HOME Conservation Framing
Conservation framing is the terminology used to describe the way in which all reputable framers will prepare and frame artwork that holds any intrinsic value. Unfortunately, some framing techniques not only fail to protect, but could also damage the artwork over time due to acids in tapes or, boards that are used whilst framing. Clearly, bad conservation techniques will cause damage to artwork over time and consequently de-value the work. |
Foxing, small brown marks due to damp, on the edge of a map |
Paper and fabric are sensitive to the mediums that are used during the framing process, and damage can occur on several levels, namely through damp, changes in temperature and humidity, restriction of movement within the frame, UV light from sunlight, and the tapes and adhesives used to hold the artwork in place. Damage manifests itself in different ways; either through acid burns (through the wrong card being used), foxing (small brown marks due to damp), mould, fading of the artwork, and the paper content itself deteriorating and becoming more brittle.
In the past, artwork was attached using an animal-based glue, e.g. rabbit skin glue. Although the artwork can be removed from the board if it is attached with animal-based glues, it is a very costly and arduous procedure that is carried out by a paper conservator. Most detrimental in this process is the fact the board must be dampened over a period of time, leaving artwork, such as watercolours, easily damaged by the glue and water leaching the colour from the artwork. Modern tapes and adhesives useed to mount artwork have replaced animal glues, and are free from acids, and in many cases are reversible. To mount artwork, we use a paper filament that is heated, and which, when re-heated, can be removed. The artwork is ‘hung’ from small tabs, rather than covering the whole of the back of the work with adhesive. Tapes such as an adhesive commercial sticking tape or masking tape should never be used, as they can, and will, cause permanent damage.
We always recommend a mount card which allows a small air gap between the artwork and the glass so that the work can ‘breathe’ within its frame. If the customer prefers not to use a mount than we have a variety of acid-free beadings which again create an air gap between the glass and work by slipping under the rebate of the frame. We stock a wide range of mount card, from a budget priced board (which has an alkaline pH, however these can still contain acids and they have no place these days in conservation picture framing), to full museum-quality mount card. Museum-quality mount card is made from a high-quality bleached alpha cellulose and is lignin-free, only natural pigments are used which are fade and bleed resistant. Water-soluble extracts are minimal and the card is buffered with calcium carbonate. Naturally, we always back all artwork with an acid-free board to protect the acids in the final backing board from causing any problems from behind. However not even the best framing techniques can stop the yellowing and marking of artwork if the artist has not used an acid free paper to start with! More...
Most pictures these days are framed using a standard 2 mm float glass, which provides some protection against UV rays, but there are a wide range of UV glass and perspex sheeting which can be found listed under Glass in the Services menu above.
159 Haverstock Hill, Belsize Park, Hampstead, London NW3 4QT, United Kingdom