Caring for Flat

Ford Conservation Center 2017

About Textiles For many people textiles such as flags, quilts and samplers are passed down through the generations and viewed as treasured heirlooms. Even today new textiles are saved for future generations. It is important to un- derstand the proper procedures to promote the long-term preservation of these items.

H a n d l i n g Because textiles may have hidden rigid support, or rolled on a weaknesses, it is important to han- tube. Do not lift them by the edg- dle them very carefully. Do not han- es. dle an artifact unless it is necessary. If a is damaged, do not pan- Never eat, smoke, or drink in the ic. Take a photograph to vicinity of an important textile. Se- document the accident. Retain all rious consequences can be avoided pieces, however small, and place with careful thought and prepara- them in labeled zip top bags. Do tion before, during, and after han- not attempt to put the pieces back dling an artifact. together. This is a job for a conser- To protect the textile from snag- vator. Inside this issue: ging, marking, or bumping, remove dangling necklaces, sharp rings, Handling 1 protruding belt buckles, pens and

Cleaning 2 pencils from shirt pockets, and tuck neckties into shirts.

Storage 2 Before moving a textile, look at it carefully, find its weakness, and Folding Textiles 3 handle it accordingly. Prior to mov- ing the artifact, prepare a clean, Rolling Textiles 4 clear space that is covered with clean padding as needed. Display 6 When moving textiles, carry them

Exhibit Supports 6 fully supported on both arms, on a Caring for Flat Textiles

C l e a n i n g

An important step in the long-term servator. A conservator will be able preservation of your textile is to to recommend the best solutions clean it prior to storage. Cleaning for long-term preservation. Only a will help to reduce the chances of trained textile conservator should mold, pests, and particulates. One wash historic textiles. A textile way to reduce soil from the surface conservator should be consulted of a textile is through careful vacu- before steaming or ironing any tex- uming. A vacuum cleaner can re- tiles. You will need: move loose dust, mold spores, in-  a HEPA filter vacuum cleaner with sect pests or pest residues, and adjustable suction gritty particles. If at any point, you are unsure about the condition of  soft natural-bristle brush, such as a Haké the textile, stop and consult a con-

 piece of netting, cheese cloth, or a fiberglass screen Vacuuming with tape around the edges Secure the netting or cheese cloth Alternatively, you can place the  dusting brush over the vacuum nozzle using the screen directly on the textile and vacuum attachment rubber band. This will stop the TEX- vacuum through the screen. This TILE or any decorative elements will prevent the detachment of  rubber band from being sucked inside the vacu- decorative elements such as bead- um nozzle. ing or fringe.

Use the soft brush to direct the dirt If using fiberglass screen, stitch or dust towards the suction of the twill tape around the edge vacuum. Do not place the vacuum to prevent it from catching on the nozzle directly on the surface of the fabric. artifact itself.

S t o r a g e

When deciding where to store your will be “comfortable”. Flat storage textile, remember the first line of is ideal for most textiles because it defense in proper storage is keep- provides support for the piece. ing your treasures in a suitable en- Long-term storage in cedar trunks, vironment. The rule of thumb is while traditional, is not safe. The that if you would be comfortable in wood is highly acidic and will off- Page 2 the storage location, your objects gas, acting as a catalyst to increase the deterioration rate of the Textiles should not be stored if fabric. Enclosing the textile object they are extremely soiled. Con- in an acid-free lignin-free box will sult a textile conservator about help to prevent damage from acids, washing soiled insects, dust, water, and light. When textiles. Older using a box for storage, be sure the items and an- box and tissue are made of acid-free tique textiles and lignin-free materials. should be exam- ined by a textile Storage spaces with extreme envi- conservator prior ronmental fluctuations, such as at- to long-term tics or basements, should be avoid- storage. ed. Light can cause serious damage to textiles so it is important to limit Prior to storage, exposure so that items do not be- each item should come faded and brittle. Tempera- be photographed for record ture and relative humidity are also keeping and insurance purpos- important factors to consider when es. A written description of the deciding where to store a textile. piece including any details about Humidity that is too high will pro- its history and its importance as mote mold growth and insect infes- an heirloom are essential. An im- “Prior to storage, each tation while humidity that is too low age of the object should be at- item should be will weaken the materials. The best tached to the outside of the stor- photographed for record place for storing your textile is in the age box. This will prevent the keeping and insurance living space of the home—either un- need to open the box and unpack purposes. “ der the bed or in a closet. This the contents. should help keep the environmental fluctuations to a minimum.

