874:, or those cut on the bias) should also be stored in flat storage. Garments suitable for hanging should be placed on plastic hangers which have been padded to mimic the shape of human shoulders, and covered with a plastic or cloth cover with an open bottom to allow air circulation while keeping the costume clean. Wooden hangers may have a high acid content, which may cause discolouration or decay to the costume. Likewise, metal hangers do not provide sufficient support, and may lead to distortion of the garments' shoulders. Therefore, both forms of hanging should be avoided.
205:
124:. The needs of each of these locations will vary. A private collection, for instance, is unlikely to have as high a traffic flow as a museum, and may thus be able to take preservation steps that a public museum cannot, such as minimizing light exposure over long periods of time. Venue-specific issues may also arise. For instance, many historic homes do not have climate control and rely on natural light to display their furnishings, both factors that may contribute to textile decay.
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592:, are stronger when wet than when dry, and may be able to withstand more mechanical stress when cleaning than something like silk. Wool can absorb large amounts of water, but mats if washed in high temperatures. All silks become brittle with age, but weighted silks decay more quickly, and thus must be handled with extreme care. Additionally, some silks, once wet, can be permanently spotted, creating water stains that are difficult to remove.
605:, but also the mordants used to set dyes, with different mordanting processes used throughout the world, making knowledge of a textile's origins and the chemistry of its dye necessary. A drop of water may be applied to an inconspicuous area of the textile and blotted with a clean white cloth to ascertain the colourfastness and washability of the dye; dye that transfers with the application of water show a textile that should not be washed.
497:, clean cloth gloves should be worn when handling textiles. If gloves are unavailable, then frequent hand-washing should be undertaken to ensure that no damage is caused. For similar reasons, the working, display, and storage areas should be free of food, drink, and cigarette smoke, which can also stain or damage the fabric. Finally, to avoid ink stains, only pencils should be used for writing or sketching in the work space.
31:
617:â a textile may be stained in a variety of ways, with older stains more difficult to remove. Stains and soiling may be left in place, or removed only partially, if the conservator decides that it is necessary in order to preserve the rest of the piece. Additionally, a textile may be soiled in ways undetectable to the naked eye; textile flags, for instance, may be highly acidic due to long exposure to
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it is not too bulky, for reasons of safety in handling. If the textile is known to be clean, it can be laid out dry and gently wetted to full saturation. As sections are wetted, any crumples, folds, or details (such as fringes, the picots on the edges of lace, or fine pleats) can be gently teased into place with clean fingertips so that they lie as flat as possible on the glass.
893:, to provide adequate support for the garments as they were intended to be worn. However, while the main concern of a display may be to make the garment look attractive on the dummy, storage need have no such considerations. Loose, unsupported parts of the garment (such as sleeves or shirts) should be loosely stuffed with acid-free tissue paper to provide additional support.
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465:, an effect sped up in part by the addition of 10â15% weight in metallic salt added to some fabrics by manufacturers. This has the effect of shredding, or "shattering", the silk fibre, with the environment and conservation of the textile contributing very little to prevent this deterioration, though exposure to light may accelerate it even further.
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fabric. Airborne chemicals, such as smog or cigarette smoke are also harmful to the textiles, and should be avoided if at all possible. In museum or otherwise specialist collections, high-efficiency air filters are typically installed throughout the building to reduce the presence of airborne chemicals that may stain, discolor, or weaken fabrics.
407:, then brought to a freezing temperature as quickly as possible, to prevent the insects from adjusting to the cold. The object may be left frozen for several days but should be brought slowly back up to room temperature to avoid further damage. While this method should kill adults, it may not destroy any eggs that are present.
922:(The National Institute of Cultural Heritage). Their mission is to intervene when heritage resources are threatened or deteriorated for several reasons. The conservator prevents works of art from disappearing or loses its purpose whilst analyzing the complex stage of its material history and the cause of alteration.
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the room is not in use. If a room relies on natural light, UV screens or coatings can be applied to the windows to block harmful rays while still allowing light to pass through. These filters should be checked periodically, however, as they have a limited lifespan and may need to be replaced every few years.
