Caring for Frames 2017 Gerald R

Caring for Frames 2017 Gerald R. Ford Conservation Center

About Frames

Frames come in all shapes and sizes. Some are so large they must be disassembled to fit through doorways, while others are so small that they enclose tiny portrait miniatures. Frames can be highly decorative or inconspicuously plain. Some frames were even designed by the artists specifically for the artwork they enclose. No matter the size or adornment, frames add to and protect the works of art they surround and should be cared for accord- ingly. Frames can be made from just about any- thing. Common materials can include:

 Solid wood  Ceramic

 Wood veneer  Glass

Inside this issue:  Metal  Plastic

Parts of a Frame 1 Parts of a Frame Handling 3 Decorative elements of frames may consisting mainly of whiting, animal Cleaning 4 include: glue, oil, and rosin, which can be cast Carved wood elements, which were in molds to easily create elaborate Hanging 4 most popular before the early 19th cen- decorative elements. It became widely used by the mid-nineteenth century. Storage 5 tury. Cast plaster elements also became Cast decorative elements, such as th Emergency Procedures 6 more popular in the late 19 cen- “compo”, or plaster. Compo (also tury. Numerous other cast materials Consulting a Conservator 7 known as composition) is a mixture have been used on frames, ranging Caring for Frames

Parts of a Frame Cont.

from paper mache to plastic. Cast or- which consists of bronze powder in a naments are typically adhered (and medium. sometimes nailed) to the surface of the Varnish, such as shellac, used to seal frame rails. On traditional frames, the and protect the surface of a frame, es- cast ornaments were gessoed and pre- pecially if there is delicate gilding pre- pared for gilding or painting. sent. Sometimes varnish is used to Gilding, with gold leaf, silver leaf modify the color. (called silver gilt), or aluminum leaf (so The structural parts of the frame in- -called ‘Dutch metal’). Gilding on clude: frames is generally either water gilding, which is applied using an aqueous Rail – The four individual sides of a solution containing animal glue, or oil frame. gilding, which is applied using an oil Rabbet --the small space or lip in which size. Both are often found on the same the painting will rest. If the size of the frame. frame is not exactly that of the paint- Paint, of any variety, applied either ing or if the owner prefers a more intentionally or as an attempt at resto- elaborate setting for the artwork, a ration. This includes “bronze paint”, fillet is added.

Page 2 Fillet --a very thin, simple inner frame Glazing – the glass or acrylic used to that is slipped in to the rabbet of the cover and protect artwork in a picture larger frame. It makes the opening of frame. the frame smaller and adds an addi- Backing Board – Acid-free corrugated tional decorative element to the whole cardboard, acid-free foam core, or plas- frame packet. The fillet provides the tic that protects the artwork from im- new inner rabbet in which the painting pact, handling errors, dust and debris, will rest. Simple fillets are often just gilt temperature fluctuations, and adverse or silver gilt rims, but they can also be effects from labels and markings. elaborate, even fabric-covered, elements of the frame. [Note: this is not Hanging Hardware – the D-rings, hooks shown in the accompanying diagram] and screws needed to hang a framed work of art .

Handling a Frame Much of the damage to frames occurs with clean nitrile when they are being handled, moved, gloves. Handle and hung. Frames are often large, bulky, smaller frames and and heavy. They can be awkward to frames made of metal move and hang. Before moving a while wearing clean framed item: cotton or nitrile Examine the frame carefully. Look to gloves. Remove all jewelry and sharp see if protruding elements along the bottom of the frame allows for resting items to prevent the frame on the floor. Specially-sized scratches and punctures. padded blocks may be needed to keep You should be able to comfortably “If the frame is too protruding decorative corner elements grasp one side of the frame in each from being crushed. hand, about halfway up the side, with large or heavy for one Examine the mounting mechanisms to the front facing the handler. Remem- person to handle, ber if the frame includes glazing, it may determine how to safely remove the enlist others to help.” piece from the wall. Clips or any other be heavier than anticipated. If the holding devices should be opened or frame is too large or heavy for one per- removed before attempting to lift the son to handle, enlist others to help. piece. Keep in mind that decorative elements Prepare a clean, empty location where on the frame may be fragile and are the frame can be placed or leaned. Do likely only adhered to the surface be- this BEFORE the object is taken off the low. Grabbing decorative elements Page 3 wall! may damage them or cause them to break off. Handle frames with clean dry hands or Caring for Frames

