e-conservation magazine - Conservation of a Persian Carpet

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Introduction Description and condition Condition report Conservation treatment Preparation for Display

Conservation and Restoration of a Rare Large Persian Carpet

By Omar Abdel-Kareem

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O. Abdel-Kareem, "Conservation and Restoration of a Rare Large Persian Carpet", econservation magazine 17 (2010) pp. 53-63, http://www.econservationline.com/content/view/972

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This study describes the conservation and restoration of a large carpet belonging to the Cairo University. The carpet was identified as Persian, being made in the city of Isfahan between 1850 and 1900 A.D. The initial examination indicated that the carpet was very soiled, with stains and extensive losses. These problems were thoroughly investigated before the treatment methodology was implemented. This study explores a innovative restoration technique for carpets, which consists in the replacement of the missing areas by using previously prepared pieces identical to the original but produced by a different technique and fixed in place by stitching. This method is reversible and in agreement with conservation ethics. After conservation, the carpet was prepared for display by using a Velcro strapping system. Introduction Among the textile arts, carpets hold a special status [1]. Their deterioration leads to both a loss on the origin and history of the object and to the weakening of the carpet itself [2]. Historical carpets, representing one of the most artistic treasures, should be preserved for future generations [3]. Most of the times, carpets need conservation and restoration treatment before exhibition. There is a tendency for conservators to draw a distinct line between the restoration and the conservation treatment. This is especially true in the area of carpets, since parallel services exist for their restoration and conservation [4]. Both these involve intervention: a physical modification of the carpet with the intention of preserving or enhancing it physically and/or visually. In neither case the original state of the carpet can be recreated. Conservation is the treatment that places a carpet in serviceable condition for handling, study, and display, recognizing that an active intervention should not detract from the original components and visual aesthetics of the piece. Restoration is the treatment that places a carpet in serviceable condition primarily for its intended utilitarian use, striving to integrate the restoration with the original visual aesthetics as unobtrusively as possible [5]. Conservation aims to maintain the physical and visual integrity of the object while removing and adding the minimum material. Restoration aims to recreate the visual and physical appearance of the carpet as it is believed to have looked originally. This also raises the interesting question of the distinction between a restored carpet and a fake. This depends on the actual treatment carried out, or on the way in which the treated piece is presented to the public [6]. The most common treatments of carpets include cleaning, stabilization, exhibition and storage. This process should begin with a complete examination and documentation of the piece which usually includes the creation of photographic or video records [7]. Conservators have feared the use of restoration techniques primarily as a reaction to the treatments that compromised original artifacts in the attempt to compensate for losses. To avoid this problem, textile conservators turned to minimalism as a way of addressing loss [8]. Effective restoration can give a textile visual completeness and physical strength, which can be particularly successful for functional textiles, such as carpets and rugs. The main aim of this study is the conservation and restoration of the Cairo University. The project aimed to improve the long-term safe and adequate for display. Also, this project aimed to stabilize losses of this carpet. The procedure was to combine the skills aesthetic compensation for losses in oriental carpets. Description and condition Historical Context A large carpet belonging to the Cairo University (Figure 1) had been used as permanent floor covering at the Ahmed Lotfy hall, the University main hall. According to the design and decoration the carpet is Persian, being made in the city of Isfahan (actual Iran) between 1850 and 1900 A.D. The carpet contains Persian words, as shown in Figures 2 and 3, meaning that it was a present from Isfahan, and that it was made by a large rare Persian carpet belonging to preservation of this carpet by making it and improve aesthetically the disfiguring with a innovative technique to achieve

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Raheme.
From left to right: Figure 1. General view of the carpet before the intervention. Figures 2 and 3. Persian inscriptions. Reference to the provenance of the carpet, which was made in the city of Isfahan (actual Iran), and reference to the name of the carpet maker: Raheme.

