles. Researchers may find additional information on DuPont fibers in the Hagley Library.

41st Annual Meeting – Textile Session, May 30, “New and Current Materials and Approaches for Localized Cleaning in Textile Conservation” by Elizabeth Shaeffer (co-authored by Joy Gardiner)

I had the pleasure of attending Elizabeth Shaeffer’s session exploring current and developing approaches used in the localized cleaning of textiles.  Her fast-paced, well-delivered lecture provided a wealth of information on localized cleaning techniques from the traditional use of cellulosic materials (cotton sheets, blotter papers and cellulose pulps) to gel systems (both viscous and rigid).  She then concluded the session with a more in-depth discussion on a sampler treatment followed by comparison charts on the different methods.  I will not go into all the detail that she went into, but I will provide a brief overview.  We all should look forward to reading her post-prints as they will provide a more in-depth discussion.  Being an objects major with a subspecialty in textiles, I was excited to hear her talk, as the reduction of stains or adhesives is found in all conservation specialties including paper, objects and paintings.
Cellulose Poultices
Beginning with the use of cellulose poultices to reduce stains from a textile by capillary action during drying.  Shaeffer described a treatment performed by Joy Gardiner at Winterthur, with whom she conducted a lot of her research, where a series of cellulose poultices assisted in the reduction of a tideline on the upholstery fabric of a rather fragile chair.  The textile was dampened followed by blotter wicking for the initial removal of discoloration.  Blotter wicking was continued until no more discoloration was removed.  At this point, dampened cellulose pulp was used for better contact.  The difference between the before and after images were dramatic; the treatment was quite successful.
Viscous Gels
Unlike cellulose poultices, gels are used to deliver cleaning solutions (which might include chelators and enzymes) with the added benefit of being able to limit the amount of solution to water-sensitive surfaces and to increase the solution contact time.  Viscous gels still maintain a fluid-like property and can flow into the interstices of a fabric, which could make it difficult to remove.  She discussed the thick application of a methyl cellulose (MC) poultice on a dye sensitive sampler.  MC (50% concentration) can be made very thick and molded by hand into the desired shape.  The residue question can be reduced by the addition of a barrier, but this also can reduce the efficacy.  Enzymes can also be included in MC poultices and alpha-amylase is currently available in a pre-made system, the Albertina Kompresse.  Additionally, lowering the concentration of MC with shorter application times and the application of sodium chloride to the rinse solution can reduce resides.
Xanthan gum, another viscous gel, was discussed and it’s unique shear force properties, which was interesting.  When the gel is agitated on the surface of a textile, soils will be suspended in the solution phase and then trapped in the gel structure when the force is removed.  Also, xanthan gum is compatible with non-water miscible solvents such as benzyl alcohol or tolulene.  The gel structure has “pockets” in the network allowing oil in water emulsion. Reducing bleaches cannot be used as it will break gel.  Be sure a buy “highly purified” xanthan gum.  Consider adding a biocide, as it can grow mold.
Laponite RD was also covered briefly.  The benefit is that it is compatible with bleaches since it is inorganic.  Studies do show that residues left may cause discoloration, so the use of a barrier like gampi paper should be considered.
Rigid Gels
The first rigid gel discussed in the session was agarose, which is a product already familiar in conservation.  When dissolved in heated water and cooled, agarose forms a rigid three-dimensional polymer network with pores.  These pores can hold solutions and can be combined with chelators, enzymes and even water miscible solvents.  Depending on the concentration of agarose used, the pore size will differ thus affecting amount of solution released, and therefore can be tailored for each treatment.   Shaeffer described her experience with a chelating test kit developed by Richard Wobers with varying pHs.  She found that on a test linen, the higher pH was more effective no matter what the chelator.  When Shaeffer was an intern at the Philadelphia Museum of Art, she used this information along with the system that Laura Mina and Kate Sahmel developed for removing dye bleed, to remove discoloration of the ground fabric of a sampler.  (Laura Mina and Kate Sahmel presented their treatment at AIC last year.)  Shaeffer’s treatment was successful but very labor intensive since each small area was outlined with cyclododecane followed by the “cut to shape” agarose (with EDTA) gel..  Agarose is easy to manipulate and reusable, something to consider.  Finally, gellan gum was quickly mentioned as a recently introduced rigid gel finding its way into the consideration of conservators.
In Conclusion
The comparison charts, when the post prints are released, will be good to review again, since so many types of techniques, solutions and recipes were only briefly discussed.  In the post-prints, she will be discussing at greater length her research and treatments (including “recipes”).  Elizabeth’s warm delivery tone allowed me to be swept away into an in-depth discussion of gels and poultices used in textile treatments.  In this blog, I have seriously only briefly touched on the discussion.  It was a topic that embraces not just the textile specialty group, but other conservation specialties.  She hopes that some of the material discussed will spark our interest; encouraging us to share our findings as we proceed.  I, for one, will be now be considering these materials into my “toolbox” of techniques!