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For costumes, flat storage may create more problems than it solves, since it is impossible to store them in this manner without forming folds and creases. Therefore, unless the costume is so weakened that it cannot support its own weight, hanging storage is perhaps the best option. Costumes which are
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For exceptionally large textiles, such as tapestries, draperies, carpets and quilts, rolled storage is the best option. Like the upholstery section of a fabric store, the rolled storage area should consist of racks, each containing horizontally suspended acid-free or fabric-covered tubes around which
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As with moving or working with dry pieces, the textile should be washed in a flat, fully supported position. Usually this is achieved through the use of screens like the ones used in vacuuming, though these may be supported in a frame of some kind for added stability. The textile should be sandwiched
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Ideally, temperature should be kept around 70 °F (21 °C), though some slight fluctuation in either direction is permissible, as long as it occurs gradually. For instance, temperature may be slightly lower in winter to save energy costs, but the change should be effected slowly, so as not to
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is the most common source of ultraviolet light, and as such, care should be taken to avoid exposure to direct sunlight at all costs, and indirect sunlight whenever possible. This may mean storing or displaying textiles in an area without windows, or with blackout curtains, which can be drawn whenever
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The chief cause for decay in textiles is almost always the environment in which they are stored. Light, temperature, and humidity can all contribute to a textile's health or deterioration, depending on their intensity. Additionally, pests, chemicals, and pollutants may also cause damage to an antique
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The best storage environment for textiles is clean, dark, cool, and moderately dry, with a constant temperature and relative humidity. Ideally, there should be no strain on any one particular area of cloth. There are three basic kinds of storage for textiles, and the choice of which to use relies on
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at a moment when the textile is already weak from the water. The textile may be submerged for no more than an hour, and should be rinsed at least four times after it is cleaned. The final rinse should always be with distilled water. The textile should be placed to dry on a flat surface or screen, in
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and backings should also be removed, vacuumed, and washed separately. This is not only to prevent colour bleeding, but to avoid trapping dirt between the layers, which may cause discolouration from the inside. Additionally, different fibres react to cleaning in different ways, and fabrics may shrink
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or timed lighting, or lighting controlled though a visitor-activated switch, which would allow the textiles to remain in darkness when not under view. All textiles should be displayed on a rotating schedule, allowing them a few months of display, then the rest of the year in dark storage, to prolong
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Some old textiles can be flattened on glass just after washing, though it may be best to transfer to the glass fully supported, as on a netting screen or similar. The supporting fabric can be removed by rolling it out from under the textile item as it is laid out on the glass, bit by bit. This can
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The preservationist lays the textile out as flat as possible on the dry glass. The textile must not touch any metal or other casing that protects the edge of the glass. Old storm-windowpanes and glass shower doors are often used for this task, and they usually have their original edging left on, if
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in the fibres. The solution should be placed in a container large enough for the textile to lie flat in. For large pieces, it may be necessary to construct a temporary basin outside or in a large room: Putnam and Finch suggest using boards or bricks to construct a frame, then lining it with a large
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If a textile item is relatively thin and light, and is safe to wet, it can be laid out flat on a piece of glass which is larger than the item. Before each use, the glass surface should be cleaned with 'safe' cleaners, as for the textile itself, even if the glass has been kept in a clean place. The
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textiles should be done with caution, as the heat may affect the viability of the fibres. More importantly, the fabric should always be cleaned before either of these processes is used, since heat may trap dirt and stains in the fibres to such an extent that the stain becomes permanent. Always use
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to pass through, but prevents individual threads from being pulled loose or unravelled further by the suction. Using a vacuum attachment and the lowest power setting, move the suction over the screen until the entire area has been cleaned. If needed, move the screen to a new area and begin again.
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and clothing should never be worn, as the mere process of putting the clothes on and taking them off will cause damage. Additionally, the model may not fit the costume precisely â clothing was for a long time made to fit a specific person, not mass-produced in approximate sizes â causing
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should be called. Poison baited traps should be avoided, as the rodent could die somewhere inaccessible, and provide a breeding ground for further pests. In the case of a rodent infestation, all access points to the room (such as cracks or holes) through which they might be entering should also be
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In addition to temperature and humidity, airflow is also a concern for textile preservation. Textiles should never be sealed in plastic or other air-tight casing unless it is part of a treatment or cleaning process. Proper circulation, combined with the suggested humidity, will help to prevent the
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Flat storage is the best option for exceptionally fragile pieces because it provides the most even support for the fibres. Enamelled metal shelves or drawers may be used, or acid-free boxes. The textiles may be placed in the boxes or drawers flat, if at all possible. If folding becomes necessary,
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is generally only used for oil stains, as it is a very stressful process of the textile. Commercial dry cleaners should never be used, as the chemicals used in the process are too strong for old fabrics to withstand without damage. If dry cleaning is absolutely necessary, consult a professional
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lighting. Ideally, textiles should be stored or displayed in as little light as possible, and preferably in total darkness. However, as this is impractical for display and care of the piece, knowledge of UV exposure limits and how a textile can be handled under safe amounts of lighting are also
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The preferable conditions required for display of textiles are dry, cool, and dark surroundings, with a clean environment and frequent checks to be certain that the textiles are remaining in good condition necessary. Lighting should be kept to a minimum, and textiles should be rotated through
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One of the key standards of preservation is that of reversibility: anything done to preserve a piece should be able to be undone with minimal damage to the piece itself. Because wet cleaning is a chemical process, it is not reversible, and so should be used only when absolutely necessary.
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To avoid snags and pulls, remove any jewelry that may catch in the fabric's weave, and wear clothing free of large buckles or other objects which may snag the textile. Long hair should also be tied back to allow a clear view of the working area, even when the head is bent over the table.
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produce a large amount of heat in addition to large quantities of infrared radiation, which is likewise damaging to the fibers in antique textiles. If incandescent lights must be used, they should be placed far enough away from display cases that their heat does not affect the contents.
