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Case Studies

Find out more about the work of our Textile Conservators

1st West Yorkshire militia King’s Colour, 1790-1850, conservation treatment, Textile Conservation Studio © People's History Museum1st West Yorkshire militia King’s Colour, 1790-1850.  On display at Doncaster Museum

Treatment involved removing an old treatment, surface cleaning and washing.  It was then smoothed out and aligned.  It was then supported onto a layer of adhesive coated silk crepeline with a non-adhesive overlay which was toned to visually infill the losses.

 

 

 

 

Alice Kettle embroidered panels Red & Blue Movement in Three, 2004, conservation treatment, Textile Conservation Studio © People's History MuseumAlice Kettle embroidered panels Red & Blue Movement in Three, 2004.  Situated in the Martin Harris building at the University of Manchester

Three large modern textile art works, multi fibre construction hung on the wall with Velcro on wooden battens.  They were taken off display, surface cleaned and packed while the walls were decorated and then the textiles were re-hung.

 

 

 

18th century dress conservation treatment, Textile Conservation Studio © People's History Museum18th century dress on loan from the Gallery of Costume to MOSI

The dress was prepared for display using costume mounting techniques, padding up the mannequin to fit the dress and support it so no part is under strain.  The shape is interpreted as close as possible to contemporary dress of the time.

 

 

 

 

National Union of Mineworkers Craghead Lodge banner, 1960s, conservation treatment, Textile Conservation Studio © People's History MuseumNational Union of Mineworkers Craghead Lodge banner, 1960s.  On display in Craghead Village Community Centre

Double sided painted banner dated from the 1960s.  This was a full conservation treatment including removal of sticky tape, cleaning of paint and silk, stabilising of loose paint and an adhesive support on the reverse side.

 

 

 

National Union of Mineworkers Morlais Lodge banner, 1960s, conservation treatment, Textile Conservation Studio © People's History MuseumNational Union of Mineworkers Morlais Lodge banner, 1960s.  From the South Wales Miners’ Library

Double layered banner made in the 1960s from silk with modern paint media.  The banner was surface cleaned with a vacuum, the paint was cleaned and stabilised and the creases smoothed out.

 

 

 

 

 

 Lancashire Rifle Volunteers regimental Colour, 1860-1880Lancashire Rifle Volunteers regimental Colour, 1860-1880, conservation treatment, Textile Conservation Studio © People's History Museum

Prepared for display at Gallery Oldham, one of a pair conserved in the Studio.  Single sided, made from silk with painted details.  It was surface cleaned and house paint was removed from the fringe and sleeve.  It was supported with adhesive coated silk crepeline and an overlay of non-adhesive crepeline.

 

 

 

 

Signature quilt, 1895, conservation treatment, Textile Conservation Studio © People's History MuseumSignature quilt, 1895.  From Touchstones Rochdale

Prepared for display in an exhibition, double bed size quilt signed December 1895.  Top of silk patchwork with cotton/kapok filling and backed with silk, hand embroidered and quilted.  Small holes were supported and the bows were re-shaped.

 

 

 

 

Weavers’ banner, 1788-1795, conservation treatment, Textile Conservation Studio © People's History MuseumWeavers’ banner, 1788-1795.  From Grosvenor Museum, Chester

One of five guild banners conserved from the Grosvenor Museum in Chester.  Single layer of fine silk with oil painted detail and silk fringe.  The banner was removed from the glass frame and surface cleaned.  The fly end was re-formed to the correct shape and the creases were smoothed out.  It was supported with a silk crepeline adhesive support and non-adhesive overlay.