OKLAHOMA FIELD ADVISORY SERVICE: TECHNICAL BULLETIN 22

Sponsored by the Oklahoma Museums Association and the Oklahoma Historical Society's Field Advisory Service

GUIDELINES FOR MATTING AND FRAMING PAPER AND PHOTOGRAPHS, PART I

Karen Tidwell Paper Conservator Commonwealth Conservation Center Harrisburg, PA

Introduction between the mat and the object. use with photographs. Improper matting and framing can The safest fabrics to use for covering damage documents, artwork and mats are unbleached, undyed cotton A Test to Ensure That Mat Board photographs. Unfortunately, many and linen. Use an archival adhesive, is Not Acidic framers are uninformed about proper such as methyl cellulose to attach the Check the acidity of mat board and materials and methods used in mu­ fabric to the mat. storage enclosures by marking a small seum-quality framing. The following fragment or corner with an Abbey pH information can be used as a guide to Sink Mats for Objects on Mat pen and noting the color. These pens help you find a knowledgeable framer. Board come with directions, and are available You may also wish to contact the For objects mounted on mat board, through many conservation materials American Institute for the Conservation "sink mats" can be made by building up suppliers. Never use the Abbey pH pen of Historic and Artistic Works (AIC), the edges of the backboard with strips of on valuable photographs or works on 1717 K St., NW, Suite 301, Washington, matboard or archival corrugated board, paper, because it will stain them. If the DC 20006, 202/452-9545, for a list of to form a "well" that fits the object. The cut, beveled edges of a window mat paper and photograph conservators in top window mat covers the edges of the turn brown with age, the mat is acidic your area who can recommend framers. object in the well, to hold it in place. and should be replaced immediately. Otherwise, the acids from the mat will Window Mats Attaching Multiple Layers of Mat migrate into the paper causing brown A mat is composed of a mat board Board Together staining. window and a backboard of the same Multiple layers of mat board in the material, hinged together with gummed spacer, window mat, or sink mat can be Finishing the Mat white linen tape. The tape extends along attached with #415 double-sided tape, Before hinging the object to the mat, the entire top edge or left edge, which­ made by the 3M Company. Linen tape erase all pencil guidelines on the mat ever is longer. The thickness of the mat and pressure-sensitive tapes, such as board and dull the sharp inner edges of board should be at least 4-ply. Thicker double-sided tape, cellophane tape or the window bevel with abrasive paper mat board, multiple layers of windows, masking tape, should never be attached or a nail file. This helps to prevent cuts, or an additional mat board spacer is to artwork, documents or photographs. indentions, and burnished areas on the often needed if the paper or photograph These tapes damage the objects and are item being matted. Make sure that the is cockled or distorted. Using one of difficult or impossible to remove after mat is larger than the object to protect these prevents the object from touching adhering to the object. Use archival the edges, and slightly smaller than the the glass or acrylic sheet (such as quality, acrylic-based dry mount tissue inside of the frame rabbet. A window Plexiglas brand), known as the glazing. to laminate layers of mat board together mat should be at least 1 inch larger than Paper and photographs should never for a thicker mat. the object on all four sides. be framed directly against the glazing. This could result in the following Choosing the Right Mat Board Hinges and Photo Corners problems: transfer of media to the Three grades of mat board are To hinge an object to the backboard of glazing, the object sticking to the available: 100% rag board, chemically a mat, use two or more rectangular glazing, and mold growth and staining purified wood-fibered board (conserva­ strips of Japanese tissue paper (100% from condensation inside the glazing. tion board), and the standard grade of Kozo fiber). A medium weight tissue, mat board. The best quality mat boards such as Kizukishi or Chochin, is Specialty Mats are made of 100% rag, but the chemi­ appropriate for most average size works To safely imitate the historic look of cally purified wood-fibered conserva­ on paper. an object framed without a window tion boards are also acceptable. The Each hinge should be approximately mat, place a hidden spacer composed of standard grade of mat board is made of 1/16 of the width of the art. One-third one or more layers of mat board or acidic, poor quality wood pulp that will of the hinge is attached to the back archival corrugated board under the cause brown staining and deterioration upper edge of the object with diluted, rabbet edge of the frame, between the of the paper or photograph, so it should gluten-free wheat starch paste, and the glazing and the object. If using colored, not be used for matting anything of other two-thirds is pasted to the acid-free mat board, a fabric-covered value. Mat board for paper objects backboard. Attach the hinge to the mat, or the original acidic mat (which should be alkaline buffered to a pH of artwork first, smooth it firmly into place may be necessary if it contains impor­ about 8, and mat board for photographs with a dry bristle brush, and place it to tant information, such as the artist's should be unbuffered, with a neutral pH dry between two blotters. To avoid signature), place an interleaving layer of of 7. If possible, choose materials that cockling, place the sandwiched object good quality white or cream mat board pass the Photoactivity Test (P.A.T.), for under a square of glass with a one or MuseNews 24:4 October 1994 5 two pound weight on top. Change the tapes are not recommended for hinging TALAS, 213 West 35th St., NY, NY blotters several times within the first and repairing valuable objects. 