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As for humidity, the preservationist or conservator should aim for a relative humidity of 50%, though, as with temperature, some small fluctuation is allowable, as long as it occurs gradually. In enclosed display or storage cases, humidity can be somewhat maintained through the use of
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can be stored in a variety of ways. Generally, bonnets and gloves should be loosely stuffed with acid-free tissue and placed in archival-quality boxes or under cover. Fans and parasols may be stored in half-open positions, which provide the least amount of stress on the fabrics.
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and humidity should be kept as constant as possible; changes in either of these may cause the textile fibers to expand and contract, which, over time, can also cause damage and deterioration to the textile. For this reason, both storage and display areas should be fitted with
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Even if no signs of an infestation are present, textiles should still be inspected periodically to be certain that there is no outbreak that has gone unobserved. Additionally, when dealing with a new acquisition that shows signs of insect damage, the specimen should be
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When working with the textiles, it should be placed on a clean, flat surface which is larger than the textile itself, so that the whole piece is supported evenly. Although it is supported, never place anything on top of the textile while it is in the flat position.
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of their pieces. Chemical tests can reveal the types of dyes and mordants used, as well as any other treatments applied to the fabric. Such knowledge can lead to the prevention of further decay by learning which pieces need to be handled with particular care.
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crystals. These crystals should not be placed in contact with the textiles, but may be placed in breathable muslin bags and hung inside the case to maintain a constant humidity; they should be monitored periodically, however, to be sure that they are working.
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textiles, no matter how delicate or gentle they may be, as the chemicals used in most clothes detergents are too harsh for old fibres to withstand. A wide range of speciality detergents are available from conservation suppliers, though most sources suggest
357:. Both are attracted to dark, moist climates, though silverfish prefer cooler temperatures, while firebrats tend towards warmer. Both are about 12 mm (0.47 in) in length and either light or dark in colouring, depending on which type is present.
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Before cleaning a textile, certain questions should be asked to determine both the best treatment for that particular combination of textile and soil, and to ascertain whether the piece is able to be cleaned, or may sustain damage during the process:
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textiles) should always be rolled with the decorative side facing out. This is because the inner layer, especially if there is a lining, may crease, stretch, or fold while it is on the roll. The rolled textiles can then be covered with a
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Fragile and/or valuable textiles should be handled with care, and as little as necessary in any given circumstance. However, should handling be necessary, there are precautions which can be taken to ensure the safety of the textile.
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Like clothes moths, carpet beetles are likewise drawn to proteins and can be quite destructive. Evidence of an infestation may take the form of chewed holes, carcasses, or larvae, which appear as small pale worm-like insects.
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should be used to form soft rolls around which the folds can be shaped, to prevent creases from forming. Even so, folded textiles should be removed and refolded differently every few months, to allow even wear on the piece.
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and halogen-produced light can also produce large amounts of UV radiation, though filters which fit over the bulbs are available to limit the damaging light. These filters are typically replaced when the bulbs are changed.
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or similar support and carried as if on a tray. If the piece is too large for this (a carpet or tapestry, for example), the piece may be rolled around an acid-free tube and carried by two people to its new location.
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can have a variety of effects on textiles over time. In some cases, it may contribute to fading or discoloration, but the primary damage caused to textiles by light is fiber weakness caused by prolonged exposure to
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Both sides of the textile are vacuumed, as dirt may filter through to the other side. Hanging textiles will need to be vacuumed less often than horizontal pieces, as there are fewer places where dust can collect.
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as a last-minute substitution if needed. Chemical spot cleaners are likewise not recommended, as they are too harsh for old fibres to tolerate. Choice of cleaning agent can be particularly important for pieces
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Drying takes place in a darkened place with good air-flow. The textile can be gently lifted from the glass when it is completely dry, and will usually look just as smooth as if a hot iron had been used on it.
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should be avoided if possible, not only due to harm to humans who come in contact with them but because the chemicals may cause damage to the very textiles the conservator is trying to save. For rodents,
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display, so that each is only exposed to light for a few months at a time before being returned to darkness or taken for cleaning/conservation work. Textiles should be vacuumed before and after display.
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stress the fibres: this method cannot be used on any old textile that is likely to be damaged by the handling. Such fabrics are allowed to dry first, then lay them on the glass and wet them in place.
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One example which is cited frequently throughout the literature is the case of shattered silk. During the late 19th and early 20th centuries, many silk manufacturers treated their fabrics with
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392:(replaced often) around doors, windows, and display cases may be useful for monitoring the insect population. Furthermore, the population of carnivorous insects, such as
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If chemical means must be employed, it would be best to consult with a professional conservator to be certain that the treatment will not harm the textiles themselves.
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Rodent infestations can be identified in the usual ways, such as seeing droppings, nests, or comparatively large chewed areas of textile where they have caused damage.
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Pests are another significant threat to textile collections, as there are a number of creatures that can cause damage to fibres. Among the most common are
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334:(or the remnants thereof) on the textiles, or of sighting the insects themselves. They are roughly 8 cm (3.1 in) long and white in colour.
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is unavailable (such as in historic buildings), the conservator can still moderate the temperature and relative humidity through use of fans,
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can both contribute and a textile's deterioration. However, excessive dryness may also cause damage, especially to elastic fibers, such as
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611:â a textile may have been painted, meaning that it cannot be washed, or may have had foil applied to its surface that has since worn away.
