Guidelines for Matting and Framing Paper and Photographs, Part Ii

MUSENEWS TECHNICAL BULLETIN 23 Sponsored by the Oklahoma Museums Association and the Oklahoma Historical Society GUIDELINES FOR MATTING AND FRAMING PAPER AND PHOTOGRAPHS, PART II

Karen Tidwell, Paper Conservator, Commonwealth Conservation Center, Harrisburg, PA

Introduction Check bom the framing hardware and ment particles off the art and onto the Proper framing can protect exhibited pho­ the wall hangers to ensure that they can glazing. Acrylic is preferred for works on tographs and works on paper from dirt, pol­ support the weight of the framed picture. paper with non-powdery media, for color lutants, insects and vandalism. Using inap­ Screw eyes tend to pull loose from the photographs, and for short term use with propriate framing materials or techniques wood, so nickel plated 'D' ring hangers black and white photographs. It will not can cause irreversible damage. The follow­ are preferred. 'D' ring hangers with a shatter when dropped, but is easily ing information, along with Part I of the tech­ two-hole design are more secure than sin­ scratched. Whenever possible, use acrylic nical bulletin in MUSENEWS, October 1994, gle-hole hangers. Measure the frame's glazing that filters out most ultraviolet can be used as a guide for matting and framing entire height and attach the 'D' ring hang­ light (e.g. Plexiglas UF-3, Acrylite OP-3, museum, archival or private collections. ers to the vertical frame members one- Lucite SAR UF-3). third of the distance down from the top, Before framing, smooth the edges of the Frames using wood screws. new, paper-covered acrylic sheet with a file as necessary, and wipe away the resulting Before photographs and works on paper Hang the framed picture from two wall dust with a damp cloth. Peel off the paper are framed, they should always be properly hooks rather than one for added security. Never reuse old picture wire; it may break. just before framing the art to avoid dust and matted (see Part I). Frames for works on If possible, eliminate the wire and hang me soiling. New acrylic glazing does not need paper can be made of either wood or metal. frame directly from two wall-mounted pic­ to be washed. However, reused sheets may If using a wooden frame, the inside of the ture hooks that attach to the 'D' ring hang­ be cleaned with a lint-free cloth and a very rabbet (the opening where the picture rests) ers. However, if this is not possible, use dilute solution of mild detergent (such as can be sealed to protect the art from acids in new, very heavy copper wire. Ivory Liquid) in water. Using commercial the wood. Barrier films (Marvelseal 360 or anti-static polishes on Plexiglas appears to Marvelseal 470 plastic/foil laminate) can be Glazing be safe for framed art on paper, but the adhered inside the rabbet with a hot tacking effects on photographs are unknown. iron. Purchase Marvelseal without the red Framed photographs and works on paper Non-reflective Glass — Choose one of ink inscriptions if possible, because some should always be covered with glazing the newer types, such as Tru-View, Sandel tests suggest that the ink is reactive. The (either glass or an acrylic sheet, such as or Denglas, that does not have to be placed rabbet also may be sealed with 4 coats of Plexiglas) to protect them from soiling and directly against the art to prevent reflections. diluted Polyglaze 1-175 or Sancure 878, other damage. Some of these glasses are shatterproof water-based urethanes available from Glass — When framing a work that has and/or capable of filtering out ultraviolet Camger Chemicals. Allow the urethane powdery media such as charcoal, pastel, light Most have surface coatings that can be coatings to dry for at least a week before chalk, graphite, and flaking gouache, always scratched or damaged. Follow the manufac­ framing. Another protective option, using a use glass. For long term use with black and turer's instructions for cleaning, and for sealed package, is described below. white photographs, glass is preferred over acrylic. whether the glass can be taped during tran­ Photographs are readily tarnished and sit. If the glass can not be taped when trans­ damaged by a variety of materials, including Before framing, dull the edges of freshly cut glass with a glass seamer tool. Then go porting the object, place a temporary acrylic wood. Instead of wood, use non-corrosive or taped glass glazing in the frame for the metal frames, such as steel, brass, anodized over the edges and surfaces of the glass with a razor blade to remove any glass