As noted in some of the previous posts in this blog (Textiles come in all shapes and sizes at the British Library - Collection Care blog), various textiles, as well as objects containing textiles, are present within the Library’s collections. Coming fresh from my recent postgraduate training, I consider myself fortunate to have spent these past few months at the British Library gaining professional experience in textile conservation and learning from my paper conservator colleagues. I have been privileged to work on some interesting and, in the case of this particular project that I am going to talk about in this post, the most charming textiles in its collections.

The book, Instructions on Needle-work and Knitting, (C.194.a.371) was printed in 1832 in Westminster, London as an educational instruction manual, complete with instructions on stitching and garment-making techniques accompanied by finely crafted miniature garments and samplers. Due to poor storage conditions at some point in its lifetime, dirt had accumulated on the sides of the textblock. There were gaps between some of the pages in the textblock due to the bulkiness and irregular shapes of the textile samples, so some of the dirt had fallen through these gaps. The samples were stitched onto the pages of the book, creating holes on both textile and paper and pinning the samples down in a way that restricts both their movement and the reader's view.  In addition to the creases formed from being pressed flat, some of the samples were in a position that distorted corners or created additional folds (Fig. 1).

Figure 1. Green dress sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment. Positioned too close to the page’s top edge and gutter, The shoulder straps were distorted and the skirt was creased.

The conservation treatment focused on making the textile samples cleaner and the book fit for purpose as a library material under BL restricted access. As part of the Library’s collection, the book is expected to be handled by readers in the future, so the final product needs to be sufficiently robust for handling while giving adequate access for examination and study.

In preparation for the treatment of the samples that needed cleaning, they were taken out of the book to avoid the risk of damaging the paper in the process. Much dirt was removed by gently tamping the fabric with pieces of cosmetic sponge (Fig. 2 and 3). 

Figure 2. Samples from the book Instructions on Needle-work and Knitting (C.194.a.371) and pieces of sponge used in removing surface dirt.

 

Figure 3a. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before surface cleaning.

Figure 3b. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after surface cleaning.

After confirming that the dyes were washfast, the green dress and the sampler with red embroidery threads were further cleaned using an aqueous detergent solution. In addition to removing dirt, wet cleaning the dress (Fig. 4) provided the opportunity to relax the skirt and redistribute its fullness so that it fits within the width of the textblock. For the miniature sampler (Fig. 5), wet cleaning reduced some of the foxing stains on its ground fabric. 

Figure 4a. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 4b. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

 

Figure 5a. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 5b. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

Moisture, in the form of fine mist, was gently applied to the crumpled frills of the baby’s cap (Fig. 6), just enough for the fabric to recover some flexibility for reshaping.  

Figure 6a. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before humidifying and reshaping its frills.

Figure 6b. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after humidifying and reshaping its frills.

I thought about how to put the samples back in the book because, while stitching is usually compatible with textiles, it would mean either creating more stitch holes on the paper pages or making the existing holes larger and the attachment less secure. I took inspiration – and a few materials – from paper conservation, and prepared some hinges made of thin cotton fabric lined with Japanese tissue using wheat starch paste. This would allow me to stitch one end of the hinge to the textile sample and paste the other end to the page.   

Figure 7. Testing the textile-paper hinge on a mockup.

After discussing my proposed method with my manager Liz Rose and the curator Catriona Gourlay, I proceeded with reattaching the samples with textile-paper hinges, each cut to an appropriate size and attached according to the size and shape of the samples and available space in its assigned page. This way, the samples are adequately secured into their places while having some degree of freedom for the reader's examination (Figure 8). 

Figure 8a. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment.

Figure 8b. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), after treatment.

 

Gee Roxas, Textile Conservation intern 2023 - 2024 

The large leather trunk below (Fig 1) was conserved by Talene Bush, a student from Lincoln University, whilst on her conservation placement at the British Library Centre for Conservation.   

Fig 1: Large leather trunk that originally housed Foster 5701 bunting and other textile items

Prior to conservation the trunk had been opened (Fig 2) and its contents were found to be a Union flag, a Taiwanese flag, two US flags, three cloths and a very long section of linen and cotton bunting made up of 83 pennants.

Fig 2: Leather trunk opened to show Union flag

 

Before Conservation 

Fig 3: Detail of Foster 5701 bunting showing a tear

Fig 4: Foster 5701 bunting before conservation

The bunting arrived in the conservation studio covered in dust and dirt with multiple stains and all heavily creased and some with minor tears. 

 

Surface cleaning 

Fig 5: One of the pennants under a mesh screen ready for surface cleaning

The first step of treatment was to surface clean the flags as they were covered in surface and ingrained dirt. The pennants were cleaned using low powered vacuum suction through a fine mesh screen. This had been created out of museum board and conservation grade netting attached to the edge of the board and helped to protect the fragile textile during surface cleaning and prevented the uptake of any loose fibres. The vacuum nozzle was also covered in fine nylon net which trapped dust and dirt removed so that it could be kept for future testing. 

Fig 6: Two piles of pennants on top of Melinex® before and after surface cleaning

This image above shows the efficacy of this cleaning. The pile on the left has been surface cleaned, the Melinex® pocket on top of the pile shows the amount of dust and dirt that was removed from these flags. The pile on the right is yet to be cleaned.  

