and why do harlequins often look so whimsical and sad? This poor little chap sure had reason to be.

He’s an original design for a stained glass window from the 1960s and I was asked to reframe him.

He arrived squashed in the original frame, much too small for his scale. The minute moulding was too small having no strength to adequately accommodate the weight of the painting, backing and glass. The corners were dangerously loose, at risk of falling apart. The design was directly in contact with the glass and there was no protective undermount. When I opened up the frame the result of his “mistreatment” was clear to see. He had suffered. Let’s look at what happened.

ACTIVATED ACIDS

If you look closely you will see a shadow of the harlequin on the left hand board (the original backing board). This has been caused by light penetrating the paper around the image activating acids in the backing board. The image has acted as a stencil, so the board is darker where there is no image, the darker areas and outlining of the design has blocked the light.

.

ACID DAMAGE

As a consequence, activated acids have started to attack the artwork, the reverse of which is shown on the right. The stained area surrounding a white negative image is evidence of this. The paper is being weakened and the artwork is being damaged. Simply using a quality undermount would have protected the work from acids which have now leached into it.

.

REFRAMED

Although there is nothing to compare it’s highly likely the colours of this piece of work have faded significantly, so we can only imagine what might have been. Working with what is left, I mounted using museum quality board in a soft “aged” colour. A conservation quality undermount protects the work from the backing board and will slow down any further acidic deterioration. Acids already present could possibly be flushed out by a professional paper conservator, but my client didn’t want to go that far.
Conservation Clear glass gives our little harlequin the best possible protection against the effects of UV light and is held above the image by the mount. Constant changes in humidity and temperature speeds up the process of deterioration, to protect against this the package is sealed ensuring a stable environment within the frame.

As this is the original design for a stained glass window a simple flat, matt black cushion moulding emulates the lead work.

Our little harlequin is now happy and safe in his new suit.

.

.

If reading this blog has raised other questions for you or you’ve noticed something you would like explained, call Bev on 01303 268618 or 07833 350815.

Spring is coming, traditionally a good time to clean through and freshen up the house. These days we don’t need to do the full Downton Abbey shuffle, but there are still items in our home that benefits from regular inspection. With a little help from your picture framer you should be in possession of easy to follow but critical care advice.

This should include:

• How to lift and carry your work. (Believe me there is a wrong way to do this).
• How and where to hang it.
• Basic care advice.
• Description of “Normal” conditions.

The Fine Art Trade Guild (FATG) defines “normal” conditions as:

1. Out of direct sunlight.
2. Within a temperature range of 10-25 degrees centigrade.
3. Within a relative humidity range of 40%-60%.

Based on these conditions, “conservation framing” (FATG Level 2) will protect and display your work for 20+ years and “museum framing” (FATG Level 1) for 35+ years.

To prolong the life of valuable exhibits, museums limit the temperature range to between 16-19 degrees centigrade, clearly this is too limiting for the domestic situation.

My leaflet, provided to all of my new customers includes a paragraph headed “A Quick Check”. The last sentence reads, “Check the mitred corners of the frame and the tape, sealing the package, if there is evidence of damage seek advice. We are here to help.”

The following images show evidence of two problems due to neglect. Admittedly it’s an old print, but a perfect example of how if left unchecked, things can go badly wrong for artwork. The first image shows insect damage on the right, where the little blighters have found lunch and munched into the surface of the paper, removing areas of the artwork. The same image shows the culprits, silverfish, which look as if they’ve suffered indigestion and perished between the glass and the print. Left in the framing package the dead insects will go on to do further damage to the print.

The second image highlights water damage and staining.

Both problems could have been avoided and the reason for the damage is clear to see in image three. The mitre of the frame is broken and an open invitation to insects, exaggerated temperature and moisture fluctuations and airborne pollutants like smoke.

The top left corner of the frame has been damaged, become loose and is opening up. It is no longer able to protect the artwork.

This is a dramatic example, highlighting the need for vigilance and action as soon as there is evidence of problems. Other things to look for:

• Loosening fittings.
• Wearing/fraying hanging cord/wire.
• Corrosion to metal fittings.
• Cracked glass.
• Breaks in or lifting sealing tape.
• Mitres opening and loosening due to expansion of acrylic glazing.
• Finally, don’t forget to check the picture hook/s in the wall that your work is hanging on. I’ve lost count of the number of pieces I’ve reframed because they’ve fallen off the wall, simply because the picture hooks failed.

If you find any of these problems act quickly, seek advice from your local reputable picture framer and discuss a plan of action.

A simple 5 minute check every 1-5 years could be the saving of your precious artwork.

Contact Bev on 01303 268618 or 07833 350815 if you have any concerns about your artwork.

Framing your children’s creations sends a positive message of encouragement to your little Van Gogh.  It marks their work out as being particularly extraordinary and worthy of this special attention, but drawing and creating provides so many benefits in itself. Creativity is an important part of a child’s development. It’s a critical form of communication when they haven’t yet fully developed verbal skills. When drawing there are so many decisions to be made, which paints to use, or should it be crayons, how do I draw this and what colour should be, is it too big or too small. Already they’re starting to make decisions and solve problems. Hand/eye coordination and dexterity develop. Creating in school or nursery teaches sharing and consideration. Creativity allows your child’s imagination to run free and explore, developing an open mind and emotional intelligence.

Image: Vlada Karpovich: pexels

Framing their work demonstrates your pleasure which is so motivating for the child inspiring them to create again. Involve them in the framing process. Use a framer who will work at their level of understanding and will consider their preferences and opinions. Mastering creative skills and seeing projects through to completion, even at a young age develops self- belief, confidence and perseverance, building resilience for their futures.

Image: Larson Juhl

Kids love colour and interesting combinations of colour!!! There are some great coloured mouldings just crying out to be selected for kids work. One of my favourites is “Confetti” by Larson Juhl available in a huge range of brights, pastels and a few good old faithfuls.  But then we might all be surprised by a sophisticated decision made by your little artist.

One really important element of framing for children, particularly if the work is to be hung in their own space, is glazing; more particularly if they happen to be exuberant little individuals. Ask us about acrylic glazing; it’s light weight and shatterproof, hugely reassuring to know that if disaster happens the kids are reasonably safe.

If we can help you display and preserve that special piece of work just give Bev a call on 01303 268618 or 07833 350815.

You never know, you might have the next budding Tracey Emin in your family.