splinters. trip, and pack the non-reflective glass in a aluminum, and aluminum with an oven- separate crate. baked enamel finish. Frames for pho­ Clean the glass with either warm water, a A note on cleaning glazing — To clean tographs and paper should never be repaint­ very dilute solution of mild detergent (such glazing on a framed object, buff it with ed with oil-based paints. as Ivory Liquid) in water, or water with a clean, dry chamois leather or a soft, lint-free Before framing, check the joints of the small amount of dilute, clear, non-sudsy ammonia. Let the glass dry well, half a day cloth. Use a slightly moist cotton swab to frame for looseness or splitting, and make to a day, before framing the art remove smudges and marks. For very dirty any necessary repairs. Valuable historic glazings, unframe the object and wash the frames should be treated by a conservator. Glass does not scratch readily, but it glazing separately. If that is not possible, lay When reusing a frame, clean old bits of breaks easily. If transporting framed artwork to another site, tape the glass in a network or the framed art horizontally on a table and paper and adhesive residues off the back, wipe the glazing with a lint-free cloth or unless they contain information of historical crisscrossing fashion with 3M #336 tape (which does not leave a residue) or with chamois slightly dampened with water or significance. It may be necessary to soften alcohol. (Do not use ammonia, because it the adhesive first with a small amount of masking tape, and position the art to travel vertically in its crate. After unpacking the art can damage certain frames and works of moisture, but avoid dampening the wood. art) Wipe the glazing dry. Do not apply the Dust the inside and outside of the frame and removing the tape, use a razor blade to remove any adhesive residue on the glass. cleaner directly to the glass or use too much with a soft brush. If the frame is not deep on the cloth, because excess liquid can Acrylic — Do not use acrylic glazing enough to hold the matted art and backing splash onto the frame and drip inside, dam­ over powdery media because it generates a board, nail strips of wood to the back to aging the mat, frame and object. increase the depth. static electric charge that pulls small pig­ MUSENEWS 25:1 WINTER 1995 5 Spacers Securing the Art in Place Please note that the matted art and the Paper and photographs should never Once assembled, place the frame face backing board must be kept at 40% to 55% be framed in direct contact with the glaz­ down on a table that has a soft, padded sur­ relative humidity (R.H) for approximately a ing. In most cases, adequate space will face. Then secure the mat and backing week before the package is sealed, to ensure be provided by a standard window mat board in place by inserting blued (corrosion- that the humidity inside the package remains made of 4, 6 or 8-ply mat board, or by a resistant) or brass brads (about 19 gauge, moderate. Additional humidity control can be sink mat. (Refer to Part I for information 1/2" to 3/4" long) or brass escutcheon pins obtained by inserting a sheet of Art Sorb, on matting.) However, invisible spacers into the frame rabbet, using a brad pusher or conditioned to 50% R.H., between the back­ can be placed under the frame rabbet if a pistol grip framing tool instead of a ham­ ing board and the outer waterproof backing. window mat is aesthetically inappropri­ mer. A few brads can be inserted before If your institution does not have good humid­ ate, or the art has severe bulges and moving the frame from the easel to the ity control, avoid constructing sealed pack­ cockling. table, to hold the framed package together. ages after the matted objects and backing Spacers should be made of strips of If the glazing/matted art/backing board boards have been exposed to long periods of archival quality materials such as rag board, package is thick enough to fill the frame dryness or excessive dampness. Instead, wait archival corrugated board, and Plexiglas, rabbet, it can be held in place with brass until the end of a week-long period of 40% to that extend around the entire perimeter of mending plates (1/2" by 2"). Thicker pack­ 55% R.H. before constructing the sealed the frame rabbet. Multiple layers can be ages can be accommodated by attaching package. If this is not possible, do not use a joined together with 3M #415 double-sided wood strips to the back of the frame, sealed package. Foxing and mold growth will tape, or with an archival adhesive, such as increasing the depth of the rabbet. If neces­ almost