Technical Notes The dimensions of the carpet are 505 x 785 cm. The warp and weft are made from cotton and the weft is constructed by two threads run for every row of knots. The type of knot is Persian (Senna, or unsymmetrical knot). The number of knots is 36/cm2. The most present colors in the carpet are red, dark blue, light blue, white to beige and light gray-green. Condition report Initial examination indicated that the carpet condition was as follows: the whole surface was very dirty, stiff and hard due to solid, sandy dust accumulated during the long term use as floor covering in the university. There were also some different additional stains on it and in some the knots were rotten or had disappeared completely. There were enormous holes in the carpet and the selvedges and edges suffered from wear and abrasion. Nevertheless, except for the aforementioned aspects, the carpet still appeared to be quite strong and in fair condition. Microscopic examination Small parts of each fiber were analyzed with an optical microscope. The results show that all the yarns from different colors of the knots (pile) are composed of wool (Figure 4). The fibers were generally in good condition although relatively dirty. The yarns of both warp and weft, and edges are made of cotton. Scanning electron microscopy The observation of the surface morphology of fibers collected from some parts of the carpet by scanning electron microscopy (SEM) revealed a high degree of weakening and damage. The surface shows losses of the scale structure. There is a large amount of dust covering the surface, therefore the fibers appear opaque (Figure 5). This may be due to the microbiological deterioration (rot) of the wool fibers in these parts of the carpet. Despite these damages, the results showed that most of the carpet is in a fairly good condition. X-ray diffraction analysis The dust collected by vacuum cleaner from the carpet was analyzed by X-ray diffraction (XRD) spectroscopy. Spectra of the examined dust showed that the mineral composition of the dirt contained quartz, calcite, dolomite, albite and clay minerals. This composition is similar to that of common natural mineral dust in Cairo (Figure 6).
From left to right: Figure 4. Surface morphology of a fiber of knotting thread at 400x magnification. Figure 5. SEM microphotograph showing the surface morphology of a fiber of knotting thread. Figure 6. EXRD spectra of the dust showed that the main components of the dirt were inorganic substances of mineral origin, namely quartz, albite, calcite and dolomite.

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Proposed treatment In order to achieve the main aim of the project, which was to improve the long-term preservation of this carpet, the proposed treatment included the following steps: cleaning and removal of the stains, stabilization of the selvedges and edges, stabilization of the weak and missing areas, compensation for the loss areas to stabilize and aesthetically improve disfiguring losses on the carpet and preparation for display. Conservation treatment Vacuum cleaning The initial investigation showed that most of the soiling is loose dust that can be cleaned using a vacuum cleaner. To clean the carpet, the floor surface of a large room was covered with a sheet of polyethylene on which the carpet was rolled out face upwards. The suction head of the vacuum cleaner was used from top to bottom of the carpet to extract the loose dust from the surface. In the areas where the carpet was too weak, the procedure was carried out through a strong layer of polyester net (Figure 7). After finishing the surface cleaning, the carpet was covered with another sheet of polyethylene and then it was rolled up between the two sheets on a special PVC roller. This way the carpet was turned on, the top sheet of polyethylene was removed and the previous procedures were repeated on the other side (Figure 8). These procedures were repeated several times on both sides until no more dust could be removed by the vacuum cleaner. Stain removal Tests for colorfastness were carried out before any cleaning treatment. All the carpet dyes in the stained areas proved to be resistant in contact with the detergent (Synperonic N). Colorfastness test were also carried out on the other chemical that was used to remove the other soils. The stains were removed using a solution of 0.3 g/L of non-ionic detergent (Synperonic N) in deionized water, which was then rinsed with deionized water. Other stains were removed with using ethyl alcohol and deionized water 1:1 v/v (Figures 9 and 10).
From left to right: Figures 7 and 8. Surface cleaning of the carpet on both sides by vacuum cleaning. Figures 9 and 10. Example of a stained area before and after cleaning.

