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TREATMENT PROPOSAL

Goals of Treatment:

  • To stabilize the degraded silk and prevent further deterioration

  • To improve visual appearance and prepare for display

 

Overview of Treatment:

  • Vacuuming

  • Poultice treatment

  • Wet cleaning with Orvus foam on a suction table

  • Blocking and drying

  • Adhesive backing, possibly

  • Mounting

 

Vacuuming:

The flag will be vacuumed on low suction through a screen to remove surface dirt and particulate buildup.   

 

Poultice Treatment:

Due to the nature of chemicals found within a mechanic’s shop it is likely that the substances on the flag are petroleum based hydrocarbons and polyalphaolefins.  These compounds bind to particulates and fabrics, as well as metallic dust which is common in auto shops, so it is unlikely that Orvus alone will be enough to remove the heavy soiling and staining.  Poultices of agarose and both chelating agents and solvents will be tested to remove detrimental materials from the flag and improve appearance. 

 

The poultice will allow prolonged, direct contact with the fabric giving improved working times which might help lift the older, set in stains.  However, it is important to note that it is unlikely that the staining will be entirely removed.

 

Testing will need to be performed to determine what is appropriate and safe for the textile and this will be discussed in Appendix II.

 

Wet Cleaning:

The buildup of years of particulates and grease is negatively affecting both the pH and the appearance of the flag.  The chemical residue from having been stored in an auto shop could be dangerous to both the object, and possibly those in contact with the object, therefore it would be beneficial to wet clean.  This is also a necessary step to flush the chemicals used in the poultice treatments from the fabric.  Due to the damaged and deteriorated nature of the object, the wet cleaning will be performed on a suction table rather than a submersion bath to prevent movement which could cause further deterioration.  This will also prevent water from coming into contact with the paper edge supports which might be damaged by moisture.

 

In order to maintain suction the work will be completed in slightly overlapping 7cm square sections, where the poultice will first be applied and then the wet cleaning will be done.  This will also allow the poultice chemicals to be rinsed out immediately, flushing the bonded particulates, rather than allowing them to dry back into the fabric.

 

After the poultice is removed each section will first be rinsed with deionized water and then Orvus foam will be dabbed on gently with a sponge and allowed to sit to draw out the grease and dirt.  It will be rinsed and this step would be repeated as needed until the pH has been raised from its current 4 and as much of the staining as possible was removed without causing further damage.  The flag will be dried on the suction table to ensure quick and even drying, minimizing the possibility of tidelines and creasing of the thin, fragile fabric.

 

Adhesive Backing:

An adhesive backing would catch each of the tears and frayed threads and support the entirety of the flag preventing further tears.  The flag could be worked in such a way that the weave is realigned, helping to minimize the visible distortion and improve overall stability.  This would allow the flag to be removed from its mount and the mount changed if the client ever wished as well as providing access for research; if there is no adhesive backing this mount would be considered permanent as the flag is in such deteriorated condition that even the static from removing the Plexiglas would cause further shattering.  The adhesive backing should also be considered permanent; while the treatment is technically reversible, doing so would most likely cause further deterioration to the already unstable fabric.

 

A white 5mm silk habotai from Dharma Trading has been chosen if an adhesive backing is to be used as it is very similar in weave and hand to the original fabric.  Samples have been acquired for testing purposes.  Testing will need to be performed to determine the best adhesive and methods for this purpose which will be discussed in Appendix II.

 

After this step there are different options which the client may consider for the mounting of the flag.

 

Mounting:

Mounting may be approached in one of two ways.

 

1) The first method of ensuring both adequate support and possibility of display of the flag is pressure mounting.  An aluminum honeycomb panel for support is not within the budget for this project, but a wooden stretcher with a Tycore™ panel (a lightweight, rigid, archival honeycomb board used for mounting large objects) would be cost effective and serve the same purpose.[1]  The stretcher and panel would be covered with a fine layer of batting, which will easily accommodate the thin silk while allowing it to maintain pressure.  The stretcher and panel would then be covered with a show fabric and, if the adhesive backing has not been chosen, a piece of white or off-white silk cut to the size of the flag directly behind it to minimize the appearance of the tears.  It will be covered with Plexiglas™ (preferably with a UV protective coating to further prevent degradation) and the corners will be sealed with double sided tape and Marvelseal™, which will prevent the bowing common to the screw method and create a sealed environment.  Without an adhesive backing this method of display will also serve as the support mount for the flag so this treatment will be considered permanent.  If an adhesive backing and pressure mount are chosen there is greater flexibility for remounting in the future and the greatest amount of support and protection.

 

This method of mounting will provide the support and stabilization needed for the flag without significant interference with the object while still allowing the owner to display, or even frame, the flag as he wishes and for long periods of time.  With a pressure mount the object comes ready to be inserted into a frame for display and the Plexiglas™ acts as the glazing.

