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.

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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.

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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.

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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.

My question would be “Why wouldn’t you?” If you’ve bought a piece of artwork it’s obviously had an affect on you, enough to invest your hard earned cash in it. If you like it that much you should enjoy it for as long as possible. Not only does mounting and framing visually enhance your treasured image, it protects it from environmental and physical damage. From an artist’s point of view it finishes the work, raising it a level, adding value which makes it far more saleable than unframed work.

The “framing package” protects artwork from a number of notorious enemies; technical developments in framing materials and adopting good framing techniques means that the life of your work can be prolonged by years. However there are six main enemies of artwork: light, moisture, insects, airborne pollutants, heat and physical damage.

So how damaging can each of these be, and how does framing help?

Light

Light is possibly the most common source of damage to paper and textile based art. It destroys the cellulose in paper resulting in fading, embrittlement, and discolouration. This damage can be made worse by oxygen in the air and impurities in the base medium. Papers containing lignin and manufacturing additives yellow with exposure to light. Fabric and textile based art is particularly prone to fading and if kept in unfavourable conditions the outcome can be devastating.

Ultraviolet (UV) radiation is the most destructive component of light. It represents only 5% of visible light, but causes 90% of damage. The major source of UV is natural daylight and fluorescent lighting, and contrary to the belief of many UV light is present every day and everywhere. Be it summer, winter, sunny, rainy, north, south, east or west facing, it strikes and bounces from one surface to another. It’s ironic, that which allows us to see our artwork, is its enemy.

There are a few things you can do to slow the rate of damage. Never hang art in direct sunlight or too close to a fluorescent light source. If sunlight is likely to fall directly on your artwork try to relocate it, or consider having it glazed with one of the specialist UV filtering products. UV control window film provides an additional level of protection and is a small price to pay to protect your investment.

Moisture

Moisture turns paper acidic due to a chemical reaction with elements in the paper itself, destroying it and the artwork. Paper absorbs moisture and will expand and contract as a result of changes in relative humidity and temperature. Framing artwork reduces the impact of excessive atmospheric changes and pollutants which may result in mould growth. Known as “foxing” it appears on paper as dull discolouring spots, and some mediums are more susceptible than others. Textiles suffering from mould develop a musty smell and a surface growth, but taking simple precautions can substantially reduce the likelihood of mould forming.

• Keep relative humidity below 65%.

• Don’t display pictures in damp situations, such as kitchens, bathrooms, basements or on cold external walls.

• Clean frames regularly, dust traps moisture and contains airborne mould spores.

• Encourage good air circulation both behind and within the frame. Use ‘bumpers’ on the back of the lower two corners, to hold the frame away from the wall. Mounts or spacers used during framing prevents the artwork coming in contact with the cold surface of the glass, preventing image transfer and condensation. Improved air circulation within the framing package equalises the humidity across the surface of the work.

• Avoid leaving pictures in closed unventilated rooms for long periods. When storing, good air circulation is key so raise the work off the floor.

• Have infected works professionally treated to kill mould, then rectify the conditions that caused it in the first place. However take care, any spores remaining can lay dormant for years and be reactivated when the conditions are right.

Insects & Airborne Pollutants

The most common source of insect damage to paper based art is from silverfish, and woodworm. However, paper isn’t the only option on the menu for woodworm, which will munch anything made of cellulose, and will stop at nothing to get to its delicacy, flour paste and glue size. Clothes moth and carpet beetle are the main enemies of textiles. Cockroaches tuck in to parchment, paper, leather, fabrics, and anything containing sugar. Ensuring the back of the framing package is fully sealed keeps out insects, dust and airborne pollutants and helps to maintain a stable environment within the frame.

Heat

High temperatures accelerate the deterioration of art, so avoid displaying it directly over radiators and all other heat sources. Equally, excessive variations in temperature should be avoided so where possible avoid hanging artwork on the chimney breast or cold external walls.

Physical Damage

Being completely enclosed behind glass within the framing package artwork is protected from knocks, nicks and abrasion.  In extreme circumstances such as fire or flood, protection has been known to prevent total destruction.

How does framing enhance your artwork?

There are three components which have the major impact on work being presented, the mount, the frame and the glass.

The mount has two main functions, to present your work and to protect it from the glass; it’s used to create space allowing the image room to “breathe” in both a practical and aesthetic sense. There are no hard and fast rules about the size of the mount and although you will often hear framers referring to “over or under” mounting it’s really a matter of personal preference, but the work should look balanced. Double, triple or “fancy” mounts add importance to a smaller piece of work; equally a large frame can make a small picture look amazing. Float mounting is a great way to present a piece of work when the edge is part of its character such as papyrus, a piece of fabric or handmade paper. Keeping the edges visible enhances unique qualities of this kind of work.

Ensuring the mount works with the frame highlights subtleties of colour within the artwork and creates a harmonious presentation. A well-chosen frame will enhance an image enormously; conversely a badly chosen frame can ruin a piece of work, render it unimportant and substantially affect its perceived value. Considering the image provides clues to suggest the style of frame, and attention to detail such as matching the frame to the right historical period respectfully lifts the work from average to stunning.

Allow the image to dictate the colour and style of presentation. It isn’t advisable to mount and frame artwork in isolation to suit your décor as it may not be the best solution for the artwork itself. Try not to choose a “red” painting for a “pink” room, choose a piece of work that suits your interior, the presentation will then compliment your space. Alternatively allow the artwork to influence how you decorate your room.

Finally the glass, here technology has made a major leap forward. For years picture framers used good old 2mm float glass, which is great, but it has its limitations. For example it’s very reflective, so you see your own reflection before you see the image. It has a green cast which can affect the colour of the artwork, and it provides minimal UV protection, just 50%, so your work is still vulnerable. Compare this with extra clear museum quality glass which provides 96% light transmission, a superb 99% UV filtration and less than 1% reflection. The glass is virtually invisible, which is why I’m constantly polishing fingerprints off my display selector, because customers just don’t believe there is a piece of glass there; but it goes to prove that you see the image before you notice the glass. Admittedly it is the glass of choice for valuable work and it comes at a cost, but there is a host of alternative glazing options between standard and museum, depending on your priorities.

I love presenting work beautifully, so if I can help, I’m just a phone call away.