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Restoration Stabilization techniques (lining) There are various methods to treat carpet edges that became weaken, damaged and abrasive [4, 9, 10]. However, the carried study confirms that a complete lining attached to the back of the carpet edges was the best method to stabilize loose elements, and support the carpet during display periods. The complete mounting will carry the overall stress and strain of the carpets weight while hanging on display. The procedure was applied as shown below. Preparation of mounting fabric Many steps were taken to clean and to remove shrinked linen fabric before using it in the mounting process. The fabric was washed and rinsed three times in deionized water in a home-style washing machine, using a pure, synthetic detergent without optical brightener (Synperonic N). The fabric was then partially dried in a home-style tumble dryer on high heat for 20 minutes. Still damp, the linen was laid flat on a glass table surface. The warp and weft were gently aligned, selvedges were cut and the linen was left to dry overnight [11].
From left to right: Figure 11. Example the lining of the edges with linen fabric. The complete lining of the carpet was performed in order to stabilize loose elements and to support the carpet during display periods. Figures 12 and 13. An area with lacuna before and after intervention.

Attaching the mounting fabric The carpet was laid out face down on a clean, flat surface. The carpet was flattened carefully, without any folding. Each one of the edges was backed completely with a sheet of linen fabric prepared previously (with appropriate area). The backing mounting fabric was attached to the carpet using curved needles as they lie flat on work surface without tension. The linen fabric was sewn to the carpet overlapping the vertical rows of stitches (Figure 11). All stitches were done using needle and cotton threads. Different types of stitches were used in this work: herringbone stitches were done around the top and bottom edges, over-sewing was used to fix the selvages, and running stitches were used to join the linen fabric with the carpet. The fringe was also stitched to a linen backing to keep it aligned. The damaged areas were stitched using couching stitches and each fringe thread was fixed with over-casting stitches. The edges of split areas were mounted and stitched onto new linen patches using herringbone stitches (Figures 12-15).
From left to right: Figures 14 and 15. An area with lacuna before and after intervention. Figures 16 and 17. Compensation the loss areas. Example of a lacuna in the carpet, and designing process of the missing part in order to match the original one.

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Compensation of the loss areas There are different methods to compensate loss areas [4, 7, 8, 12, 13]. These can be classified into six repair techniques [14]: reknotting with the insertion of a partial or complete new foundation; embroidery techniques; inserting a carpet patch cut from another carpet; patching with fabric attached from the back using needles and threads; patching with fabric or with patch cut from another carpet using adhesive; and a complete lining attached to the carpet back with couching stitches used to stabilize loose elements, either to patches or to the lining itself (this technique is similar to traditional tapestry repair). The current study explores an innovative restoration technique for carpets consisting in the replacement of missing areas with pieces identical to the original, although previously made by a different technique, and fixed by stitching. This method is reversible and in agreement with conservation ethics (Figures 16-21).
From left to right: Figures 18-21. Compensation the loss areas. Preparation process of the new piece, the new piece finished, stitching the new piece onto the lacuna of the carpet, and general aspect of the lacuna area after intervention.

Preparation of new pieces identical to the original The preparation of the new pieces was done in several steps: 1 - Identification of the exact area of any loose part by placing a sheet of thin transparent ramie fabric (pure cellulose) behind the area and outlining the lacuna, marking thus the correct size of the new piece (Figure 17).

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2 - Recreation and design of the decoration on the identified areas in order to mimic the original pattern (Figure 18). The patterns of other similar areas have helped in this procedure once the patterns of most carpets are governed by rules of symmetry [13]. 3 - Fixing a cleaned undyed cotton fabric with appropriate area on a wooden frame. 4 - Fixing the prepared transparent ramie fabric with decoration on the cotton fabric up on the wooden frame (Figures 18-19). 5 - Dying threads of natural wool (100% wool with appropriate thickness) with high fastness dyes (in colors similar to the original ones). 6 - The decoration was performed using needles and wool threads with appropriate colors (Figure 18). The procedure was repeated until accumulating the adequate aesthetic appearance, similar to the original but still different and distinguishable as the piles are not knots, only plug accumulating threads. 7 -Additionally, fixing stitches using dyed cotton threads and needles were used to secure and fix the new developed relief part with the backing. 8 - The completed new compensation parts were carefully cut out from the wooden frame with pinking shears. Attachment of the new pieces to the carpet To attach the new pieces in their places on the carpet, the following steps were performed. Mounting and patching each hole with appropriate linen packing, attached by stitching with needle and threads. The edges of the hole were fixed by patches using herringbone stitches. The damaged warps ends and wefts of the carpet around the hole were left in place and secured on the backing linen fabric. Each new compensation part prepared previously was stitched directly into the appropriate lacuna of the carpet with the backing linen fabric stitched previously to the carpet (Figures 20-24).
From left to right: Figures 22-24. Compensation of losses. Example of a lacuna in the carpet, the new piece finished, and general aspect of the lacuna area after intervention. Figure 25. The back side of the carpet after intervention. Figure 26. Final aspect of the carpet after intervention.