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them. The fabric is placed on a clean, flat work surface. If the specimen is particularly delicate, or simply as a precaution, a
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When moving the textile, it is important to maintain the flat, even support of the work space. If the piece is small enough (a
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588:â different fibre types have different properties, affecting their care and conservation; for instance, cotton and linen, both
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the lowest setting for either of these procedures. If a garment relies on folds to maintain its proper shape (such as
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until it can be determined whether the insects are still present before introducing it to the rest of the collection.
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and cleaning agents, as well as physical supplies such as water, screens and a vacuum cleaner, may be necessary.
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to gauge the temperature and humidity of rooms, display cases, enclosed storage facilities, and work areas.
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The screen-encased textile is lowered into the solution. The textile can then be washed by pressing a soft
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the type of textile and the space available. The three types are flat, rolled, and hanging storage.
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Deterioration and discoloration due to poor storage on a crocheted linen collar of the 1920s or 1930s
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Storage of Flat
Textiles in Boxes - (Part 4 of 6) Conservation and Preservation of Heirloom Textiles
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Catherine C. McLean and
Patricia Connell, ed. Los Angeles: Los Angeles County Museum of Art. 1986.
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Storage of Quilts and
Coverlets - (Part 5 of 6) Conservation and Preservation of Heirloom Textiles
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Ed. by
Jeanette M. Cardamone and Mary T. Baker. United States: American Chemical Society. 2001.
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2012:
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Ed. by Howard L. Needles and S. Haig
Zeronian. United States: American Chemical Society. 1984.
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to better keep their shape. If this method is used, dummies should be fitted out with the proper
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1353:. Howard L. Needles and S. Haig Zeronian, ed. United States: American Chemical Society. 153â175.
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directly down onto the fibres. The sponge should not be rubbed, as this will cause unnecessary
388:, keeping clean storage, display, and work environment is the best method of prevention. Sticky
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How to Make a Padded Hanger - (Part 2 of 6) Conservation and
Preservation of Heirloom Textiles
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last rinse of the glass should ideally be with a very clean cotton cloth and distilled water.
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In some cases, the textiles are weakened not by outside causes such as light or pests, but by
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Rolling
Textiles on a Tube - (Part 6 of 6) Conservation and Preservation of Heirloom Textiles
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between two screens. If the piece is particularly delicate or fragile, it may be wrapped in
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If the infestation can be limited to one or a few pieces, the insects may be killed through
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Processes by which textiles are cared for and maintained to be preserved from future damage
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Considerations for the Care of
Textiles and Costumes: A Handbook for the Non-Specialist
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Textile preservationists should be familiar with their collections and the history and
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Materials You Need - (Part 1 of 6) Conservation and
Preservation of Heirloom Textiles
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Once the best cleaning process has been determined, the piece should be prepared for
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Storing
Costumes in Boxes - (Part 3 of 6) Conservation and Preservation of Heirloom
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over time, which can cause darkening and discolouration in the surrounding fibres.
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1312:
Fahey, Mary (2007). "The Care and Preservation of Antique Textiles and Costumes."
703:. If unavailable, softened water may be substituted. The main concern is to avoid
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Schweppe, Helmut (1984). "Identification of Dyes in Historic Textile Materials."
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strain where there should be none and slack where there likewise should be none.
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In the case of particularly delicate textiles, display organizers might consider
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or other treatments applied to fabrics, as well as plant-based textiles such as
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or stretch, which, if they are still attached together, may cause rippling and
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from silk fibres in the degumming process; the resulting fabric was known as
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Historic Textile and Paper Materials: Conservation and Characterization
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In France, conservators specialized in textiles arts are trained at the
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up with the edges of the roll. Textiles with a decorative side (such as
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If sufficient space is available, selected garments may be stored on
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Some Comments on the Care of Navajo Textiles, Arizona State Museum
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Jentina E. Leene, ed. New York: Smithsonian Institution. 1972.
1346:. Jentina E. Leene, ed. New York: Smithsonian Institution. 32â72.
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Rice, James W. (1972). "Principals of Fragile Textile Cleaning."
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Historic textile collections fall into three general categories:
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238:
to maintain their flexibility (Putnam and Finch). Additionally,
231:
180:
179:
One advantage of fluorescent lights is that they produce little
81:
1895:
1445:
1441:
675:. Usually, this involves vacuuming to remove any surface dirt.
602:
486:
446:
101:
1661:
Textile manufacture during the British Industrial Revolution
1615:
403:
of the object. The textile should be wrapped in plastic and
1988:
Conservation and restoration of immovable cultural property
557:
may be placed over the textile. The screen allows dirt and
542:
One of the safest and easiest ways to clean textiles is to
341:
Silverfish and firebrats are related insects that consume
56:
from future damage. The field falls under the category of
1993:
Conservation and restoration of movable cultural property
2379:
Digital repository audit method based on risk assessment
3027:
Conservation-restoration of the Sistine Chapel frescoes
1364:
Historic Textiles: Conservation and Characterization.