 

Humidification  

Fig. 7: Foster 5701 bunting during humidification, farthest flags being humidified, middle flags drying under weights

The next treatment step was to try to remove the heavy creases from the flags so they could be understood and appreciated in their original format, make them easier to store, and would be less likely to incur further damage during long term storage.  In order to remove creases the flags were humidified by placing them in a humidification chamber made from thick plastic sheeting held down with small glass weights to create a sealed chamber. Humidification was introduced to the chamber using a slightly damp muslin, laid on top of a layer of Sympatex®, which was laid on top of each flag. Sympatex®,  is a semi-permeable membrane which enables the gravitational flow of water vapour encouraged by the addition of glass weights. Each pennant was humidified in this way for one hour on each side. After each side was humidified the flag was dried under glass weights to ensure it dried as flat as possible.  

Fig 8: Foster 5701 – LHS pennant has been humidified once; RHS pennant has not been humidified

Fig 9: Foster 5701 – RHS pennant has been humidified twice; LHS pennant has not been humidified

These two images again show the efficacy of the gentle humidification process / treatment. Fig. 6 shows the comparison between a flag which has not been humidified and a flag that has been humidified on one side. Whilst the humidified flag still has heavy creases, it is now able to lie flat on the table, can be understood and appreciated for its original shape. Fig. 7 shows the comparison between a flag which has not been humidified and one that has been humidified on both sides. This humidified flag still has some visible minor creases but is able to lay completely flat, meaning that when it is stored in a pile with the other humidified flags that the heavier creases won’t be able to set further.   

  

Workshop   

Due to the number of flags and the repetitive nature of the treatment; that the flags are each humidified for the same amount of time in the same way, this project presented a unique opportunity for a textile humidification workshop for the book and paper conservators in the conservation department. Together with the textile conservation intern Gee Roxas  and the textile conservator, Liz Rose, I was able to run a half-day workshop where each participant was able to watch the process, from surface cleaning through to humidification, to see how these processes differ between paper and textile objects, and to then dry clean and humidify a flag for themselves. The workshop was very successful and participants were able to increase their confidence in working with textiles and composite objects.

Fig 10: Storm Scott demonstrating humidification process for workshop attendees 

When IOR/F/4/1767 was added to the British Library Qatar Foundation Programme (BLQFP) digitisation workflow, it immediately aroused curiosity. 

The volume itself is large, heavy, and fascinating. Its sheer weight, combined with the multiple areas of damage, made it difficult to handle properly. At first, I found myself puzzled—unsure of how to organise my workspace or where to begin the condition assessment. As a result, the book sat for a few days in the studio, waiting for me to gather my thoughts and decide how best to proceed. 

But IOR/F/4/1767 is no ordinary item. It's a piece of history that sparks the imagination. It's more than just a document to be conserved, catalogued, and digitised.

 

Img. 1: IOR/F/4/1767

 

Looking at this volume, I don’t just see a book—I see an ancient grimoire, filled with secrets. I see the wear and tear of time, the handiwork of a bookbinder who, long ago, had to find a way to fit a vast collection of loose documents into one single volume. I see a binding that was designed to hold pages that would be opened repeatedly, and I can imagine the last reader who, upon opening it one last time, must have hoped the binding would hold together just a little longer. 

As I gaze at this book, I am transported into a world of both practicality and wonder—a reminder that even seemingly mundane objects have fascinating stories to tell. And not to lose this, I requested a 3D model of it. 

 

IOR/F/4/1767 by British Library on Sketchfab

 

At the British Library, we place great value on the unique features we uncover during our work, and we aim to preserve these qualities while ensuring the item’s longevity. 

IOR/F/4/1767 is heavily damaged: the spine cover is detached, and the once functional springback mechanism that allowed the book to lie flat when open has broken. The boards no longer provide adequate protection for the text. 

This damage, however, presents an opportunity to document the construction of the book in detail. I can see the sewing threads traveling up and down through the sections, creating a distinctive pattern on the spine. This is where a broken binding can be a blessing—it allows me to record a precise description of the sewing pattern and the board attachment system. 

 

Part of my work in this digitisation project is to explore various treatment options, considering both the physical condition of the book and the conservation for digitisation guidelines. The challenge was to complete the work within five hours—while still ensuring that the item would be safe for handling and its information accessible. 

After gathering detailed information about the volume, including photographs and a thorough description, I considered three possible treatment approaches.  

• Bespoke Box: Place the book in a custom box as it is, with limited access in the reading rooms due to its fragile condition. This option would make the book unsuitable for digitisation. 
• Partial Disbinding: Partially disbind the book by removing the spine, boards, and endleaves, and then cutting the sewing to separate the text-block into smaller sections. This would allow the item to be digitised as a series of booklets. 
• Full Disbinding: Completely disbind the book—removing the spine, boards, endleaves, and sewing. In this case, the book would be digitised as a loose-leaf file. 

These options were evaluated through a risk assessment, where I weighed the pros and cons of each.  

After discussing with my colleagues—curators, imaging technicians, and other conservators—I ultimately decided on the partial disbinding treatment. 

 

The process of digitising IOR/F/4/1767 was both an ethical and a personal experience. The 3D model created is an attempt to capture my initial impressions of working with this fascinating book. Digitisation cannot do full justice to its impressive dimensions, its old archive scent, or its 15 kilograms of dusty paper, cloth, and boards, all of which must be left to your imagination. 

This is just one of many curious items hiding in the British Library’s stacks. Each book, like IOR/F/4/1767, holds its own story—waiting for someone to unlock them.