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| Safeguarding
Your Framed Artwork |
Out of the light
Try not to hang pictures directly opposite large windows as
sunlight fades colours and discolours paper. Special UV-coated
glass can help to slow this down. The Fine Art Trade Guild has
set industry-wide standards for printing and framing materials.
Ask your framer about the ways in which you can preserve your
artwork for the long-term.
Avoid heat
Ideally pictures should not be hung above radiators. Extreme or
rapid changes in temperature cause paper and wood to warp and
dry out and adhesives to fail
Beware damp
Damp can cause pictures to ripple. If the ripples touch the
glass, the picture might stick and be hard to remove. Damp also
encourages fungal growth - likely to show as brown stains.
Conservation framing can slow these effects, but it is always
best to avoid hanging framed pictures in humid conditions. Allow
six months before hanging pictures on newly plastered walls.
Eye-level display
Remember most pictures are designed to be viewed at eye-level.
When hanging a group of pictures of different sizes align the
top edges. Groups of pictures need not be hung in symmetrical
patterns, but they should follow some sort of overall design.
Try arranging them on the floor first.
Hang securely
Use two hooks on the wall, each set about a quarter of the way
in from either side of the picture. Check that the cord, wire or
other hanger you use is designed to support the weight of your
artwork. Where safety is critical, in children's bedrooms, for
example, ask your framer about security fittings and glazing.
A gentle clean
Dust frames or treat with a soft brush, rather than risk
applying water or cleaning fluids. Don't use cleaning fluids or
water on the varnished surface of oil paintings; again dust
carefully. If cleaning fluids have to be used on the glass,
apply them to a duster first (rather than spraying the glass
directly); take care not to let the fluids touch the frame.
Handle with care
When carrying and transporting a picture, grasp the frame firmly
on both sides. If you have to store pictures, make sure they are
stacked vertically and the right way up. When stacking pictures,
stand them 'glass to glass' so that the hangers do not damage
the frames.
Regular checks
If you find any evidence of discolouration, unsightly brown
dots, small insects under the glass or that the brown paper tape
sealing the back of the frame has come unstuck, return the frame
to the framer. Check for corroding picture wire or weak or
loosening cord. The varnish on oil paintings will gradually
discolour, especially if the picture hangs in smoky or polluted
conditions. It should be replaced as it dirties. Oil paintings
stretched over wooden bars may sag over time and the bars can
make a slight imprint on the front of the canvas. Take the
picture back to your framer for tightening or re-stretching. The
Fine Art Trade Guild recommends inspection every five years.
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| (highest
specification) |
| Objective |
To visually enhance artwork and offer the
ultimate level of protection from physical and mechanical
damage, airborne pollution and acids generated by framing
materials for up to 35 years in normal conditions. Ideally
frames should be examined by the framer or conservator
every five years, and there should be a label advising
this on the back of the frame.
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| |
| Suitable for |
Museum-quality works and artwork that is to
be preserved for the future, including high value items
and artwork of potential or historical value. Processes
must be fully reversible.
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| Moulding |
No significant blemishes. Care must be taken
to match the pieces. The moulding should have a rebate
that is sufficiently deep to comfortably hold the
sandwich. If artwork is likely to touch the moulding, this
should be sealed with strips of Cotton Museum-quality
mountboard or a conservation foil and paper tape.
Note: Good original frames should be retained wherever
possible as these can enhance the value of the artwork.
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| |
| Mitres |
Accurately cut, glued and pinned tightly.
Corners to be touched-up so no unfinished moulding is
visible.
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| |
| Windowmount |
A windowmount or slip should normally be
used to visually enhance the artwork and distance it from
the glazing. If close framing is required, there should be
a spacer between the artwork and the glazing and this
should be made from Cotton Museum mountboard. The corners
of the windowmount must be cleanly cut; the mountboard
must be free from blemishes and there must be clearance of
1- 3mm inside the rebate (clearance varies depending on
frame size). Only Cotton Museum mountboard at least 1200
microns thick and conforming to the Guild standard should
be used. Slip moulding must be accurately cut and should
not touch the artwork. Multiple mounts or deep spacers
must be used to frame works with migrant or delicate
pigments, such as pastel drawings, or artwork with a
cockled surface. Using a fixative on pigments is not
acceptable. The windowmount should, where possible,
project at least 5mm over the edge of the artwork, thus
holding it firmly in place. Any pencil marks on the
underside of the windowmount should be rubbed out as they
may come into contact with the artwork. For photographs
unbuffered cotton museum mountboard should be used.