C l eanin g

Frames that are in good condition can catch or scratch the surface. If you be dusted with a very soft natural bris- are worried that the surface of the Materials needed: tle brush. White bristles are best so you frame is not stable enough for dust-  gloves (latex or nitrile) can see when the brush has become ing with a soft brush, contact a con- soiled and needs to be washed. Japa- servator. Never use any liquid  small soft natural bris- nese Haké brushes and Lord Sheraton® tle brush, such as a Hake cleaning agents, detergents, or sol- brush Butler’s Brushes are both excellent vents on a frame. These activities choices. Do not use a feather duster or should only be carried out by an ex-  variable speed HEPA cloth as these can scratch the frame or perienced conservator. vacuum snag loose compo or gesso. Do not If the glazing needs to be cleaned, wipe frames with a damp cloth as you  vacuum screen try using a soft, dry cloth to clean it. may accidentally remove metallic gild- If a dry cloth will not work, apply a  rubber band ing, paint, or other surface coatings. light spray of glass cleaner or Plexi- To remove accumulated dirt and dust glas cleaner to a soft cloth, then WARNING: Never spray from a stable frame surface, use a transfer it to the glazing. Rub the broad, soft brush and a HEPA vac- any liquid directly on the surface of the glazing slowly, being uum. Cover your vacuum nozzle with a careful to avoid contact with the glazing as it may run be- nylon screen or cheesecloth to prevent inner edges of the frame. tween the glazing and the any loose bits from getting sucked into

frame, causing damage to the vacuum. Remove any loose dirt or dust by brushing lightly with a soft the artwork below. Never brush. If the brush has a metal ferule, attempt to clean the sur- cover it with tape to prevent scratch- face of the frame with ing. Gently sweep the brush over the surface toward the vacuum nozzle. Do water or any type of not attempt to clean the surface with cleaning solution as you cloth or feather dusters, as these can could easily remove the

gilding or paint. Hanging Frames

Proper hanging is one of the most im- appropriately, it will ensure the safety portant elements in the long-term care of the frame and artwork: of works of art. While the method be- 1) Choose a location away from out- Page 4 low requires some care to make sure side walls because they are prone to the fixtures are level and measured moisture and temperature fluctuations. pending the frame with 2) Avoid direct sunlight and other picture wire causes stress sources of ultraviolet light, such as fluo- on frame parts, and pic- rescent light bulbs. ture wire has been known to snap over time. 3) Position the artwork away from water pipes and blowing air vents. 7) Use at least two D-rings with the appropriate 4) Do not place artwork above working weight rating for the fireplaces. painting. If one should 5) Hanging hardware should be secured fail, the other D-ring may prevent the to the part of the outer frame closest painting from falling. to the wall if possible. Inner frames 8) The D-rings should be used with parts, such as the fillet, may be closer hooks that are either nailed or to the wall, but they may not be struc- screwed into the wall. turally sound enough to carry the com- 9) For exceptionally large or heavy bined weight of the frame and art- “Standard museum prac- work. paintings, ledges or brackets placed below the frame can be used to dis- tice avoids using eye 6) Standard museum practice avoids tribute the weight securely. hooks and picture wire, using eye hooks and picture wire, especially for large or heavy frames. Sus- especially for large or heavy frames.” Storage of Frames and Framed Objects

