1. Conditioning Storage And Display Of
Textile In Museum
Presented By:
Mona Verma
Ph.D. Research Scholar
Deptt. of Textile and Apparel
Designing, CCSHAU,HISAR
mona.verma35057@gmail.com
2. Introduction
Providing appropriate storage for textiles is crucial for their
preservation, as it is for most types of items found in museum
collections.
The very qualities that make textiles pleasant to wear or convenient
to use, such as flexibility, softness, or bright colours, also make them
fragile and susceptible to damage .
Several of the primary causes of deterioration of textiles -- heat,
moisture, light, insects, and rodents – can be controlled by providing a
suitable environment and appropriate furniture.
Another prominent cause of deterioration of textiles is improper
storage and displaying technique.
Proper conditioning treating should be provided to the textile to save
it from damage.
3. Keep hands away from textiles unless handling is absolutely
necessary.
The body gives off acids and oils through its pores that can damage
textiles. Wash hands often and use white cotton gloves whenever
possible.
If the textile is fragile, carry it flat on a support.
Make sure there is a clean surface of adequate size available before
you move a textile from one place to another.
Avoid carrying all but the smallest textiles by yourself. Get another
person to help when you are transporting large, heavy textiles.
Use a well-padded cart in good condition to transport boxed and
smaller Items.
Consider Points While Handling Textile
4. Remove jewellery, badges, belt buckles, and watches that might
catch on and tear textiles, especially during installation and
preparation of textiles for storage.
Use clean, padded surfaces when working with textile
collections.
Keep tools, inks, and other writing materials away from the work
area.
Use only pencil when working around textiles.
Avoid placing textiles one on top of another. When stacking them
is absolutely necessary, interleave textiles with unbuffered, acid-
free tissue paper, and be aware of the weight of one textile on
another.
Cond….
5. • A condition assessment involves determining and recording
the extent and location of damage of an object and if, possible
what caused the damage.
• The conservator also estimates whether the damage is
ongoing or not.
• From this information, treatment option and preventive
measures for the future care the object can be proposed.
Condition Assessment
6. Conditioning of the textile
artifact is done after taking
the condition report of the
particular textile based on
the condition of aged
textile .
Cond….
7. Good
• no loss of flexibility, no areas of loss or
fraying, , no dimensional distortions, no
surface dirt or stains, no discolouration, no
fading, no colour bleeding, no mildew, no
previous repair and no insect infestation
Good-Fair
•
• some fraying, minor holes or slight
staining, but they are still flexible
8. Fair
• moderate surface stain & dirt, moderate
fading.
Fair-Poor
• moderate stiffened or inflexible, colour distortion,
large area of fading, and colour bleeding and
large number of previous repairs.
Cond….
9. Poor
• Poor condition textile is very stiff,
major distortion very dirty stained, very
faded major areas of colour bleeding,
presence of active mildew, musty odour
and active insect infestation.
Cond….
10. Many factors contribute to a textile’s deterioration. These agents of
deterioration can occur naturally, or they can result from external
forces.
Avoiding agents of deterioration is the key role of preventive
conservation.
The agents that affect textile collections most are:
light (visible and ultraviolet)
Temperature
Humidity
Pollution
Pests
Conditions Need to be Maintained
11. Relative humidity should be kept constant at a level between 50 and
60 percent to prevent fibres from expanding and shrinking repeatedly
causing dimensional distortion (King, 1985).
Silks should be stored at a slightly narrower range of relative
humidity levels ranging from 50 to55 percent (Scott, 1993).
Rapid changes in temperature should be avoided because they usually
cause changes in humidity and because high temperatures can cause
heat damage and organism growth.
Temperatures of 60 to 68 degrees Fahrenheit (15 to 19 degrees C.)
are considered best for textiles.
People are also a source of both heat and humidity, and storage areas
that are not accessed frequently and not by more than a few people at
a time are preferable (Commoner, 1992).
Temperature and Relative Humidity
12. Light causes textile dyes to fade and undyed textiles to bleach or
darken.
Light can also be a catalyst for deterioration of weighted silks.
Light damage is cumulative and irreversible.