Preparation for Display Since the early 1970s, conservators have used hook and loop fasteners such as Velcro to hang tapestries, carpets and other large flat textiles. These allow for even distribution of the weight and quick removal of objects in case of emergency [5]. The common and simplest technique of using Velcro system is stitching the soft side of Velcro with the top and bottom of the carpet or tapestry. The hook side of Velcro is attached (glued and nailed) to wooden battens [7, 10, 11, 15, 16]. The application of the Velcro system could be performed because this carpet was in fair condition, allowing hanging. The only problem, however, was its extra weight. Therefore, additional support to the carpet was
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done by complete lining of the top and bottom edges of the carpet (about 1 meter along the width of the carpet). The application procedure of the Velcro system was done as follows: 1 - The treated carpet was laid face down on a clean, flat surface covered with a polyethylene sheet. 2 - Careful measurements were done to identify the exact areas where the Velcro strips would be attached and to calculate the length of the Velcro strips, as well as to identify the appropriate frame that was required. 3 - The soft side of Velcro was sewn (using a sewing machine) to linen strips before being stitched onto the carpet. 4 - The prepared soft side of Velcro was fixed onto the carpet using needles and cotton threads (Figure 25). 5 - The hook side of the Velcro strips was glued and nailed onto the previously designed wooden battens. Conclusion XRD analysis showed that the main components of the dirt were inorganic substances (quartz, calcite, dolomite, albite and clay minerals). SEM examination of the fiber revealed a high degree of weakening due to the deterioration on some parts of the carpet while most of it is in a fairly good condition. The technique used in this study for compensation the loss parts of the carpet proved quite successful, providing an adequate aesthetic compensation for loss in the oriental carpets, as the visitors can not easily differentiate between original knots and the new fill. At the same time, the method respects the fundamental principles of restoration and recreates the visual and physical appearance of the carpet as it is believed to have looked originally. The technique used in this study respects the outset of the carpet: its visual and aesthetic continuity, the original materials, structural soundness, and reversibility. It also facilitates a minimum handling of the object as it can be done separately (on wooden frame) and then stitched directly into the lining fabric that stitched previously with the carpet. To prepare the carpet for hanging display, Velcro strapping was stitched to various areas on the back of the carpet, not only to the edges. This is because the carpet is too large and heavy. A complete lining attached to the back of the carpet edges is very important to stabilize loose elements, and to support the carpet during display periods.