Folding Flat Textiles

1) Before packing, a space should be les, and abrasive items. Clean, prepared for packing the object. It dry hands are essential for safe should be large enough to lay the handling of textiles. If your item out completely. A large table hands are prone to sweating or can be used or, if necessary, a large are very rough, use clean cotton, clean floor area. The surface should latex, or nitrile gloves for this be covered with a large, clean, white procedure. cotton sheet prior to retrieving the 3) A large acid-free, lignin-free tex- object. tile storage box and acid-free lig-

2) In preparation for packing, re- nin-free tissue paper is needed. If Page 3 move all jewelry, watches, belt buck- the object is large, a minimum of Caring for Flat Textiles

two people will be required. each hand and crinkle the tissue up into each palm, roughly pleating 4) Start by laying the object on the the tissue and drawing it into a sau- work surface. Determine the best sage shape. The sausage needs to way to fold the object so that the be firm enough to hold the weight number of folds is minimized and of the textile. More than one sheet “Only a trained textile conser- any stiff or deteriorated elements may be needed for each sausage vator should wash historic are not located along a fold. Take depending upon the size of the tex- textiles. A textile conservator advantage of existing seams. Make tile. Place this sausage along the should be consulted before sure the item will fit in the box in its location of the first fold. Make steaming or ironing any tex- folded state. Line the interior of the enough sausages to line the entire box with two layers of tissue at tiles.” length of the fold. Fold the textile right angles. Leave a tail extended over the tissue. Repeat this process outside of the box on each with each successive fold until the side. This will be folded over the object is entirely folded and ready top of the stored textile before the to be placed in the box. lid is lowered. 7) When the item is fully padded 5) Note: Textiles should be folded as and folded, place it into the box few times as possible when stored; and fold the extending tails of tis- pad each fold of the item with suffi- sue back over the top of the cient tissue so that the folds are item. Lower the box lid into gradual. This will help to place. If the box must be stored protect from stress where there is potential for leaks or and breakage along any flooding, place it in a polyethylene creases. Too much tissue bag and seal it with 2” is usually better than too polypropylene adhesive tape. little

6) Take the corners of a few sheets of tissue in

Rolling Flat Textiles

1) Before beginning, a space should clean, white cotton sheet prior to be prepared for rolling the ob- retrieving the object. ject. It should be large enough to 2) In preparation for rolling, remove lay the item out completely. A all jewelry, watches, belt buckles, large dining table can be used or, if and abrasive items. Clean, dry necessary, a large clean floor area hands are essential for safe han- can also be used. The surface Page 4 dling of textiles. If your hands are should be covered with a large, prone to sweating or are very rough, use clean cotton, latex, or ni- bristles as you move your trile gloves for this procedure. hand across the object.)

