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.