1135:
1133:
1102:
1100:
1098:
1070:
1068:
1040:
1038:
1337:
Preserving Textiles: A Guide for the Non- Specialist
2976:
2789:
2518:
2462:
2329:
2231:
1933:
1847:
1789:
1679:
1626:
1479:
1370:
Historic Textiles, Papers, and Polymers in Museums.
1335:Mailand, Harold F. and Dorothy Stiles Alig (1999).
837:the fabrics can be wrapped, being sure to line the
430:taking place within the fabric itself, such as the
3081:Conservation and restoration of cultural heritage
3032:Conservation-restoration of the Statue of Liberty
2168:Mold control and prevention (library and archive)
1983:Conservation and restoration of cultural property
3055:Preservation Metadata: Implementation Strategies
3045:Conservation response to flood of Arno, Florence
3009:Conservation-restoration of Leonardo da Vinci's
376:may be effective, and if needed, a professional
3050:Modern and Contemporary Art Research Initiative
3022:Conservation-restoration of the Shroud of Turin
1666:Textile manufacturing by pre-industrial methods
1339:. Inaianapolis, IN: Indianapolis Museum of Art.
1332:. Indianapolis, IN: Indianapolis Museum of Art.
37:ceremonial dress on display under glass in the
2986:Conservation issues of Pompeii and Herculaneum
2143:Integrated pest management (cultural property)
684:in the lining and outer layer of the textile.
1907:
1457:
797:Restoration can be done with techniques like
8:
1671:Timeline of clothing and textiles technology
1174:
1172:
1123:
1121:
1001:
999:
2551:Books, manuscripts, documents and ephemera
1914:
1900:
1892:
1464:
1450:
1442:
2098:Disaster preparedness (cultural property)
1382:Textile Symposium in Honor of Pat Reeves.
275:, and portable heating or cooling units.
183:, which may also be harmful to textiles.
1998:Conservation science (cultural property)
1215:New Delhi: Mapping a forgotten tradition
516:, for instance), it may be placed on an
46:conservation and restoration of textiles
1321:Finch, Karen, and Greta Putnam (1977).
989:
987:
985:
983:
981:
979:
930:
736:a well-ventilated room away from heat.
322:fibres, and so are especially drawn to
92:, dolls, and accessories such as fans,
251:place the fibers under undue stress.
7:
665:Choice of mechanical cleaning action
120:, historic societies/locations, and
692:, then placed between the screens.
580:Chemical composition of the textile
60:, heritage conservation as well as
52:are cared for and maintained to be
2183:Preservation (library and archive)
1724:Indigenous peoples of the Americas
625:Safest and most effective cleaners
601:â a textile's colourants includes
25:
854:wrapper to protect it from dust.
48:refers to the processes by which
3037:Conservation-restoration of the
2913:Indigenous intellectual property
1876:
1406:Textile conservation video files
381:located and sealed if possible.
2148:Inventory (library and archive)
2048:Cultural property documentation
1400:The Textile Conservation Centre
1325:. London: Barrie & Jenkins.
920:Institut National du Patrimoine
707:, which will leave deposits of
318:Clothes moths are attracted to
234:, which rely on some amount of
2546:Bone, horn, and antler objects
2088:Digital photograph restoration
651:â cleaning additives, such as
609:Finishes or surface treatments
1:
2731:South Asian household shrines
2429:Reconstruction (architecture)
2359:Cultural property radiography
2316:Registrar (cultural property)
2068:Cultural resources management
2028:Collections management system
586:Characteristics of the fibres
3000:Conservation-restoration of
2991:Conservation-restoration of
2364:Detachment of wall paintings
2138:Intangible cultural heritage
2053:Cultural property exhibition
2038:Cultural heritage management
1802:Conservation and restoration
485:Because human hands contain
291:or weaken antique textiles.
162:necessary for conservation.
2444:Transfer of panel paintings
1865:Textile manufacturing terms
659:Length of cleaning exposure
649:Cleaning additives and aids
631:not recommended for use on
3112:
2908:Heritage language learning
2178:Optical media preservation
1829:Mathematics and fiber arts
1328:Mailand, Harold F (1978).
2948:Oral history preservation
2063:Cultural property storage
2058:Cultural property imaging
1873:
1613:
1197:Rafoogari: Art of darning
863:unusually heavy (heavily
699:should be prepared using
2995:by ElĂas GarcĂa MartĂnez
2213:Sustainable preservation
2953:Preservation of meaning
2938:Language revitalization
2606:Illuminated manuscripts
2384:Historic paint analysis
2276:Conservation technician
2078:Deaccessioning (museum)
2018:Collections maintenance
1943:Agents of deterioration
858:Hanging costume storage
2963:Tradition preservation
2616:Iron and steel objects
2505:Outdoor bronze objects
2449:UVC-based preservation
2306:Photograph conservator
2271:Conservation scientist
2023:Collections management
1953:Archaeological science
1620:
1291:Putnam and Finch 41-42
1187:Putnam and Finch 54-55
964:Mailand and Alig 21-22
914:Education and training
772:Alternative to ironing
223:
137:
41:
2968:Traditional knowledge
2933:Language preservation
2541:Ancient Greek pottery
2439:Textile stabilization
2301:Paintings conservator
2188:Preservation metadata
2073:Database preservation
1927:historic preservation
1704:Australian Aboriginal
1634:Clothing and textiles
1619:
1376:Textile Conservation.
