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Located at the de Young, the George and Marie Hecksher Textile Conservation Center provides for the preservation, conservation and scientific study of the Museums’ permanent textile collection, which currently numbers more than 13,000 pieces. The center itself has been specifically designed to accommodate the collection’s largest works, including a partial set of monumental 500-year-old European tapestries, the largest of which measures about 15 by 27 feet, as well as the smallest works, including fragments from ancient Coptic textiles.
The Textile Conservation Center comprises a dry room, a wet room with slanted floor and a dye room and is overseen by head textile conservator Sarah Gates.
Textile Conservation Photos from Flickr
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5577563023"> (view photo on flickr.com)</a><br /><span class="description">When entering the Textile Conservation Lab at the de Young you are first in what is called the "dry room". Staff offices and the Textile Study Library are to the right and there is a small storage room for supplies and equipment to the left.</span>](http://farm6.static.flickr.com/5065/5577563023_ddf2582273_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5577563023\"> (view photo on flickr.com)</a><br /><span class=\"description\">When entering the Textile Conservation Lab at the de Young you are first in what is called the "dry room". Staff offices and the Textile Study Library are to the right and there is a small storage room for supplies and equipment to the left.</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5577590777"> (view photo on flickr.com)</a><br /><span class="description">The second room, just off the far end of the dry room, is called the "wet room", so named because of its slanted floor and drain at one end. This room is designed for aqueous and non-aqueous cleaning ( note fume extraction hoses extending from ceiling).</span>](http://farm6.static.flickr.com/5187/5577590777_d82c9cc049_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5577590777\"> (view photo on flickr.com)</a><br /><span class=\"description\">The second room, just off the far end of the dry room, is called the "wet room", so named because of its slanted floor and drain at one end. This room is designed for aqueous and non-aqueous cleaning ( note fume extraction hoses extending from ceiling).</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5579980283"> (view photo on flickr.com)</a><br /><span class="description">Off the wet room is the small but important "dye room". This has a stove top surface with an extraction hood overhead as well as a separate fume cupboard. The room also houses a large reverse osmosis water system which can be hooked up to the washer/dryer as needed. A lot of water is needed, and promptly, when cleaning large tapestries, carpets and kilims.</span>](http://farm6.static.flickr.com/5021/5579980283_eb5289f403_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5579980283\"> (view photo on flickr.com)</a><br /><span class=\"description\">Off the wet room is the small but important "dye room". This has a stove top surface with an extraction hood overhead as well as a separate fume cupboard. The room also houses a large reverse osmosis water system which can be hooked up to the washer/dryer as needed. A lot of water is needed, and promptly, when cleaning large tapestries, carpets and kilims.</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5578129708"> (view photo on flickr.com)</a><br /><span class="description">The dry room has a mechanized hoist and "pop-up" in its ceiling so that the Museums' largest textiles can be hung before, during and after treatment. Head Conservator Sarah Gates is in the background, center left, with the hoist in action (hanging above and to the right).</span>](http://farm6.static.flickr.com/5017/5578129708_c0a12e73fe_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5578129708\"> (view photo on flickr.com)</a><br /><span class=\"description\">The dry room has a mechanized hoist and "pop-up" in its ceiling so that the Museums' largest textiles can be hung before, during and after treatment. Head Conservator Sarah Gates is in the background, center left, with the hoist in action (hanging above and to the right).</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5713654677"> (view photo on flickr.com)</a><br /><span class="description">TRIUMPH OF JUSTICE tapestry positioned on one of the Lab's 2 tapestry "frames". Under the 3-beam frame (also sometimes called a "loom" but isnt'!) is one of the lab's low, wheeled tables. To work on the tapestry, the table is removed and the conservator sits in front of either of the lower beams at either side. With the center beam raised higher than the other two, the tapestry is supported at an angle for easier visibility and access to both front and reverse. With the wheeled table in position, the tapestry is ready to be released from the frame.