A frame should be the proper size for the screws should connect the plates to object placed within it. The rabbet of the the painting stretchers or panels. The frame should be lined with felt to pro- stretcher or panel should only be tect the edges of the object from abra- pressure-fit to the back of the sion, and an acid-free, lignin-free backing frame. board should be fitted to the back of the Frames can be stored in carpet-lined work of art. The object in the frame and bins, on metal racks, or on the floor its accompanying backboard should be on padded blocks. If frames are held in the frame with either offset clips stored in bins or on blocks, there or fixing plates that have been bent and should be a piece of acid-free sized to fit securely. The clips or fixing cardboard or acid-free foam-board plates should be screwed into the back placed between each frame, larger Page 5 of the frame so that the work of art can than the outside dimension of the easily be removed from the frame. No frame. The frames should be stored Caring for Frames

in secure spaces with stable environmental conditions, ideally between 68 - 72º F (20 - 21 º C) and 40- 50% relative humidity. The surface of the frames should be covered with clear polyethylene plastic, which acts as a dust cover and protects the frames from ceiling leaks. “The surface of the

frames should be

covered with clear

polyethylene plastic,

which acts as a dust

cover and protects the

frames from ceiling Emergency Procedures

leaks.” If your frame gets wet from a flood, leak, Place the frame face up on a flat sur- or other emergency, do not panic. There face to dry. are simple steps to follow to minimize If there is an object in the frame, damage to the frame: such as a painting, lean the frame Remove the frame from the source of against a wall, face out, and allow it water as soon as possible. to air dry. Do not try to dry the frame by toweling. If the frame or the painting is flaking, Compo may have softened from water lay it flat and face up. Save any exposure and could have the consistency pieces that may have fallen off. of paste. Gilding and other surface deco- If the frame or painting begins to ration may come off on your hands. bow or warp, remove the painting from the frame and allow the two parts (painting and frame) to air-dry separately. Contact a conservator as soon as possible for advice and assis- tance.

Page 6 Consulting a Conservator

It is common for old frames to exhibit some minor surface cracks and small losses due to age, handling, and being kept in unstable environments. If your frame is structurally unsound, damaged, or exhibits continuing loss of the surface or decorative elements, it is a good idea to have it looked at by a conservator. A conservator will be able to assess issues relating to its care, and determine an appropriate treatment that does not diminish its value. Conservators can provide basic structural repairs, create of missing components, and carry out aesthetic compensation.

Additional Resources

Library of Congress. “Preservation Guidelines for Matting and Framing”. https://www.loc.gov/preservation/care/ mat.html Cleveland Museum of Art, Conservation Department. (1976).Guidelines for the Care and Handling of Works of Art. Shelley, Marjorie. (1987). The Care and Handling of Art Object: Practices in the Metropolitan Museum of Art. Met- ropolitan Museum of Art. New York City.

Conservation Suppliers

Conservation Resources International Light Impressions 5532 Port Royal Road 100 Carlson Road Springfield, VA 22151 Rochester, NY 14610 Toll free: (800) 634-6932 Toll Free: (800) 975-6429 www.conservationresources.com www.lightimpressionsdirect.com Archival housing/storage supplies, photographic supplies, general Photographic supplies, housing, matting and framing supplies

Gaylord Archival University Products P. O. Box 4901 517 Main Street Syracuse, NY 13221-4901 P. O. Box 101 Toll Free: (800) 448-6160 Holyoke, MA 01041 www.gaylord.com Toll Free: (800) 628-1912 General conservation supplies, housing supplies www.universityproducts.com General conservation supplies, housing and matting supplies Hollinger Metal Edge, Inc. 6340 Bandini Blvd Talas Commerce, CA 90040 330 Morgan Ave Toll Free: (800)-862-2228 Brooklyn, NY 11211 www.hollingermetaledge.com Telephone: (212) 219-0770 Archival housing/storage supplies www.talasonline.com Conservation supplies, photographic supplies, general

This project was made possible in part by the Gerald R. Ford Conservation Center Institute of Museum and Library Services grant 1326 S 32 Street Omaha, NE 68105 LG- 43- 12- 0 4 6 3 - 1 2 . www.imls.gov 402-595-1180 [email protected]