ALISON STANTON
c.1700 Soho tapestry
The client requested that this Soho tapestry be relocated from its usual location to a temporary exhibition space.
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Tapestry hanging in its original location.
Before conservation: accumulated dust on the fabric 'flap' at the top edge.
After conservation: tapestry rolled onto a purpose-made tube and hidden beneath the exhibition staging.
Tapestry hanging in its original location.
Project gallery
Condition
Firstly, the tapestry was assessed onsite to establish its suitability for removal and reinstallation.
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It was found to be in fair condition, with severe splitting to the weft in the lower part of the main field and proper right-hand border. The majority of the slits were sound, although some were failing towards the top edge.
Some fading of the colours was evident which is not unusual for a tapestry of this age, although the pinks and reds were still bright.
The tapestry was supported by metal rings hanging from a rod attached to the wall. This hanging mechanism had caused the top edge to become distorted where there was insufficient support between the rings.
Viewed from below it appeared that the lining had been folded back on the reverse to form a ‘flap’. Similarly, the lining had been extended beyond the lower edge of the tapestry to reach the floor and trimmed with a fringed braid; the lower lining was severely creased, dirty and water stained.
Overall, the tapestry was brittle to the touch, very dirty, especially along the top edge where a thick layer of dust was visible; the lining also had ingrained dirt and dust.
Treatment
The budget for the exhibition was tight, therefore a full conservation treatment was not feasible at this stage. In consultation with the client it was agreed that the priority was to stabilise the tapestry for exhibition, replace the existing hanging mechanism and to improve its overall appearance. After the exhibition the tapestry would be put into storage until a full support treatment could be carried out.
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After carefully removing the tapestry from the wall, it was cleaned front and reverse with a museum vacuum and low suction.
The extant hanging mechanism was documented, removed and replaced with loop Velcro on cotton webbing tape.
The height of the exhibition space was lower than the height of the tapestry. This allowed for the tapestry to be rehung with the lower third, where it was most fragile, rolled around a custom made, padded support, removing the tension in this area.
Prior to rolling, this lower section was stabilised with a stitched support of nylon net to prevent any further damage occurring to the weft.
The rolled section was covered with acid free tissue for protection and housed within the exhibition stand.