</span>](http://farm3.static.flickr.com/2697/5713654677_e46f2f7fbb_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5713654677\"> (view photo on flickr.com)</a><br /><span class=\"description\">TRIUMPH OF JUSTICE tapestry positioned on one of the Lab's 2 tapestry "frames". Under the 3-beam frame (also sometimes called a "loom" but isnt'!) is one of the lab's low, wheeled tables. To work on the tapestry, the table is removed and the conservator sits in front of either of the lower beams at either side. With the center beam raised higher than the other two, the tapestry is supported at an angle for easier visibility and access to both front and reverse. With the wheeled table in position, the tapestry is ready to be released from the frame.</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5574735493"> (view photo on flickr.com)</a><br /><span class="description">The removal of the TRIUMPH OF JUSTICE tapestry, Flemish, 1535, from the tapestry frame. after the majority of its conservation treatment (underwritten by the IMLS) was finished. The stabilization of holes and weak areas in the tapestry were undertaken while the tapestry was rolled on the "tapestry frame" (paid for by the NEA). To get the tapestry installed on the frame it is rolled from one side to the other -- not top to bottom. Conservators, technicians and skilled volunteers are all needed to handle its great size: 14.5 x 18 feet.</span>](http://farm6.static.flickr.com/5108/5574735493_1deaaa0447_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5574735493\"> (view photo on flickr.com)</a><br /><span class=\"description\">The removal of the TRIUMPH OF JUSTICE tapestry, Flemish, 1535, from the tapestry frame. after the majority of its conservation treatment (underwritten by the IMLS) was finished. The stabilization of holes and weak areas in the tapestry were undertaken while the tapestry was rolled on the "tapestry frame" (paid for by the NEA). To get the tapestry installed on the frame it is rolled from one side to the other -- not top to bottom. Conservators, technicians and skilled volunteers are all needed to handle its great size: 14.5 x 18 feet.</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5598985240"> (view photo on flickr.com)</a><br /><span class="description">Balenciaga installation 2011: Several costumes were lent by the Victoria and Albert Museum in London. As is usual with the V&;A, the costumes all arrived in mint condition, at least 1/2 of them ";pre-dressed" on custom mannequin forms in custom crates, as seen in this image before the protective shipping coverings were removed.</span>](http://farm6.static.flickr.com/5148/5598985240_4ddb274338_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5598985240\"> (view photo on flickr.com)</a><br /><span class=\"description\">Balenciaga installation 2011: Several costumes were lent by the Victoria and Albert Museum in London. As is usual with the V&;A, the costumes all arrived in mint condition, at least 1/2 of them ";pre-dressed" on custom mannequin forms in custom crates, as seen in this image before the protective shipping coverings were removed.</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5598323679"> (view photo on flickr.com)</a><br /><span class="description">Balenciaga installation 2011: Mellon Conservation Fellow Nicole Bloomfield from LACMA lent her costume and conservation skills to the exhibition. Her graduate school training at Fashion Institute of Technology-NY helped tremendously with the success of the install. Here she is with the costume borrowed from the Galliera, Musee de la Mode de la Ville de Paris, that was nicknamed "the caterpillar dress".</span>](http://farm6.static.flickr.com/5109/5598323679_806159ba4b_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5598323679\"> (view photo on flickr.com)</a><br /><span class=\"description\">Balenciaga installation 2011: Mellon Conservation Fellow Nicole Bloomfield from LACMA lent her costume and conservation skills to the exhibition. Her graduate school training at Fashion Institute of Technology-NY helped tremendously with the success of the install. Here she is with the costume borrowed from the Galliera, Musee de la Mode de la Ville de Paris, that was nicknamed "the caterpillar dress".</span>")
![Textile Conservation<a href="http://www.flickr.com/photos/famsf/5598324075"> (view photo on flickr.com)</a><br /><span class="description">Balenciaga installation 2011: independent textile conservator and costume specialist Glenn Petersen came from NY to work for one month dressing and putting the final "chic" to the 120 ensembles.</span>](http://farm6.static.flickr.com/5103/5598324075_39d00dd2e1_s.jpg "Textile Conservation<a href=\"http://www.flickr.com/photos/famsf/5598324075\"> (view photo on flickr.com)</a><br /><span class=\"description\">Balenciaga installation 2011: independent textile conservator and costume specialist Glenn Petersen came from NY to work for one month dressing and putting the final "chic" to the 120 ensembles.</span>")
