Could you please forward this onto the tex.cons dislist? The server still rejects my messages, so I must rely on others.
It's a funny thing about dyes. In order to dye or print a fabric to achieve a fast result, we must accurately follow the given procedures of achieving certain temperatures, maintaining them for specific times and adding additives at the right moment etc. Yet on the other hand, these rules apparently do not apply to dye stains either from accidental spills or bleeding. In these cases, the dye fixing seems to be mostly instant and permanent! A classic case of Murphy's Law, I suppose.
Considering that the extraction of early synthetic dyes requires often requires boiling (Schweppe's book on the ID of early synthetic dyes) and that steam guns are used by dry cleaners, steam (using a steam gun) may work but of course the heat would accelerate fibre degradation. Another option is ultra sound which may well be less violent than heat (I am not up to date on that). Rowenta has recently brought out an ultrasonic stain remover for home use (60 euros) which looks as if it may be very useful. It is meant to be used with an Ariel laundry detergent but such marketing strategy should not get in the way of the resourceful textile conservator. Perhaps you could get one for a free trial.
www.*rowenta*.fr/*rowenta*/detacheur_*ultrasons*.htm There are other versions about. www.ultrasonic-stain-remover.com <http://www.ultrasonic-stain-remover.com>/
There is also sunlight. This sounds very wicked but paper conservators do sun bleaching without destroying objects. The effect is concentrated on the surface (that is viewed) unlike reduction or oxidation treatments which affect the whole substrate. With prolonged exposure as in being displayed in sunlight for years on end, the degradation gradually 'eats' deeper into the fibres. You can see this on faded early synthetic dyed wool yarns where the surface fibres are badly faded but the middle fibres are still brightly coloured. The total resulting fibre degradation from a controlled sun bleaching treatment (blocking off the unstained areas of course) may actually be less than a conservation chemical bleaching treatment.
Should the stains still remain, there is always the consolation that being affected by this 'historical' flooding (as opposed to an overflowing gutter) is a chapter in the history of these textiles. In fact, one could perhaps argue that the stains should not removed at all. In that case, only the 'loose' bled dye should be removed as it most probably would readily bleed again if affected by moisture and as such would pose a definite risk in the event of future water damage.
The more I think about it, the more it seems necessary to consider this aspect of historical context. Do all these textiles have such a function in the collection that they must look as perfect as possible? Is the expected result really worth all the time/money required of tests and treatment and the risks involved? Should these aspects be already considered then ignore the above!
In any case, it is a valuable learning opportunity and I hope you can find the time later to publish your findings, not forgetting the protocol you developed for testing.
Here is a treatment which may work in some cases. I heard that it was developed in consultation with paper conservators so you could consult them as well for more ideas.
Jennifer Barnett Regina Textilia historic textiles conservation, research and consultancy La Goute, route de Dancé FR - 42260 Bully tel/fax * 33 (0)4 77 65 20 11 reginatextilia@xxxxxxxxxx <mailto:reginatextilia@xxxxxxxxxx>
-- Karin von Lerber Prevart GmbH Oberseenerstr. 93 CH-8405 Winterthur Tel. +41 (0)52-233 12 54 Fax. +41 (0)52-233 12 57 e-mail: karin.vonlerber@xxxxxxxxxx www.prevart.ch
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Indigo-carmine is also known as Saxon Blue. It has been produced from indigo and sulphuric acid since 1740. There are 2 articles in Dutch about the problem, both from 'Indigo', 1988, Textielcommissie Musea; Roelofs en Hofenk de Graaf, 'Een uitbloedende kleurstof.'(A bleeding dyestuff) van Nes, 'Een methode tot het verwijderen van uitgelopen indigocarmijn in borduursels'.(A method for the removal of indigo carmine stains on embroideries. One of the cited references is also of interest; Duff, Sinclair, Stirling (1977), 'The fastness of some natural dyestuffs on wool', Studies in Conservation, 22, pp 170 - 176. I have had experience with two samplers with blue/green silk yarn which ran immediately in all 3 test solutions and also water. This reaction is apparently typical for indigocarmine (the dyestuff was not positively identified). The treatment described below, from the van Nes article, was followed with success. A sampler with unstable brown silk thread was also successfully treated in the same way. Treatment Tests required; usual colour fastness test plus fastness to iso-propyl alcohol. 1 Wash and rinse textile. Lay it on a blotting cloth to remove excess water. Do not blot with an overlay - this will remove dyestuff. 2 Prepare 3 trays with a shallow level of iso-propyl alcohol and set them in the fume cupboard. Use rubber gloves for handling the textile and avoid breathing the fumes. 3 Lay the textile for a few seconds in each tray. (At first there was a dramatic outsurge of colour as the iso-propyl alcohol evacuates the water and its dissolved dyestuff from the textile. This decreased with every successive rinse bath). 4 Lay the textile face down on a blotting cloth. Allow to dry in the fume cupboard or on a vacuum table. Iso-propyl alcohol is polar enough to make pinning out worthwhile (if neceaasry to control the shape) it was found. Risks!! Loss of colour intensity due to loss of indigocarmine during the washing process. Washfast dyestuffs may bleed in iso-propyl alcohol. Iso-propyl alcohol is a hazardous solvent for humans. J.C.Barnett, 13 March 1998 |