Textile Restoration

 Art & Textile Restoration Services in Moulsford

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At Chaucers Picture Framing & Restoration, we have years of experience when it comes to specialist textile restorations. Our restorative work focuses on the bringing out the best in the original textile without causing damage to the original fabric. We always take immaculate care of the textile art and embroidery pieces that are brought to us and we know that you'll be amazed with the finished result. Take a look at some of our projects and process detailed below, check out our framing services or get in touch for more information.

Embroidered Crepe de Chine Bedspread originally owned by The Duchess of Windsor, Wallis Simpson circa 1950

The Textile Restoration Process:

The cream crepe de chine bedspread had hand appliquéd motifs in silk satin depicting states of the heart: Lion Heart, Black Heart, Fickle Heart, Captive Heart, Heart of Flames, Wounded Heart, Proud Heart, Broken Heart in colours: yellow, pink, blue.

The size of bedspread was 222cm x 240cm and to prepare the bedspread for framing our textile restorer carried out the following:

A padded board was made using archival materials to mount the bedspread onto. Two
pieces of Correx were cut and laminated to provide strength and prevent the board
bending with the tension of the calico and eventually the bedspread. Once laminated
the Correx was covered in wadding and calico to provide a soft surface with grip for the
bedspread. The back of the board was covered with calico to provide a stitching
surface for the folded sides of the bedspread.

To distribute the weight of the bedspread across the board and prevent sagging over
time, a series of stitched grid lines were worked throughout the bedspread through to the
calico. These were worked in ultrafine thread, which is strong yet very fine and not visibly
intrusive. The stitching was worked in a series of grid lines using the edges of the
applique to hide the stitching.

The edges of the bedspread were turned to the back of the board and secured into place
using slip stitch working into the calico backing. A lining was stitched to the back of the
piece to hold the layers in place and maintain the tension over time.

The prepared bedspread was framed using Optium Museum Acrylic glazing.
“Trusted by the world’s most renowned museums, this state-of-the-art glazing boasts a
virtually invisible anti-reflective coating allowing viewers to see the finest details in crystal
clear colour neutrality, while its UV-filtering, abrasion resistant acrylic, and anti-static
coating offer uncompromising protection and preservation”

A spacer was then inserted to keep the glazing away from the bedspread
and finally the piece was framed in a hand made bespoke gilded frame.
Pinning 2
After Stitching Gridlines A
After Stitching Gridlines B
After Stitching Gridlines C
Ready For Framing
Pinning Calico On Reverse
Framed
In Situ

Cambridge Coat of Arms canvas pieces worked in wool and silk in tent and cross stitch.

The Textile Restoration Process:

Over time these coat of arms embroideries from Cambridge had been removed from their original setting (probably tacked onto chair backs) and had subsequently been folded over a thin wooden board and taped down to frame. Both embroideries have considerable light damage as evident by the bright colours on the reverse, with splits along the raw edges.

It was decided not to wet clean the embroideries as it was possible that the result would cause a
a significant amount of silk loss which would affect the aesthetics of the pieces. Instead a low
powered vacuum suction and soft brushes was used to remove the surface soiling before
cosmetic sponges were used to lift the ingrained soiling.

Contact humification was used to soften and flatten the folds and allow them to lay flat.
The embroideries were then supported onto a full calico padded support to protect and secure
the cut edges. Where the canvases had been folded round the original boards the folds were very
brittle and it was decided that to preserve as much of the original as possible the embroideries
would be mounted onto a larger board, which will mean that the sides remain flat and supported
and therefore, they will not sustain more damage.

The embroideries were then mounted with pure cotton rag mat mount board, museum glass and a
old gold leaf Italian frame.
Cambridge Coat of Arms Front A
Cambridge Coat of Arms Front B
Cambridge Coat of Arms Reverse A
Cambridge Coat of Arms Reverse B
Prior to removal of old backing board and tapes
Work in Progress on Cambridge Coat Of Arms
Flattened Ready For Pinning Cambridge Coat Of Arms
Pinning Onto Calico Before Stitching Cambridge Coat Of Arms
Completed Cambridge Coat Of Arms
Completed Cambridge Coat Of Arms B

Excellent service and high-quality picture framing

"We were most impressed with the advice and assistance received from Chaucers Picture Framing & Restoration. From on-site consultation and a wide selection of frames, through to on-time delivery, they provided an excellent service within budget. We have no hesitation in recommending them to anyone requiring high-quality picture framing."
- Ian M M Pearson, Square Foot Consulting

For quality textile restoration and conservation services, email us at 
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