The amount of light damage depends on the type of light
(ultraviolet and/or visible), intensity of the light, and duration of
exposure.
Use monitoring equipment to identify levels of UV radiation and
illuminance (levels of visible light are measured in “lux”).
13. Reduce your collection’s exposure to light by storing and displaying
textiles in rooms without windows. (Clear UV-absorbing films will
reduce UV levels, but will not reduce illuminance).
Cover all windows with drapes or blinds to further protect textiles.
Avoid storing and displaying textiles in rooms with doors that open
to the outside.
The maximum illuminance recommended for textiles is 50 lux.
All UV light should be filtered. Consider ways to limit the total light
exposure, such as automatic dimmer switches, or simply turning
out lights when visitors are not present.
Cond…
14. One of the main purposes of regular cleaning in museums is to control
dust. Dust comprises matter from both the outside and inside
environment. Dirt, soil, soot and salt enter the building from the natural
environment, while the most common matter to collect indoors is human
skin and hair.
Dust is potentially damaging to collection items. A film of dust over
everything also suggests neglect.
Dust
builds up quickly
absorbs moisture so can create a humid environment in a small,
confined area
can be gritty and therefore abrasive when rubbed from an object
attracts and harbours pests
can absorb and carry pollutants
can cause staining
can collect in pockets and cause physical damage to objects
through distorting their shape and causing cracks.
‘Dirt’ or Dust
15. Pollution
Outdoor pollutants, such as dust and pollen, can easily be brought into a
museum through open doors and windows.
Industrial emissions as well as natural processes of erosion create
pollutants.
Cleaning products, asbestos fibres, building materials, paint, carpeting,
and other indoor materials can generate pollution from within a museum.
Cigarette, cigar, and pipe smoke are also harmful forms of pollution.
16. Dirt disfigures, dulls, and stains textiles. Dirt and dust
also contain a high proportion of silica.
The sharp surfaces of silica can cut and abrade textile fibres,
especially when the fibres expand and contract in response to changes
in RH. Sulfur dioxide bleaches, discolours, and embrittles textiles.
Hydrogen sulfide in the presence of moisture darkens lead pigments,
tarnishes metals, and reacts with finishes and some embellishments.
Formaldehyde in paints, varnishes, wood products, and carpeting
damage some dyes.
Tar and particulates from tobacco products stain textiles and
are difficult to remove.
Cond….
18. Larvae take on the colour of the materials they consume, making them
difficult to see.
Moths channel through the textile making holes, or “graze” on the
surface thinning the yarns and weakening the textile structure.
Silverfish, cockroaches, termites, and woodworms eat cellulose and
graze on parchment, leather, paper, fabrics, glues, and painted decorations.
Woodworms, termites, and carpet beetles can be found in furniture and
associated furnishing fabrics, upholstery, and the inner structure of
upholstery materials.
Carpet beetles also attack silk and wool textiles.
Mold and mildew grow in warm, damp locations.
Irreversible brown stains are caused by enzyme attacks from the digestive
processes of these organisms.
Cond….
19. Airing Vacuuming
Wet
cleaning
Dry
cleaning
Consider the following methods of removing soils:
Before selecting a cleaning method, determine fibre content, the
condition of the textile, and the fastness of dyes. Look for the
presence of soluble glues, paints or trims. Start with the least
damaging or gentlest care method. Remember, the goal is not for
the article to look new, but to preserve it.
20. If your textile has a musty smell, air it indoors away from
direct sunlight. Fragile fabrics should not be exposed to outside
air.
Ultraviolet radiation, air pollution, air borne dirt, and insects
are harmful to them.
Do clotheslines because strain will concentrate in a small area.
Do not beat or shake the textile as this may cause damage.
21. Vacuum Cleaning
Every museum should have at least one vacuum cleaner that is
reserved for use on museum objects.
A vacuum with a HEPA filter (High Efficiency Particulate Air) that
removes 99.97% of particulates 0.3 microns or larger in size is the
most appropriate for removing dust and particulates from textiles.
The vacuum also should have a rheostat to allow for suction control.
Most textiles should be vacuumed with very low suction.