724:or a stable plastic.
207:
135:
33:
2756:Time-based media art
2566:Copper-based objects
2480:Archaeological sites
2409:Mass deacidification
2354:Cradling (paintings)
2266:Conservator-restorer
2093:Digital preservation
1839:Units of measurement
1344:Textile Conservation
752:Steaming and ironing
445:(usually containing
245:monitoring equipment
62:library preservation
18:Textile preservation
3060:World Heritage Site
2923:Indigenous language
2823:Endangered language
2721:Shipwreck artifacts
2701:Photographic plates
2651:Musical instruments
2404:Lining of paintings
2321:Textile conservator
2296:Objects conservator
2286:Exhibition designer
2193:Preservation survey
2118:Found in collection
2008:Collection (museum)
1978:Calendar (archives)
1948:Archival processing
1883:Clothing portal
1680:Regional and ethnic
1654:Indian subcontinent
1323:Caring for Textiles
1300:Putnam and Finch 42
1282:Mailand and Alig 44
1273:Mailand and Alig 41
1264:Putnam and Finch 40
1231:Journey of a shawl
1157:Putnam and Finch 50
1148:Putnam and Finch 45
1139:Putnam and Finch 47
1106:Putnam and Finch 48
1074:Putnam and Finch 19
1062:Putnam and Finch 18
1044:Mailand and Alig 27
1023:Putnam and Finch 28
973:Mailand and Alig 23
955:Mailand and Alig 21
937:Putnam and Finch 26
422:Textile instability
345:, usually found in
185:Incandescent lights
122:private collections
3096:Textile techniques
2918:Indigenous culture
2261:Collection manager
2158:Media preservation
2153:Inventory (museum)
2013:Collection catalog
1812:wearable fiber art
1621:
1247:The fabric of hope
666:
660:
650:
626:
616:
615:Soiling and stains
610:
600:
587:
581:
428:chemical reactions
224:
138:
42:
3068:
3067:
3017:Pompeian frescoes
2903:Heritage language
2793:cultural heritage
2581:Flags and banners
2526:cultural property
2490:Heritage railways
2470:cultural property
2419:Paleo-inspiration
2103:Film preservation
2043:Cultural property
2033:Cultural heritage
1923:Cultural heritage
1889:
1888:
1314:Henry Ford Museum
664:
658:
648:
624:
614:
608:
595:
585:
579:
524:Finally, antique
16:(Redirected from
3103:
3004:by Thomas Eakins
3002:The Gross Clinic
2898:Folklore studies
2808:Applied folklore
2781:Wooden furniture
2776:Wooden artifacts
2771:Woodblock prints
2751:Tibetan thangkas
2611:Insect specimens
2500:Outdoor artworks
2495:Historic gardens
2128:Heritage science
1916:
1909:
1902:
1893:
1881:
1880:
1597:Textile printing
1466:
1459:
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1301:
1298:
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1280:
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1265:
1262:
1256:
1244:
1238:
1237:, 19 April 2018.
1228:
1222:
1221:, 28 April 2017.
1212:
1206:
1205:, 13 April 2013.
1194:
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193:motion-activated
58:art conservation
21:
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3110:
3106:
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3102:
3101:
3100:
3071:
3070:
3069:
3064:
3011:The Last Supper
2978:
2972:
2958:Primitive music
2868:Folk instrument
2843:Family folklore
2833:Ethnomusicology
2828:Ethnochoreology
2795:
2792:
2785:
2706:Plastic objects
2691:Performance art
2676:Panel paintings
2671:Painting frames
2636:Leather objects
2556:Ceramic objects
2528:
2525:
2523:
2522:and restoration
2521:
2514:
2472:
2469:
2467:
2466:and restoration
2465:
2458:
2424:Paper splitting
2339:Aging (artwork)
2331:
2325:
2311:Preservationist
2233:
2227:
2083:Digital library
1935:
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1358:Further reading
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872:stretch fabrics
860:
834:
820:
811:
795:
774:
754:
742:
722:stainless steel
701:distilled water
653:water softeners
638:Ivory dish soap
568:
540:
535:
518:acid-free board
479:
424:
297:
265:climate control
263:In areas where
202:
147:
130:
114:
28:
23:
22:
15:
12:
11:
5:
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2943:Living history
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2928:Language death
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2915:
2910:
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2895:
2890:
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2865:
2863:Folk etymology
2860:
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2813:Dance notation
2810:
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2778:
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2728:
2726:Silver objects
2723:
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2698:
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2510:Outdoor murals
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2434:Rissverklebung
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2349:Arrested decay
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2332:and techniques
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2125:
2123:Heritage asset
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1968:Bioarchaeology
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1627:History of ...
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1389:External links
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1255:, 25 Aug 2016.