41st Annual Meeting- Textiles + Wooden Artifacts Joint Session, June 1, “Two's Company: Supportive Relationships” by Nancy Britton

Nancy Britton presented several interesting examples of innovative upholstery treatments using carbon fiber support for the underupholstery. She also shared interesting discoveries from examining construction methods and written markings on multiples and sets of furniture from the same workshop and from the same collection.
The treatments used carbon fiber as woven “fabric” sheets which can be cut, shaped, and embedded in epoxy to create very strong, rigid supports for the upholstery layers above. Nancy has used the carbon fiber/epoxy matrix by casting it onto an ethafoam base, casting smaller parts to assemble, and making a one-piece shell.  She also makes up flat stock to have on hand which can be cut and shaped more quickly than casting pieces.
Carbon fiber is also available in many other forms from numerous suppliers, including a sandwich board similar to honeycomb aluminum panels, available from the company Protech: http://www.protechcomposites.com/categories/Sandwich-Panels/ (Please note, I am not aware if this specific product is suitable for conservation use.) More information on carbon fiber is available over on the wiki: http://www.conservation-wiki.com/wiki/Carbon_Fiber
Next, I was very interested to see and hear how Nancy examines pieces, and all the information that can be gained even from a bare, deupholstered frame. By looking at the tool marks, hole patterns, and remaining hardware, she has been able to see differences in working method that she feels indicate the work of different craftsmen. One set of furniture she examined had identical materials but differences in working style that suggest they were made in the same shop and  time period, but upholstered by different people.  Variations in the stitching also provide clues.
Finally, Nancy showed examples of markings (numbers) found on chair frames and upholstery layers of pieces from the Met’s Hoentschel show at Bard Graduate Center.  By looking at the marks and comparing them to early photographs of installations at the Met, along with other exhibition information from the archives, she was able to learn more about the upholstery timeline and how the chairs looked in the past.
Nancy’s talk reminded me that careful documentation of an entire piece, down to the smallest and apparently insignificant details, can provide a wealth of knowledge. We may discover new information about the piece’s history, and learn more about past upholsterers, who remain largely unknown.

41st Annual Meeting- Textiles + Wooden Artifacts Joint Session, June 1, “Slipcovers: Old and New” by Anne Battram

Anne Battram presented a shortened version of a talk given at the “first International Conference in Europe focused on upholstery history,” held in Vadstena, Sweden.  Proceedings of the Sweden conference, “The Forgotten History- Upholstery Conservation” ed. Karin Lohm are available from Linköping University.  Several people noted that this publication can be difficult to obtain- check with Anne or the University. Archetype may also have copies.
The talk gave an introduction to the history of slipcovers in America, and was jam-packed with specific examples and great visuals.
Anne explained that slipcovers have been used for seating furniture, footstools, and tables. They are often used to protect the surface below, which might be an expensive or fragile upholstery fabric, underupholstery, or finished wood.  In a home, sturdy slipcovers might be removed to create a fancier appearance in honor of an esteemed guest. But in some instances, the slipcover itself is made of an expensive, extravagant material, and can be removed and stored when not in use. One example of a close-fitting, fancy slipcover was secured to the chair using cords attached to the cover, threaded through holes drilled in the frame.
Adding slipcovers to worn or outdated furniture has been used as a less expensive alternative to having them reupholstered. Slipcovers also allowed rooms to be re-decorated “en suite” with matching fabric for the upholstery, cushions, and window treatments.
Slipcovers are differentiated from dustcovers, which are used to protect furniture when it is not in use (e.g. in storage or when a house was closed). Dustcovers tend to be less form-fitting, usually extend all the way to the floor, and often are made from solid colored fabric.
Striped and checked fabrics were popular for slipcovers used to protect upholstery from everyday use. Sturdy chintz and toile patterns were also common. Colonial Williamsburg has an example of a leather slipcover.
Construction details vary: some examples of early slipcovers were made with the seams facing out and bound, (giving an appearance similar to welting) which would make the fitting process simpler and add definition to the final shape. Some slipcovers are very loose, barely fitted and might be attached with ties. Skirts and flounces added to a slipcover would give added protection to projecting curved or carved legs.
Check out the postprints, and the proceedings from the Sweden conference, for all the well-researched details on slipcovers.