10001-1996, 212/736-7744 (especially two minutes to prevent sticking and to If the matted object is stored without wheat starch paste and preservation speed drying. For further protection a frame, place a cover sheet of smooth books) against sticking, use an interleaving lightweight rag paper between the material such as Hollytex between the object and the window. Buffered or University Products, Inc., PO Box hinge and blotter. Allow all hinges to unbuffered paper is acceptable for most 101, 519 Main St., Holyoke, MA 01041- dry for at least four hours. Then works on paper, but cover sheets for 0101, 800/628-1912 (variety) position the artwork in the mat, apply photographs should be unbuffered and paste to the top two-thirds of the pass the P.A.T. If the artwork has a Training Opportunities hinges, and attach them to the powdery media, such as pastel or The Campbell Center for Historic backboard of the mat. Dry the hinges charcoal, it is better to store it with a Preservation Studies offers courses on under Hollytex, blotters, glass, and mat board cover over the front of the conservation matting and framing. This weights, changing the blotters several window, instead of placing a cover type of training is eligible for funding, times as before. sheet directly on top of the artwork. primarily for staff and volunteers of Most smaller objects need only two Store unframed paper or photo­ small, rural and minority museums, from hinges (placed near the upper corners graphs flat, in archival quality folders the Institute of Museum Services' along the top edge), but larger works and boxes. Never store them vertically. Technical Assistance Grants (TAG) can require three or more. If the program. For a schedule of courses window mat covers the edge of the An Easy Microwave Recipe for contact the Campbell Center at PO Box object (allow at least 1/8" overlap), the Wheat Starch Paste 66, Mount Carroll, IL 61053 (815/244- hinges are pasted to the mat board One tablespoon of wheat starch 1173). To obtain a TAG grant application above the object, pendant style. powder (not instant) contact IMS at 1100 Pennsylvania Ave., However, if the object is "floated" in Five tablespoons of distilled water NW, Washington, DC 20506 (202/606- the mat, so that all edges are exposed, 8539). the hinges are folded under and Place the water in a deep, clean attached. With folded hinges, place plastic or glass container. Gradually mix Bibliography pieces of Mylar Type D between the in wheat starch powder while stirring. "Chapter 40 - Matting and Framing," object and hinge during drying to Microwave on high for 20 to 30 seconds. Fifth Edition of the Paper Conservation prevent sticking. Remove and stir. Microwave for another Catalogue, American Institute for If you don't have experience with 20 to 30 seconds. Stir again. Continue Conservation, 1988. this type of hanging, practice on a this process for three to four minutes. Clapp, Anne F. Curatorial Care of variety of papers before trying it on a After cooking, the paste should stand Works of Art on Paper, 4th ed., New valuable object. It takes a certain level for a few minutes to cool before using. York: Nick Lyon Books, 1987. of skill to avoid getting distortions or Strain out any lumps with a clean, fine Phibbs, Hugh. "Creating Your Own staining in the hinge area. One way to mesh plastic strainer. To use, thin the Conservation Deep Beveled Mats," prevent this is to place a piece of paste with water to the consistency of Picture Framing Magazine. May 1993. blotter beneath the hinge before cream. To test the tack of the thinned Smith, Merrily. Matting and Hinging brushing on the paste. The blotter will paste, put a little between your thumb Works of Art on Paper. Washington, DC: absorb some excess moisture. If the and index finger. Rub fingers together, Library of Congress, 1981. hinge is still too wet, allow it to air-dry and slowly separate them at intervals. briefly. As the paste dries, the fingers will tend Part II of "Guidelines for Matting and An alternative to hinges is photo to stick together. The right consistency Framing Paper and Photographs" focuses corners. They are particularly useful of paste will give a slight amount of tack on framing and will be published in the for heavier objects and photographs, or resistance to being pulled apart. January 1995 issue of MUSENEWS. especially resin-coated paper (RC) photographs. Photo corners can be A Partial List of Conservation Karen Tidwell is the Senior Paper Conser­ made of Mylar Type D, Japanese Suppliers vator at the Commonwealth Conservation tissue, or archival quality paper. Mylar Archivart, Division of Heller & Center, Pennsylvania Historical and corners can be attached to the Usdan, 7 Caesar PL, Moonache, NJ Museum Commission, Harrisburg, PA. She backboard with 3M #415 double-sided 07074, 201/804-8986 (Photo-Tex cover received her Master of Science in Art tape. Paper corners cut from Japanese sheets) Conservation from the Winterthur/Univer- tissue or archival quality paper can be sity of Delaware Program in 1989 and a attached with gummed white linen Bookmakers, 6001 66th Ave., Suite Bachelor of Science in Art from Towson State tape. Neither type of tape should come 101, Riverdale, MD 20737, 301/459-3384 University in 1980. While Assistant in direct contact with the artwork. Use (variety; especially Japanese tissues, Conservator/Researcher at the National Mylar photocorners only with objects books) Gallery of Art, Karen contributed to the 1991 on mat boards or heavier photographs. International Conference for the Packing and Otherwise they can cause tears and Gaylord Brothers, Box 4901, Syra­ Shipping of Paintings in London. She has distortions when used with thinner, cuse, NY 13221-4901, 800/448-6160 worked as a conservator for Conservation of more delicate objects. (variety) Art on Paper, Inc., in Alexandria, VA and Never attach valuable photographs completed paper conservation internships at or works on paper directly to the Light Impressions, 439 Monroe the National Archives, the Smithsonian window mat or backboard. Always use Ave., Rochester, NY 14607-3717, 800/ Institution's Conservation Analytical hinges or photocorners instead of 828-6216 (especially for photographs) Laboratory, and Perry Huston and Associates adhesives, spray mount, pressure- in Fort Worth, TX. sensitive adhesive tapes, or dry mount Small Corporation, PO Box 948, tissue. Pressure-sensitive "archival" Greenfield, MA 01302, 800/392-9500 (matboard, archival corrugated board) 6 MuseNews 24:4 October 1994