The upholstery or crevice wand is the best tool for vacuuming most
textiles and upholstery; an upholstery brush works well on pile
carpets.
22. Points to be kept in mind while
vacuuming
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Vacuum
the inside
and
outside of
the fabric
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window
screen
Round
brush
attachm
ent
Set on
the
lowest
suction
23. It is easy to pick up loose threads and surface
embellishments like embroidery when vacuuming.
To prevent damage when vacuuming, protect the textile
surface with polyester or nylon window screening. Sew
cotton tape over the cut edges of the screen.
Proper vacuuming technique is to Loop the vacuum hose
over your arm to keep from dragging it across the textile.
Place the brush down on the surface of the screen.
Lift the brush to move it to the next location (do not rub the
brush back and forth across the
screen).
Cond….
24. Wet cleaning cotton and linen textiles removes the acid build up on
the fibres and leaves them cleaner and more flexible. This usually
prolongs the life of a textile. Wet cleaning can be effective for
textiles that are not too fragile.
Wet Cleaning
Wet cleaning is useful to. . . .
Add moisture to dry and brittle fibres
Remove water soluble soils, including perspiration
Remove starch which attracts insects
Remove acid that builds up naturally on cellulosic fabrics
Remove established creases which may cause cracks and slits in the
fabric
Remove tangles in loose or ravelled yarns.
25. Do not use wet
cleaning if. . . . .
Dyes fade in water or detergent solution
Trims, glues, and paints dissolve in water
Fabric is a dyed silk, which can water spot
Fabric is crepe (tightly spun yarns swell in water and become
damaged)
It is a multi-layered garment, which is difficult to dry
Fabric is very fragile and, becoming weaker when wet, may
deteriorate.
28. Dry cleaning may be preferable for some textile heirlooms.
Dry cleaning is advisable for cleaning:
Fabrics stained with adhesives, paints and oils which are not
water soluble.
Textiles with water soluble dyes
Garments with many layers or fabrics of many different
colours.
Materials with tightly spun yarns (such as crepe),
Fabrics with a pile, such as velvet or carpeting.
Heirlooms made from feathers or fur.
Dry Cleaning
29. Items with rubber (as found in early elastics)
Removing perspiration chemicals from fabrics
Oil painted designs
White silk and wool fabrics, which turn to shades of yellow or gray.
Do not use dry
cleaning for…
31. After cleaning textile, check for tears or holes. Ignoring this type of damage
actually increases the rate of further deterioration. Use a backing or support fabric
for fragile fabrics.
A fairly sturdy fabric may require only needle and thread. Never use fusible
fabrics to repair a treasured textile heirloom. The long term effects of adhesives are
uncertain and the heat required for proper application may damage the fabric.
Choose a support material with a weight, colour, and texture compatible with the
textile heirloom. Select backing fabrics for sheerness, softness, and durability.
Synthetic materials are more desirable than silk because they do not deteriorate as
rapidly. Good choices include voile, nylon chiffon, organza and nylon tulle.
Nylon netting is a good repair fabric for flat laces. Tulle is best for mending
gathered laces because it is not as stiff.
Always launder the supporting fabric at least twice to
remove sizing and excess dye, and to shrink the fabric.
Repairing Textile Damage
32. Standard size pins and needles may be too large when working with sheer or
thin historic fabrics. Size 00 insect pins (order through a school or scientific
supply store) will cause less damage to the fabric.
Thin beading needles are best for very sheer or fragile fabrics. Use fine
cotton or silk sewing thread or ravel lengthwise yarns from fabric which is
similar in colour, weight and texture.
Avoid nylon monofilament thread, which can cut a fragile fabric. Using a thin
needle, enter the fabric between yarns rather than puncturing them. Take
stitches 1/4 inch long. Shorter stitches strain the fabric yarns.
Take two or three back stitches instead of tying knots. Stitches taken in the
lengthwise and crosswise directions (with the grain) show less than stitches
taken on an angle.
Cond….
33. To mend a hole in an heirloom fabric, apply a piece of backing fabric. Hand
baste once or twice around the hole and through the backing.