40th Annual Meeting, Textiles Session, May 10, A Cautionary Tale: Mounting Flat Textiles – An Historical Overview, Christine Giuntini

Christine Giuntini gave a wonderful paper on the mounting of flat textiles in the mid 20th Century. The paper was in a way a tribute to the Textile Museum in Washington, DC and the quality work that they did to set the standards for textile conservation in the United States. The paper is based on the historic mounting methods presented in two articles that were published by the Textile Museum in the 1940s and 1950s. These two methods are the stitched mount and the pressure mount.

Conservation publications and focus today have moved away from the intense focus on complicated individual treatments in favor of overall storage and preventative conservation. When we do research and comment on early conservation treatments today, it is often due to the troubles that older materials and techniques have caused in retreatment. We have to remember that there is still a lot that we can learn from older treatments and conservation theory.

The Textile Museum in Washington, DC was the real center for beginnings of textile conservation in the United States. The museum opened in 1925 and was open by appointment only until the 1950s. The museum was founded by George Hewitt Myers was created for the preservation, study and display of historic textiles.

Mr. Myers was very interested in cleaning of the textiles and went so far as to say that patina on textiles is a synonym for dirt. He also felt that the dirt should be removed because it did not logically improve the art. One of the publications that Christine Giuntini highlighted in her presentation was “Cleaning and Mounting Procedures For Wool Textiles” written by Francina S. Greene, Preparator and Curator at the Textile Museum. (This article is available as a pdf at http://www.cs.arizona.edu/patterns/weaving/monographs/tm_work.pdf). Like Myers, Francina Greene was very conscience of the dirt on the artifacts and begins this article with “When ancient textiles are acquired they are often dirty, distorted, dry, dull in color and ragged. In addition to being dirty, many are stiff with grease, and stained. We find that some reveal crude attempts at cleaning, patching and mounting.” This publication emphasizes a number of textile conservation methodologies that are still used today. The textiles in the Textile museum were handled as little as possible due to their fragile condition. The flipping technique of sandwiching the textile between two rigid supports in order to turn it over is described. This technique is still used today. When stitching a textile to a support as few stitches as possible were taken due to the damage that they cause to the artifact. Lastly, Greene also described the pressure mount technique of mounting a textile by sandwiching it between two pieces of plexiglass. The Textile Museum used a number of cellulose acetate products (Protectoid and then Lumarith) as they were developed. Today cellulose acetate is not used in conservation or exhibition, but the practice of using a clear rigid support is still used despite the fact that the specific materials have changed.

The second publication by Mrs. Francina Greene was published in Studies in Conservation volume 2 and is titled, “The Cleaning and Mounting of a Large Wool Tapestry.” This article was the first detailed conservation treatment to appear in Studies in Conservation. There is a great picture in this article that speaks a thousand words. The image shows one conservator on top of a large tapestry stand and one conservator below the stand passing a needle back and forth through the tapestry. This treatment was a reconstruction of a very fragile and friable textile. Photographs were taken to scale of all of the textile fragments and the photographs were rearranged in order to determine the proper arrangement so the textile would be spared the extra handling. Greene also notes that curved needles were not used for this treatment, because of the stress they caused on the fragile fabric. This is why two conservators had to pass the needle back and forth to each other.