3) A large diameter acid-free, lignin- 5) Continue to roll the object, free textile rolling tube and several making sure that there are as few white 100% cotton sheets are need- wrinkles in the object as possi- ed. The tube and the sheets should ble. As the inner or outer sheet be long enough that they extend an comes to an end, add a new sheet extra seven inches past the object at with an overlap of at least seven each long end. The larger the diam- or eight inches. A tail that will eter of the tube the better. If the cover the tube several times object is large, a minimum of two should be left at the end. This people will be required for the roll- should be wound around the out- ing procedure. If an acid-free lignin side of the rolled object and the -free tube is not available, a tube ends tucked into the open ends used to roll carpeting can be used, if of the tube or tied with cotton covered with a smooth, continuous twill tape or cotton string. layer of aluminum foil. Tuck the 6) Wrap a final layer of polyeth- ends of the foil into the ends of the ylene sheeting around the out- tube. side of the roll and tie or tuck it 4) Start by laying out a sheet large into the end. The image of the enough to completely cover the ob- object and any additional infor- ject’s width. Lay the tube on one mation end of the sheet and roll the tube about it with several layers of the sheet. Lay can be the object on the portion of the tied with sheet that remains flat on the sur- twill tape face and cover it with a second or cotton sheet. Carefully roll the object string to around the sheet-covered tube. (If the out- the object has a pile, as in the case side of the of or a carpet, roll the object package. “Prior to storage, each pile side out and in the direction of item should be The roll can be stored by sus- the pile. The direction of the pile photographed for record pending it from a rod inserted in- can be determined by feeling for the to the tube or by holders at each keeping and insurance end. If it is necessary to store the purposes. “ roll on a shelf, place the tube ends into ‘U’ shaped channels in blocks of polyethylene foam to keep the roll from resting directly on a flat surface. If the rolls are small and light, they may be grouped one- Page 5 layer deep inside acid free boxes. Caring for Flat Textiles

Do not store the roll propped up- rolled textile directly on the floor, as right against a wall, as the object it may be subject to physical im- will slide down the tube and be- pact, water incursion, pest activity, come wrinkled and crushed at the or soil. bottom over time. Never store a

D i s p l a y When displaying flat textiles, keep

“Light damage is cumulative in mind that environmental factors and irreversible. “ will impact long-term stabil- ity. Light, heat, humidity, particu- late matter, and insects can all ad- versely affect these artifacts.

Light damage is cumulative and irreversible. Light not only fades dyes, but it can permanently de- grade the fibers. Keep textiles displayed in areas with stable tem- away from direct light exposure. perature and relative humidity. Air- Use UV filtering on lights and win- borne particulates can be reduced dows. If you are framing a textile, with air filters and regular vacuum- use UV filtering glazing. Light ing. Consult a conservator if you damage can be mitigated by keep- see evidence of insects around the ing all light levels low and rotating textile or insect damage to the tex- textiles on and off display. tile itself. They can help you miti- gate and prevent further damage. As with storage, textiles are best