 

2) The second method would only be viable if an adhesive backing is used.  A wooden stretcher would be prepared with a layer of heavy broadcloth stretched taut around it and stapled on the back.  A fine layer of batting would be applied over this and finally a show fabric, which would also be wrapped taut and stapled on the back.  Then, the flag would be stitched down to the support, possible due to the strength and stability of the adhesive backing.  This could then be given to a framer and framed as any other fine art piece.

 

This method of mounting would require a greater level of interference with the object, but could also provide a greater level of freedom for future framing and remounting options.

 

The estimates for time are the same for this step; they each involve the same amount of work, just different.  The cost estimate for option 2 is less at this stage as there would be no need for the Plexiglas™, but the cost of the framer would add to the overall project estimates.

 

Pre-Treatment Testing:

The red sun is colorfast in water, as determined by testing with a drop of water between two sheets of blotter paper, but leaves tidelines (fig.1).

 

The pH is 4; low for silk which is normally around 5 – 5.5 (fig.2).

Fig.1 – Results of waterfastness testing

Fig.2 – Results of pH testing

APPENDIX I: PHOTOGRAPHS OF MATERIALS TESTING

Fig.3 – Weave, 40x, Herburgg Wild M3Z Type S

Fig.4 – Weave, 40x, Olympus BX60

Fig.5 – Paper Corner Supports, 25x, Herburgg Wild M3Z Type S

Fig.5 – Silk Ground Fiber, 40x, Olympus BX60

Fig.6 – Cotton Thread, 40x, Olympus BX60

Fig.7 – Cuprammonium Rayon Cord, 40x, Olympus

              BX60

APPENDIX II: METHODS AND MATERIALS FOR TREATMENT TESTING

Poultice Testing:

As it is inappropriate to conduct initial testing on the object 5mm Silk Habotai has been ordered from Dharma Trading in order to conduct tests. 

 

Tests with agarose will be performed with 2%, 3% and 4% w/v agarose in water to determine the appropriate concentration to prevent lateral spread or the release of too much additive.  This test will be performed with only water to conserve expensive solutions.

 

Once a concentration has been selected, sample of the fabric will be soiled with compounds commonly found in a mechanic’s shop and a gel of the chosen agarose concentration will be tested with the chelating agents ethylenediaminetetraacetic acid (EDTA) and triethanolamine (TEA), PERC and organic solvents.  A selection of organic solvents commonly used in textile conservation (ethanol), medium polarity solvents effective on the dipole bonds found in hydrocarbons (acetone, ethyl acetate)[2], and a selection of hydrocarbons of low and medium polarity known to break down oils; aliphatic hydrocarbons (stoddard solvent), aromatic hydrocarbons (m-xylene), and paraffinic hydrocarbons (napthol spirits, alkane).[3]

 

EDTA is a chelating agent which has been used with a TEA buffer to successfully remove metallic based staining on textiles.[4]  As many compounds within a mechanic’s shop have a metallic base, as well as metal particulates being common in the air and bonding to the greasy buildup on the fabric, using EDTA is a logical first test.

 

PERC is the most commonly used dry cleaning solvent which is good at removing grease and oil.[5]  While there is no literature regarding the use of PERC in a poultice it is widely used in museum and conservation settings and has a chemical composition which would be compatible with agarose.  It is very powerful even in small concentrations and relatively safe when used with dyed fabrics as is necessary for a dry cleaning solvent.[6]

 

Adhesive Testing:

In order to choose an appropriate adhesive, samples of 5mm Silk Habotai will be cut and cast with Klucel-G 1% and 2.5% and Lascaux 10%.  These adhesives and concentrations have been chosen based on previous experience

The Silk Habotai will also be tested on grain and on the bias to ensure that there is no moiré effect.

[1] Howard Sutcliffe. “Tiraz Textiles: A Review of Past Treatments in Preparation for the Opening of the New Gallery of Islamic Art at the Detroit Institute of Arts” in Journal of the Institute of Conservation 34, no. 1 (2011): 39-52.

[2] Ágnes Tímár-Balázsy and Dinah Eastop. Chemical Principles of Textile Conservation. Oxford: Butterworth-Heinemann (1998): 165.

[3] Ibid., 179.

[4]Katherine Sahmel, Laura Mina, Ken Sutherland and Nobuko Shibayama. “Removing Dye Bleed from a Sampler: New Methods for an Old Problem” in Textile Specialty Group Postprints 22. AIC 40st Annual Meeting. Albuquerque, NM, 2012.

[5]K. Kiefer, and J. Scheer. “Expanding Conservation Cleaning Options: Collaboration with a Professional Dry Cleaner.” Poster Presentation. Asheville, NC: North American Textile Conservation Conference, 2000.

[6] “Commercial Dry Cleaning of Museum Textiles” in CCI Notes 13/13. Canadian Conservation Institute, 2008.

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