Often regarded as utilitarian or decorative objects, textiles can receive some pretty rough handling over the course of their lifetime. Even those that have been handled and stored with great care can, through the simple fact of aging, become extremely fragile. How then can they be safely preserved and displayed?
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Indonesian textile, before treatment and mounting
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Sculpted sink mount backboard
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Textile mounted on fabric-covered sink mount
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One method that has been developed by textile conservators over the past twenty-odd years is “press mounting.” In a press mount, the textile is sandwiched between a padded backboard and an acrylic sheet (e.g.Plexiglas). Light pressure between the backboard and glazing holds the textile in place. Because acrylic sheeting’s molecular structure and chemical properties are entirely different from glass it can lay directly against the textile without the danger of mold growth or moisture condensation.
Press mounts are not suited to all textiles. Usually they are restricted to pieces that are reasonably flat, and are too fragile to be sewn. Many regimental flags and banners are good candidates for press mounting. Three-dimensional textiles have also been successfully press mounted, but these require a more sculpted back mount to accommodate their depth. In this article I describe the treatment of a very fragile textile decorated with sequins and beads.
This Indonesian wall hanging is made from silk ground fabrics backed with a cotton lining. It is embroidered with silk and metallic threads, and embellished with beads, sequins, metallic lace edging and a beaded fringe. It was originally supported by a wooden rod at the top edge, and hung with a cord, but is far too fragile to be displayed this way anymore.
Because the textile has many three-dimensional elements, I built a padded sink mount with cut-out depressions to accommodate the larger beads on the bottom fringe, and the hanging sleeve on the reverse of the top edge. Channels were cut to hold the free ends of the hanging cord. The polyester padding is edged by two and three layers of matboard, cut to the shape of the textile’s perimeter. This raised surround helps hold the textile in place and prevents the Plexiglas glazing from crushing the fabric and decorative elements. Once in its frame, a wooden strainer with crossbar will be screwed into the back of the frame, providing even support and light pressure to hold the Plexiglas and mounted textile securely together.
Modern press mounts in North America were originally developed for temporary display but in several cases “temporary” has become an elastic term. The press mount solves many handling and storage problems for very fragile textiles. So far no major problems have been reported from prolonged storage in a press mount, although the design is continually evolving. In my own collection I have two embroidered textiles which have been press mounted for sixteen years. I recently opened the framing package to check on them and found that the textiles and acrylic glazing were in excellent condition.