The death of Mr. Myers and the retirement of Mrs. Greene in the 1950s brought about a time of transition at the Textile Museum. In 1964 the Textile Museum started the first textile conservation training and internship program in the United States. They worked with a Chemist consultant in order to collaborate on cleaning methods. They created solid composite backings with perforations for better air exchange and the reversed mount was developed. One of the important students in this program was Nobuko Kajitani, who went on to work at the newly established textile conservation program at the Metropolitan Museum of Art in 1973. Nobuko developed the use of a window in the back of the peg board mounts and worked to develop the pressure mount for fragile textiles. Her focus was on the overall care of the collection and not on publishing individual conservation treatments. Nobuko was the first to emphasize that a conservation plan was of great importance. In a 1974 article she wrote, “Preservation of collections is a primary function of a museum… sound planning and preservation fitted to the requirements of the collection in exhibition, storage and study areas should be discussed and understood.” This is obviously a primary focus of the conservation world today. It is clear that the Textile Museum staff and the textile conservators trained in their educational program laid the foundation for the textile conservation program in the United States today.

During the question portion of the presentation a suggestion arose that Christine Giuntini should work with the conservators at the Textile Museum to further research the role that the Textile Museum played in creating the groundwork for the profession today. I think that this would be an excellent paper and hope that they decide to collaborate in this project.

AIC’s 40th Annual Meeting, The Creation, Implementation, and Safety of Digitally Printed Fabrics in Textile Conservation: Where are We in 2012?, by Miriam Murphy

Author Miriam Murphy, Kress Conservation Fellow, Museum Conservation Institute, and National Museum of African History and Culture, Smithsonian Institution, presented a review of digital printing techniques and their use in textile conservation. This was a great refresher for colleagues who have not kept up with advances over the past decade, including your’s truly.

There are seven steps in producing digitally printed textiles. Step 1 is the digital capture, using scanner or camera. Often this is done by the conservator.

Step 2 is image processing, which is bet left to the printer in order to produce accurate results and avoid hair-tearing-out by the conservator.

Step 3 is color management, for which a color blanket is an essential tool. This is a full printout of colors on the chosen substrate, best compared to the source object in the same lighting as eventual display, ie the gallery or historic house. The small fee for this color blanket is well worth the investment.

Step 4 is the printing process. Although 600-700 dpi is available, 300 is usually plenty good. Printers can print up to 138″ wide and are often constrained only by the size of the image file.

Step 5 is choice of ink. Pigment based inks are the best choice because they require no pretreatment to the substrate and dry with heat. They are susceptible to breakdown in extreme light conditions and with abrasion and much washing. Dark colors can also be hard to achieve and contrast between adjacent dark colors is not always great. Museum conditions usually can accommodate these limitations.

Step 6 is choice of substrate. There are many, many available substrates, but cotton remains the best choice for museum applications. The weave structure of the original does not have to match because the image will provide this detail. Fabrics are available form the printer or from TestFabrics or Jacquard Inkjet Fabric Systems.

Step 7 is pre and post treatment assessment–I confess my notes are sketchy about this step.

If you are interested in speaking with digital print houses, Ms Murphy suggested several including Super Sampler, First2print, LTS Design Service Corp and Digifab, most of which are in NYC, I believe.

The benefits of digitally printed fabrics in museums has been outlined elsewhere, but highlights include quick turnaround, high resolution, and increasingly small dye runs. Why aren’t we all using this technology??!!

AIC’s 40th Annual Meeting, A Successful Treatment Method for Reducing Dye Bleed on a 19th-Century Sampler, by Katherine Sahmel and Laura Mina

Conservation of an 1832 Scottish sampler in the collection of the Philadelphia Museum of Art was begun by Winterthur student Katherine Sahmel while an intern at the PMA and continues with FIT student Laura Mina, the current intern.

This outstanding sampler is part of the Whitman collection and is notable not only for its design but also for its provenience and the existence of photographs of the main building depicted in the embroidery. Prior to acquisition, the sampler was apparently washed causing extensive bleeding of green and red dyes. It has not been exhibited due to this unfortunate condition.

The dyes were analyzed by Ken Sutherland using FTIR, identifying Indigo Carmine as the probable blue component of the fugitive green dye.

Initial tests to reduce the dye bleeding with standard solvents and surfactants were not fruitful so Ms Sahmel applied the modular cleaning system developed by Richard Wolbers. Tests on small samples of threads from the back of the sampler led to the choice of a combined cleaning solution of EDTA (ethylenediaminetetraacetate)1% and TEA (triethylanolamine) .5%.