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599:of the textile
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583:
567:
564:
539:
536:
534:
531:
478:
475:
443:metallic salts
434:of iron-based
423:
420:
363:In all cases,
305:carpet beetles
296:
293:
201:
198:
146:
143:
129:
126:
113:
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39:British Museum
26:
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2873:Folk medicine
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2803:Ancient music
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2736:Stained glass
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2724:
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2719:
2717:
2716:Road vehicles
2714:
2712:
2711:Rail vehicles
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2661:New media art
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2647:
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2622:
2621:Ivory objects
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2617:
2614:
2612:
2609:
2607:
2604:
2602:
2601:Human remains
2599:
2597:
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2591:Glass objects
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2468:of immovable
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2417:
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2412:
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2407:
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2397:
2395:
2392:
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2387:
2385:
2382:
2380:
2377:
2375:
2372:
2370:
2369:Desmet method
2367:
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2357:
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2259:
2257:
2254:
2252:
2249:
2247:
2244:
2242:
2239:
2238:
2236:
2234:and expertise
2230:
2224:
2223:Web archiving
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2216:
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2209:
2206:
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2201:
2199:
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2159:
2156:
2154:
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2149:
2146:
2144:
2141:
2139:
2136:
2134:
2133:Inherent vice
2131:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
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2084:
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2079:
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2056:
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2049:
2046:
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2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
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1994:
1991:
1989:
1986:
1984:
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1979:
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1932:
1928:
1924:
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1898:
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1884:
1879:
1872:
1866:
1863:
1861:
1858:
1856:
1853:
1852:
1850:
1846:
1840:
1837:
1835:
1832:
1830:
1827:
1825:
1824:Manufacturing
1822:
1820:
1817:
1813:
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1809:
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1578:
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1553:
1552:Passementerie
1550:
1548:
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1538:
1535:
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1525:
1523:
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1254:
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1248:
1243:
1240:
1236:
1235:The Statesman
1232:
1227:
1224:
1220:
1216:
1211:
1208:
1204:
1203:
1202:Deccan Herald
1198:
1193:
1190:
1184:
1181:
1175:
1173:
1169:
1163:
1160:
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1118:
1115:Rice, page 32
1112:
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931:
925:
923:
921:
913:
911:
904:
902:
899:
894:
892:
888:
884:
883:undergarments
880:
875:
873:
869:
866:
857:
855:
853:
848:
844:
840:
831:
829:
826:
817:
815:
808:
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804:
800:
792:
790:
786:
782:
778:
771:
769:
767:
762:
758:
751:
749:
748:conservator.
746:
739:
737:
734:
730:
725:
723:
719:
715:
710:
706:
702:
698:
695:The cleaning
693:
691:
685:
683:
678:
674:
663:
657:
654:
647:
644:
639:
634:
630:
623:
620:
619:air pollution
613:
607:
604:
598:
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591:
584:
578:
577:
576:
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565:
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560:
556:
552:
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532:
530:
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515:
511:
506:
502:
498:
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492:
488:
483:
476:
474:
471:
466:
464:
460:
459:weighted silk
456:
452:
448:
444:
439:
437:
433:
429:
421:
419:
417:
411:
408:
406:
405:vacuum-sealed
402:
397:
395:
391:
387:
382:
379:
375:
370:
366:
361:
358:
356:
352:
348:
344:
339:
335:
333:
329:
325:
321:
316:
315:and rodents.
314:
310:
306:
302:
301:clothes moths
294:
292:
290:
286:
282:
276:
274:
273:dehumidifiers
270:
266:
261:
258:
252:
248:
246:
241:
237:
233:
229:
221:
217:
216:altar frontal
214:
211:
206:
199:
197:
194:
189:
186:
182:
177:
174:
170:
167:
166:Natural light
163:
160:
156:
151:
144:
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134:
127:
125:
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119:
111:
109:
107:
103:
99:
95:
91:
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83:
79:
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71:
67:
63:
59:
55:
51:
47:
40:
36:
32:
19:
3091:Textile arts
3038:
3010:
3001:
2992:
2883:Folk process
2838:Ethnopoetics
2796:preservation
2745:
2656:Neon objects
2529:by item type
2520:Conservation
2473:by item type
2464:Conservation
2414:Overpainting
2374:Display case
2203:Repatriation
1860:Sewing terms
1855:Dyeing terms
1801:
1480:Fundamentals
1473:Textile arts
1381:
1375:
1369:
1363:
1350:
1343:
1336:
1329:
1322:
1313:
1296:
1287:
1278:
1269:
1260:
1250:
1242:
1234:
1226:
1210:
1200:
1192:
1183:
1162:
1153:
1144:
1111:
1088:
1083:Schweppe 153
1079:
1058:
1049:
1028:
1019:
1010:
969:
960:
951:
942:
933:
917:
908:
895:
876:
861:
835:
825:tissue paper
821:
818:Flat storage
812:
796:
787:
783:
779:
775:
755:
745:Dry cleaning
743:
740:Dry cleaning
726:
694:
686:
670:
573:
569:
566:Wet cleaning
541:
523:
510:handkerchief
507:
503:
499:
484:
480:
467:
440:
425:
412:
409:
398:
383:
378:exterminator
369:pest control
362:
359:
340:
336:
326:, wool, and
317:
298:
287:, which may
277:
262:
253:
249:
225:
196:their life.