Then overcast the edges of the heirloom fabric, sewing into the backing
textile with stitches parallel to the historic fabric grain.
Do not use a sewing machine to repair fragile fabrics. The mechanical action
can be very stressful).
Occasionally an aging fabric will lose the structural yarns in one direction.
This leaves a tangle of loose yams. Straighten these remaining yams by
soaking the fabric in distilled water and floating the yarns into proper
alignment.
After drying, the loose yams can then be stitched to a backing fabric. The
stitch actually reweaves the loose yams, as it stitches the yarns down against the
backing
Cond….
34. The structure of a textile, its condition, and size
determine the best storage method. In general, you will
choose from the following storage methods:
• Archival Rolling Tubes
• Flat-file Cabinets
• Archival Boxes
• Costume Wardrobe Cabinets
• Shelving Units
• Specialized Containers
Material used for storage
36. Flat storage is ideal for most textiles because it
provides complete support for the object.
Small textiles (for example, samplers and some
household linens), fragments, and particularly
fragile textiles should be stored flat.
Flat storage is impractical for most large items
like carpets and tapestries.
However, permanently gathered or pleated
curtains should be stored flat in archival costume
boxes or drawers using padding techniques.
Flat Storage
37. Flat textiles can include wall hangings, carpets,
curtains, household linen, bed covers, flags, tapa,
cloaks, embroidery, lace, and some costumes.
Store textiles flat in acid-free boxes or in drawer
units.
These may be metal or wooden. If wooden, make
sure the wood is sealed with three thorough coats of
Wattyl Estapol Acrylic.
Line and interleave the textiles with acid-free card,
acid-free tissue, well-washed unbleached calico, or
Tyvek™.
Cond….
38. Other textiles that are best stored flat include:
velvets, and other textiles with a pile structure that could be
crushed if rolled or folded.
textiles with a fragile surface, such as gilt or paint
textiles that are particularly brittle or stiff.
textiles with a very uneven surface, such as strongly raised
embroidery.
textiles with heavy beading or metallic embroidery.
costumes cut on the bias.
Cond….
40. Rolling and flat storage are the two best storage methods.
Rolling is the most space efficient for large textiles that are in
fairly good condition. It is important to note, however, that
painted textiles should not be stored rolled because the
painted areas will or are already stiffened by age. If these
types of textiles are rolled, cracking, splitting, and paint loss
can occur (Haecker, 1995).
Archival quality cardboard tubes are available in a variety of
diameters and lengths for rolled storage. If archival quality
tubes are unavailable other types may be used after first
wrapping them in Mylar, buffered paper, and unbleached
muslin in that order with the Mylar closest to the tube
(Giuntini, 1992).
Rolled Storage
42. Tubes with wider diameters
should be used for thicker
items. Textiles should
always be gently rolled with
the decorated side outwards
because the side closest to
the tube is prone to
wrinkling if too much
material is present.
Acid free tissue paper is rolled
between the layers and can
also be used to wrap the
outside of the rolled item
(Finch and Putnam, 1985).
Unbleached muslin cloth can
also be used as a cover in
cases where light exposure
may be a problem. Wide
fabric strips can be used to
secure items that may come
unrolled easily.
These strips are best secured
with Velcro, pins, or buckles
instead of knots or tying
(Landi,1998).
Cond….
43. Dust covers do more than protect a garment from dust and light. For
example dust covers:
protect the textiles from oils and acids from your hands
prevent the transfer of fugitive dyes from one object to another
prevent metallic embroidery and other attachments (for example braid
and buttons on military uniforms) from catching on and tearing other
Garments prevent abrasion of adjacent objects as costume items are
moved in and out of storage cabinets
Dust Covers
44. The following guidelines are designed to help to choose the best
locations and methods for displaying our textiles.
These recommendations are meant only for textiles in stable condition
with proper mounting, framing, or support.
Continuing to display a textile under poor display conditions will
accelerate deterioration and shorten the textile’s useful and/or
decorative lifespan.
By the time we see visible changes, such as colour fading, yellowing,
tears, or insect activity, your textile has already been irreversibly
damaged.