Exhibit Supports Although there are many safe and mounting method can be particu- creative ways to display flat textiles, larly effective for exhibits with simi- one relatively common and mini- larly sized quilts that are rotated on mally intrusive method is to mount and off display. Slant boards can be them on slant boards, which can sized and angled to fit on large provide complete support for large walls, in vertical cases, or on the objects without taking up too decks of exhibit cases. much floor space. This method Slant board support materials are helps to reduce the strain of gravity generally determined by size. For against the textile fibers, minimizes smaller artifacts, supports may be handling, and avoids the need to Page 6 fluted or honeycomb paper boards, apply intrusive mounting devices while larger artifacts may utilize rig- such as hook and loop strips. This id fluted polypropylene or alumi- the twill tape in the casing tight num honeycomb sheets. The sup- so that the velveteen lays flat on ports can be padded out with ¼ to the front, smoothing and folding ½ inch thick needle punched poly- the fabric around the corners. Tie ester quilt batting. the twill tape and slip any excess length under the edge of the cov- Before beginning, determine the er. largest dimensions of the textile that will be exhibited. Aluminum When a textile artifact is placed honeycomb panels with wood edg- on the velveteen cover, each es provide strong, rigid, lightweight, of the pile, oriented upwards, will dimensionally stable backings for act like a tiny support to keep the large slant boards. quilt from sliding down the slant- ed surface. The pile fibers help Build the support frame/case so that distribute the weight over the en- the slant boards will rest at an angle tire surface rather than on one between 20-60 degrees from verti- edge or on a hanging mecha- cal. When designing the support, nism. allow for the two halves of the slant board to overhang the edge of the If the textile is heavy or the slant support. Plan your project far is extreme, it can be additionally enough in advance to allow four secured to the slant board by cut- weeks of off-gassing time for vapor- ting small rounds of clear 4-5 mil based pollutants to dissipate. film (Melinex®/ Mylar®). (The rounds can be Cover one side of each board with made with a hole punch.) Push the needle punch polyester bat- fine gauge, round head stainless ting. Cover the batting with the steel insect pins through the cen- sheeting, folding the corners ters of the rounds and then push neatly, and tack it to the back or these pins at an angle through edges of the support with stainless the quilt, velveteen, muslin, and steel staples. Keep the tension even into the batting. Do not use ex- so that the fabric lays flat and cessive pressure and be sure to “Build the support frame/ smooth. Mount the covered sup- push the pins between, rather case so that the slant port in the case/on the frame. than through, the fibers of the boards will rest at an Create a removable cotton velvet- textile. Space the pins equidis- angle between 20-60 een cover, allowing for at least a six tantly across the surface, using as degrees from vertical.” inch overlap along each side. Fold few as possible to the hold the in and stitch the edges to create a quilt securely in place. one inch casing around the perime- Vacuum the velveteen cover be- ter and insert the twill tape. tween quilt rotations and wash or Slip the velveteen cover over the replace when it becomes soiled. support oriented so that the pile of Page 7 the velveteen points upward. Pull Consulting a Conservator Consult a conservator if you have any questions about storage or display of your textiles. If your tex- tile is very soiled or damaged, contact a specialist textile conservator for assistance and conserva- tion treatment.

Additional Resources

American Institute of Conservation. Caring for Your Treasures – Textiles. Retrieved from http:// www.conservation-us.org/docs/default-source/public-relations/textiles.pdf?sfvrsn=0

How to Brush Vacuum an Object. Powerhouse Museum Conservation Department. Syndey, Aus- tralia. Retrieved from http://www.powerhousemuseum.com/pdf/preservation/brush- vaccum.pdf

Keifer, Kathleen. (2000). ”Dry Cleaning Museum Textiles,” Conserve O Gram 16/2. Washington, DC: National Park Service, US Department of the Interior. Retrieved from http:// www.cr.nps.gov/museum/publications/conserveogram/16-02.pdf.

Conservation Suppliers

Conservation Resources International Light Impressions 5532 Port Royal Road 100 Carlson Road Springfield, VA 22151 Rochester, NY 14610 Toll free: (800) 634-6932 Toll Free: (800) 975-6429 www.conservationresources.com www.lightimpressionsdirect.com Archival housing/storage supplies, photographic supplies, gen- Photographic supplies, housing, matting and framing supplies eral University Products Gaylord Archival 517 Main Street P. O. Box 4901 P. O. Box 101 Syracuse, NY 13221-4901 Holyoke, MA 01041 Toll Free: (800) 448-6160 Toll Free: (800) 628-1912 www.gaylord.com www.universityproducts.com General conservation supplies, housing supplies General conservation supplies, housing and matting supplies

Hollinger Metal Edge, Inc. Talas 6340 Bandini Blvd 330 Morgan Ave Commerce, CA 90040 Brooklyn, NY 11211 Toll Free: (800)-862-2228 Telephone: (212) 219-0770 www.hollingermetaledge.com www.talasonline.com Archival housing/storage supplies Conservation supplies, photographic supplies, general

This project was made possible in part by the Ford Conservation Center Institute of Museum and Library Services grant 1326 S 32 Street Omaha, NE 68105 402-595-1180 LG- 43- 12- 0 4 6 3 - 1 2 . www.imls.gov [email protected] history.nebraska.gov/conservation-center