190:
178:
171:
164:
148:
139:
115:
45:
43:
3039:H.L. Hunley
2818:Early music
2766:Vinyl discs
2761:Totem poles
2696:Photographs
2641:Lighthouses
2631:Lacquerware
2586:Fur objects
2524:of movable
2454:VisualAudio
2399:Leafcasting
2344:Anastylosis
2291:Mount maker
2251:Art handler
2108:Finding aid
1958:Archaeology
1760:Indonesian
1542:NĂ„lebinding
1307:Works cited
898:accessories
847:embroidered
793:Restoration
590:fibre crops
553:edged with
416:quarantined
269:humidifiers
240:temperature
210:embroidered
173:Fluorescent
155:ultraviolet
128:Environment
112:Collections
3075:Categories
2878:Folk music
2858:Folk dance
2791:Intangible
2389:Inpainting
2256:Auctioneer
2246:Art dealer
2198:Provenance
2003:Collecting
1936:and issues
1848:Glossaries
1577:Rug making
1547:Needlework
1507:Embroidery
1053:Mailand 11
1032:Mailand 10
885:, such as
823:acid-free
705:hard water
682:distortion
629:detergents
597:Colourants
555:twill tape
548:fibreglass
470:provenance
374:snap traps
309:silverfish
279:growth of
257:silica gel
66:tapestries
2993:Ecce Homo
2888:Folk play
2741:Taxidermy
2686:Parchment
2666:Paintings
2241:Archivist
1834:Recycling
1807:Fiber art
1649:Byzantine
1557:Patchwork
1252:The Hindu
1178:Mailand 9
1127:Mailand 8
1005:Mailand 6
946:Mailand 7
712:piece of
538:Vacuuming
432:oxidation
367:means of
313:firebrats
226:Heat and
222:, England
220:Berkshire
213:Victorian
90:furniture
54:preserved
3086:Textiles
2979:projects
2893:Foodways
2853:Folk art
2848:Folklore
2746:Textiles
2596:Herbaria
2571:Feathers
2536:Aircraft
2394:Kintsugi
2218:Treasure
1819:Industry
1797:Blocking
1764:Balinese
1708:Burmese
1639:Quilting
1587:Spinning
1567:Quilting
1527:Knitting
1492:Beadwork
1487:Appliqué
1219:LiveMint
896:Costume
891:panniers
839:selvages
757:Steaming
733:abrasion
709:minerals
697:solution
533:Cleaning
526:costumes
477:Handling
436:mordants
401:freezing
365:chemical
328:feathers
236:moisture
228:humidity
208:Damaged
159:infrared
94:parasols
86:curtains
78:clothing
50:textiles
2977:Notable
2681:Papyrus
2626:Judaica
2485:Frescos
2330:Methods
2281:Curator
1963:Archive
1790:Related
1754:Oaxacan
1744:Mexican
1734:Mapuche
1687:African
1602:Weaving
1537:Macramé
1517:Felting
1497:Crochet
1166:Mailand
1014:Mailand
905:Display
887:bustles
879:dummies
843:velvets
809:Storage
803:darning
799:mending
761:ironing
718:ceramic
714:plastic
690:netting
677:Linings
673:washing
643:in situ
633:antique
514:sampler
493:in the
463:brittle
455:sericin
394:spiders
386:insects
332:cocoons
320:protein
200:Climate
118:museums
106:bonnets
70:carpets
2646:Metals
2561:Clocks
2173:Museum
2163:Midden
1934:Topics
1776:Korean
1749:Navajo
1729:Andean
1712:Acheik
1592:Stitch
1582:Sewing
1562:Plying
1512:Fabric
1502:Dyeing
865:beaded
852:muslin
766:pleats
729:sponge
551:screen
544:vacuum
355:cotton
347:sizing
343:starch
285:mildew
98:gloves
74:quilts
2232:Roles
2208:Ruins
2113:Fonds
1781:MÄori
1769:Sumba
1719:Hmong
1692:Kongo
1522:Fiber
1092:Fahey
993:Fahey
926:Notes
868:gowns
491:acids
390:traps
351:linen
295:Pests
289:stain
150:Light
145:Light
82:flags
2576:Film
1973:Book
1925:and
1739:Maya
1697:Kuba
1644:Silk
1607:Yarn
1572:Rope
1532:Lace
845:and
801:and
759:and
603:dyes
559:dust
495:skin
489:and
487:oils
451:iron
449:and
384:For
353:and
324:silk
283:and
281:mold
271:and
232:wool
181:heat
157:and
102:hats
100:and
84:and
44:The
35:Ainu
889:or
512:or
447:tin
104:or
3077::
1316:.
1249:,
1233:,
1217:,
1199:,
1171:^
1132:^
1120:^
1097:^
1067:^
1037:^
998:^
978:^
805:.
720:,
311:,
307:,
303:,
218:,
96:,
80:,
76:,
72:,
68:,
1915:e
1908:t
1901:v
1465:e
1458:t
1451:v
621:.
20:)
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