certainly occur if the contents are con­ Jade 403 or Elvace 40-704. The spacers are sary, the mending plates can be bent slightly ditioned to 65% R.H. or higher when the attached to the inside of the glazing with 3M to conform to the package shape. The plates package is sealed. #415 tape. Framespace is a commercially are attached only to the frame, not the art, available polyester spacer appropriate for with screws. Additional Suppliers museum quality work. Brainerd Manufacturing Co., 115 N. Dust Seals Washington St, East Rochester, NY 14445, Backing Boards The framed package may be sealed on 716/586-0028 (brass mending plates) Backing boards, the materials placed behind the back to prevent dust and insects from Camger Chemical Systems, Inc., 364 the matted work being framed, need to be fair­ entering. Apply one of the following types Main St., Norfolk, MA 02056, 508/528- ly rigidan d of archival quality. Suitable mate­ of tape along the gap between the backing 5787 (Polyglaze 1-175) rials include mat board, archival corrugated board and the frame: J-Lar P-910 tape, Denton Vacuum Inc., 8 Springdale board and Coroplast, a corrugated polypropy­ Scotch Book Tape, or linen tape. Another Rd, Cherry Hill, NJ 08003, 609/424-1012 lene sheet available from plastic suppliers. Use option is to place a dust seal of heavy acid- (Denglas) 4mm thick, natural-colored, archival quality free paper over the back, and attach it to the EDCO Supply Co., 323 36th St., Coroplast Foam-filled, paper-covered boards, frame with 3M #415 double-sided tape. Brooklyn, NY 11232, 800/221-0918 such as Fome-Cor, deteriorate and should not Attach rubber spacers, pieces of cork, or (Marvelseal; specify without printing) be used as backing boards for paper and pho­ push pins to the back of the lower comers to Frame Tek, Inc., 5120 #5 Franklin tographs. increase air circulation behind the frame and Blvd., Eugene, OR 97403, 800/227-9933 discourage mold growth. (Framespace) Assembly [editor's addition] The Memorabilia It is best to frame art in a vertical position, Sealed Packages Corner, 1312 McKinley Ave., Norman, OK so that you can watch the front and back at If the display area tends to be very damp 73072, 405/321-8366 (frame sealing tape, the same time. Never turn the matted object or dry, the matted paper or photograph can acid-free backing paper and other supplies) face down to place it into a horizontal be placed in a sealed package before fram­ Office supply & art stores (Scotch frame. A sturdy painting easel can be used ing. This will help hold the humidity inside Book Tape, vinyl erasers) to hold the frame nearly vertical. Set the the package at a more constant level, and Permacel, PO Box 671, New clean, dry glazing in the frame, making sure will keep out dust and insects. However, Brunswick, NJ 08903, 800/755-8273 (J-Lar that it fits well. If desired, to keep out dust sealed packages or frames are not recom­ P-910 tape) and insects, the glazing can be taped to the mended for black and white RC (resin coated) Rohm & Haas, 100 Independence Mall inside of the frame rabbet with J-Lar P-910 photographic prints because the prints give off West, Philadelphia, PA 19106, 215/592- tape (by Permacel) or 3M Scotch Book gases that will build up in an enclosed space, 3000 (Plexiglas) Tape #845. causing accelerated deterioration S & W Framing Supplies, PO Box 340, Remove smudges from the mat with a A sealed package is constructed by laying Garden City Park, NY 11040, 800/645-3399 white vinyl eraser (Mars Staedtler or a backing board over a sheet of waterproof (framing hardware and supplies) Magic Rub), and brush away eraser outer backing (Coroplast, Marvelseal 470, United Manufacturers Supply, Inc., 80 crumbs or debris with a soft brush. Insert Mylar Type D, or acrylic sheet), then plac­ Gordon Dr., Syosset, NY 11791, 800/645- the mat into the frame, checking the ing the matted object over both layers, face 7260 (framing hardware and supplies, brass front to ensure that all is well, and that up. A sheet of acrylic glazing is placed on escutcheon pins) no debris is caught under the glazing. top of this package. The edges are sealed Then place one or more backing boards with transparent J-Lar P-910 tape or Scotch Bibliography behind the mat. The mat and backing Book Tape #845. The tape should extend Wilhelm, Henry. The Permanence and boards should be slightly smaller (1/16") only about 1/8" onto the front, so that it is Care of Color Photographs. Grinnell, Iowa: than the frame rabbet opening. covered by the frame rabbet. Preservation Publishing Co., 1993. 6 MUSENEWS 25:! WINTER 1995