This system for cleaning requires extended contact with the textile, minimal wetting, and protection of surrounding embroidery threads. Cyclododecane was applied to the front and back adjacent embroidery yarns. A poultice of cleaning solution in methyl cellulose was then prepared and applied to the dye bleed. After treatment the methyl cellulose was removed and flushed with revcerse osmosis water before drying the treated area under suction.

The pros to this treatment was successful removal of dye bleed with minimal effect on adjacent threads. Cons include difficulty in clearing the methyl cellulose poultice and the high ph of the cleaning solution on the wool threads. When Laura Mina took over the project she modified the poultice to use agaros gel, which is easily prepared and removed. The cleaning solution was adjusted to add more TEA.

This research has wise applications in textile conservation, and sampler conservation in ap[rticular. It is non hazardous and requires no fume hood. Stay tuned for an exhibit of the Whitman Samplers coming to the PMA.

AIC’s 40th Annual Meeting, Repair of 20th-Century Leavers Lace, by Annie-Beth Ellington

Lever’s Lace is a type of machine-made lace that provides a similar product to hand-made bobbin lace. Its structure and relatively low-status in museum collections have made it an uncommon target for conservation treatments. The author’s graduate thesis research for her MA at the University of Rhode Island both brings to light this historic textile and provides guidance in how to undertake stabilization of damaged samples.

In 1813 John Lever modified a loom to make Lever’s Lace, and subsequent addition of Jacquard technology in 1849 increased the range of the product. It was imported to the US in 1910 to make mosquito netting and other simple structures, eventually creating the decorative lace familiar to many people. Lever’s lace consists of a ground of twisted warps. Patterns or ornaments outlined by a heaver thread are accomplished with bobbins.

The author experimented with mock-ups of the structure to better understand the challenges of repairs. She then tensioned a piece of damaged lace over a black fabric-covered board. A photocopy of the pattern area was inserted beneath to act as a guide. Using a microscope, she floated 40 denier nylon threads across areas of loss following the pattern. The author quickly found that intervention could cause additional unraveling of damages areas, so she changed to using Jade adhesive on broken thread ends prior to repairs.

Repair of Levers Lace is slow and dyeing nylon thread to match colors would only add to the project time. However with further development this technique will guide future conservators.

AIC’s 40th Annual Meeting, Recovery and Conservation of the Textile Collections at the National Museum of Music, Alina Vazquez De Arazoza

Alina Vazquez de Arazoza is one of 20 Latin American colleagues who were able to join us at the 40th Annual AIC meeting thanks to funding from the Getty. Ms Vazquez requested that our colleague Amparo Ruedas read her paper to the TSG.

In 1971, a former Colonial mansion located in Havana was converted to the National Museum of Music. It contains, among its diverse collections, costumes of prominent Cuban musicians and banners from musical groups. The majority of collection dates to the 20th century, but several important 19th century items are also preserved. Among these is the glove of Perucheo Figueredo, the author of Cuba’s national anthem, and great great grandfather of Amparo Ruedas, giving added meaning to this presentation.

The renovation of the museum building provided the opportunity for the author to survey the collection, undertake conservation treatments prior to rehousing and exhibition, and do biographical research into the artists represented by the collection. She worked in collaboration with CENCREM (Centro Nacional de Conservacion, Restauracion y Museologia) which provided a facility and analytical assistance, all at no charge!

In general the collection was in fair condition. Items were dirty, distorted from poor storage, and dry, despite the tropical climate and lack of adequate environmental conditions. Humidity had taken a toll on some items, however, as seen by corroded metal trims, associated staining, some water damage with dye migration, and some insect damage. Much of the collection also exhibited yellowing.

The author undertook analysis of items in order to prepare a proposal for conservation. SEM results confirmed fiber content of organic and metal components. Much of the collection is hand made, though industrially produced items and commercial labels were noted and researched. The presence of prior repairs were documented, as well as types of adhesives that had been employed. Parameters of the conservation project were set out identify which textiles needed surface cleaning, aqueous or solvent cleaning, which prior repairs would be reversed.

What impressed me most about Ms Vazquez’s and her project are the advanced level of treatment skills, storage and conservation materials, analytical tools and connoisseurship compared to other parts of Latin America and the Caribbean that I have visited. This conservation project was equal in all ways to similar projects undertaken in the United States, which happily dispelled my notions of the ability of Cuban conservation professionals to achieve a high level of skill and accomplishments.