Notes The dating of the carpet was carried out by Prof. Dr. Rabie Khalifa, Professor of Islamic Monuments and Arts, Vice Dean of Faculty of Archaeology, Cairo University. Acknowledgments I gratefully acknowledge Prof. Dr. Hussam Eldin Abdel-Hamid, Director of Center of Conservation of Antiquities, Manuscripts and Museum Objects, Faculty of Archaeology, Cairo University, for his encouragement and permission to publish this work. The author would also like to thank the team of the project, Mr. Salah Madboli, Mr. Ali Saad, Mr. Mostafa Abdel-Salam and Mr. Wahid Abdo for their assistance in this work. Finally, I would like to thank all the individuals who took the time to share in this project. References [1] C. Bier, Carpet Condition: A Curator's Perception of the Hole, The Textile Museum Journal, Volume 29-30, 1991, pp. 6-8 [2] A. Lister, Guidelines for the Conservation of Textiles, English Heritage, London, 1996 [3] R. B. Hutchison, From Restoration to Conservation: Parallels Between the Tradition of Tapestry Conservation and Carpet Conservation, The Textile Museum Journal, Volume 29-30, 1991, pp. 9-12 [4] H. F. Mailand, Traditional Methods and Alternatives for Cleaning, Repairing, and Exhibition Rugs, The Textile Museum Journal, Volume 29-30, 1991, pp. 26-33 [5] S. W. Green, Preface, The Textile Museum Journal, Volume 29-30, 1991, pp. 5 [6] K. Leath, and Mary M. Brooks, Velcro and other hook and loop fasteners: a preliminary study of their stability and ageing characteristics, Textile Conservation Newsletter 34, 1998, pp. 5-11 [7] J. Merritt, A Survey of Current Practices in Europe, The Textile Museum Journal, Volume 29-30, 1991, pp. 42-45 [8] Z. A. Perkins, J. Brako, and R. Mann, Woven Traditions: The Integration of Conservation and Restoration Techniques in the Treatment of Oriental Rugs, The Textile Museum Journal, Volume 29-30, 1991, pp. 13-25 [9] A. H. Ennes, "The stabilization of edges and ends: gradations of intervention", The Textile Museum Journal, Volumes 29-30, 1990, pp. 34-41 [10] S. Landi, The Textile Conservators Manual, Butterworth-Heinemann, London, 1998 [11] S. Gates, One Hundred Anatolian Flatweaves: Conservation for Exhibition, Travel, and Storage, The Textile Museum Journal, Volume 29-30, 1991, pp. 65-76

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[12] C. de Nola, C. Tonin, M. Bianchetto Songia, R. Peila, C. Vineis, R. Roggero, and L.E. Brancati, Conservation project of an early 19th century Turkish Ghiordes rug found to have significant pesticide (DDT) contamination: the result of a successful cooperation, in Preprints of the 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, ICOM-CC, Vol. II, 2002, pp. 730-735 [13] H. J. Exner, To Restore or Not to Restore, Oriental Rug Review, Volume 15 (6), 2004, pp. 1-11, available at URL [14] S. W. Green and J. Swetzoff, Compensation for Loss in Oriental Rugs: Traditional Methods and Passive Fills, The Textile Museum Journal, Volume 29-30, 1991, pp. 46-57 [15] Y. Maes, The Conservation/Restoration of the Sixteenth-Century Tapestry The Gathering of the Manna. The Conservation of Tapestries and Embroideries, Proceedings of Meetings at the Institute Royal du Patrimoine Artistique, Belgium, September 2124, 1987, The Getty Conservation Institute, California, 1989, pp. 103112 [16] M. Austin, Mounting Large Textiles, The Textile Specialty Group Postprints, 1996, pp. 14-16 About the author Omar Abdel-Kareem
Conservator-restorer Contact: omaa67@yahoo.com

Omar Abdel-Kareem is associate Professor at the Conservation Department of the Faculty of Archaeology at Cairo University, Egypt. He specialized in textile conservation, having trained in different countries, namely at the Textile Conservation Center TCC (UK), The Hungarian National Museum and Faculty of Fine Art in Budapest (Hungary), Muse Historique des Tissus in Lyon (France), and Wawel Castle, Krakow (Poland). He has also training in application of analytical techniques such as HPLC, XRD, and FTIR and UV/VIS spectroscopy to textile conservation. He is the principle investigator of the Egyptian National Project funded by STDF New Strategies for Conservation of Ancient Egyptian Textiles with application on some selected textile objects from the Museum of Faculty of Archaeology, Cairo University. He is a member of Med-Colour-Tech Project, supported by the European Commission. He has supervised 12 Master and PhD thesis in Cairo and Yarmouk University. He has published more than 40 articles in the conservation field.

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