Conservation will stabilize the textile and allow it to be displayed
again, but only if sensible precautions are taken.
Displaying Textiles
45. Framed Textiles
Displaying a textile in a frame with no glazing, or with non-filtering
glazing, is harmful to the textile.
Anything framed prior to the 1980s will have plain glass or acrylic with
no ultraviolet-filtering capacities.
Displaying a framed textile in an area of low or indirect light will not
protect it from light damage.
All framed textiles should be retrofitted with UV-filtering glazing or
stored safely.
47. Textiles have been used throughout history to cover walls and windows.
To protect curtains from light damage, make sure they are lined and
well supported. Check periodically for water damage after storms.
The best way to protect window treatments, especially sheer curtains,
from light damage is to place an ultraviolet filter on the window itself.
A commercial firm will help you install UV-filtering film on your
windows when you are ready to make the investment.
Free-hanging Textiles
48. Tapestries, quilts, and other large, flat textiles, can be safely
displayed on a wall without a display case if the conditions in the
room are suitable.
Light, temperature and relative humidity, traffic, pets, and
insects, such as webbing clothes moths, can all cause damage to
free-hanging textiles.
Once a safe location has been determined to hang your flat
textile, a conservator can provide a Velcro hanging system.
Ideally, two textiles, such as two similarly-sized quilts, will be
rotated to allow each one six months on display followed by six
months in an archival storage box kept in a safe location.
Upgrading to a display case can allow for longer-term display.
Cond….
49. FULL LINED BACKING
A fully supported lined backing requires a selected fabric to match the weight
and sometimes the colour of the tapestry, that has been washed and pressed. It
should be sized 3" wider than the art and 4-1/2" longer.
Hem the sides by turning and machine sewing the backing fabric 1-1/2", and the
bottom at 3". Machine sew the top and bottom edges of the Velcro to the top of
the backing fabric and couch this reinforced backing to the verso of the tapestry
across the top and down the sides only.
Additional tacking at 1" intervals may also be necessary to help support the inner
area. This is particularly important if there is damage and broken or deteriorated
fibres .
Cond….
50. VELCRO SUSPENSION
A wooden strip of poplar or other low-resin wood 1/2"x 3" must be sized 1/2"
shorter than the width of the tapestry to be displayed, then sealed with a coat of
shellac or polyurethane varnish to protect the art from any lignin in the wood.
No-rusting, stainless steel staples or tacks are then used to randomly attach a 2"
strip of the hook side Velcro to the prepared wooden strip.
Cond….
51. A pressure mount uses the friction of the backing fabric and
the glazing material (acrylic) to hold a textile in place without
stitching.
Padding behind the exhibition fabric provides cushioning to
the textile object.
This kind of mount is ideal for short-term exhibition of
moderate to small-sized textiles and textile fragments.
It is often the most suitable mount for somewhat brittle or
fragile textiles that might be damaged by sewing techniques.
Pressure Mount
53. Large textiles that are too fragile to be hung by the top edge
alone can be displayed flat on a platform, or on a slanted,
fabric-covered support. Use the following materials to construct
large slanted supports:
Rigid paper honeycomb panels are among the best materials to
use in constructing large supports. Use aluminum channel frames to
construct a support with several panels.
Some woods and plywood can be used to construct a support if
properly finished.
Slant Support
54. Choose well-seasoned, air-dried poplar, exterior grade
plywood or high or medium-density boards using
formaldehyde-free adhesive.
Finish these boards with several coats of moisture-borne
polyurethane varnish and allow drying completely.
Cond….
55. Choose or modify a wooden hanger to provide the base for a hanging
support. The ends of the hanger should reach into the sleeve, just beyond
the sleeve seam.
Reduce potential strain from heavy, bulky, or awkward garments by
providing waist supports.
Use a dust cover to protect each costume from dust, light, and abrasion
from contact with other garments.
Label dust covers with catalogue and other identifying numbers
to avoid unnecessary handling of the garment.
Hang costumes in closed, properly gasketed cabinets, leaving
at least 1.5 inches of space between each object.
If costumes must be stored on open racks, always use closed
dust covers.
Hung From a Hanger