Note: Sometimes it is advantageous to retain an
original windowmount (possibly gilded or decorated). In
this case preferably a 1200 micron, but at least 500
micron, Cotton Museum quality mountboard barrier should
but cut to fit the underside of the windowmount to within
a few millimetres of the window or a few millimetres
beyond the opening
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| Undermount |
There should be a barrier layer between the
artwork and the back board; this should be made from
Cotton Museum board at least 1200 microns thick. For
photographs unbuffered cotton museum mountboard should be
used. The undermount should be the same size as the
windowmount and hinged to it along the longer side using
museum-quality paper or fabric with either starch paste or
SCMC (sodium carboxy methyl cellulose). Note: Artwork
stuck down onto acid board should be referred to a
conservator for possible removal of the board.
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| Attaching artwork |
The artwork should be hinged to the
undermount with T-hinges on the top edge, or a similarly
reversible process should be used, such as corner pockets
made from naturally lignin-free museum quality paper. It
is not acceptable to make hinges from self-adhesive tape;
hinges should be made from naturally lignin-free, pH
neutral paper and the adhesive made from starch paste or
SCMC (sodium carboxy methyl cellulose). Hinges should be
torn, not cut. Hinges should be weaker than, or the same
paper weight as, the artwork - never heavier. Hinges
should be attached to the back of the artwork, not the
front, and should overlap onto the artwork the minimum
amount necessary to give proper support Note: for the
majority of art on paper 5mm should be sufficient. Artwork
should be hinged to the undermount, not the back of the
windowmount. Artwork must be properly centred and free
from blemish caused by framing.
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| Glazing |
Glazing must be free from obvious blemishes
and of appropriate thickness for the frame size.
Preferably museum-quality glazing should be used, ie
glazing that blocks more than 90 per cent of all UV rays
unless work is to hang where there are already controlled
UV levels (eg some museums). Must be cut to allow
sufficient clearance inside the rebate of the frame. It is
not acceptable for the glazing to touch the artwork. For
large items and for items to be hung in areas accessible
to the public, safety should be considered, eg laminated
or acrylic sheet may be advisable. Final cleaning fluid
should contain only deionized water and perhaps industrial
methylated spirit.
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| Back board |
Back board needs to be strong, rigid and
flat, eg hardboard or MDF with a 500 micron barrier board
or Melinex sheet or similar, in addition to the undermount,
pH neutral back board or foam board. Must be cut to allow
sufficient clearance inside the rebate.
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| Securing the frame |
It is recommended that glazing, windowmount,
artwork and undermount are sealed together using a gummed
conservation-quality paper tape with water-soluble
adhesive, before being fitted into the frame to keep out
dust, insects etc. The frame must be secured with framers'
points, tacks or similar. Flexible tabs are not
acceptable.
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| Hanging |
Hanging fittings must be sufficiently strong
to support the frame. Rivetted D-rings are only acceptable
for lightweight works if the customer has chosen a thin
moulding, in which case an additional undermount should be
used.
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| Finish |
Dust and dirt should be removed and the
glass should be cleaned and polished without smears. It is
not acceptable to seal the back with self-adhesive tape;
gummed-paper tape must be used and this must be carefully
applied. Pads or buffers should be applied to the two
lower corners. A label giving the date and the framer's
name should be adhered to the back. Note: any existing
labels should be preserved as this can provide provenance
for the art.
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|
| (second
highest specifications) |
| Objective |
To visually enhance artwork and offer a high
level of protection from physical and mechanical damage,
airborne pollution and acids generated by framing
materials, for approximately 20 years under normal
conditions. Ideally frames should be examined by the
framer or conservator every five years, and there should
be a label advising this on the back of the frame.
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| Suitable for |
Collectable artwork that is to be kept for
future generations, eg original paintings and limited
edition prints of moderate to high value, as well as items
of sentimental value.
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| Moulding |
No significant blemishes. Care must be taken
to match the pieces. The moulding should have a rebate
that is sufficiently deep to comfortably hold the
sandwich. If artwork is likely to touch the moulding, this
should be sealed with strips of Conservation or Cotton
Museum-quality mountboard or a conservation foil and paper
tape. Note: Good original frames should be retained
wherever possible as these can enhance the value of the
artwork.
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| |
| Mitres |
Accurately cut, glued and pinned tightly.
Corners to be touched up so no unfinished moulding is
visible.
|
| |
| Windowmount |
A windowmount or slip should normally be
used to visually enhance the artwork and distance it from
the glazing. If close framing is required, there should be
a spacer between the artwork and the glazing and this
should be made from Conservation or Cotton Museum quality
mountboard or plastic. The corners of the windowmount must
be cleanly cut; the mountboard must be free from blemishes
and there must be clearance of 1-3mm inside the rebate
(clearance varies depending on frame size). Conservation-quality
mountboard or Cotton Museum mountboard at least 1200
micron thick and conforming to the Guild specifications
should be used. Slip moulding must be accurately cut and
should not touch the artwork. Multiple mounts or deep
spacers must be used to frame works with migrant or
delicate pigments, such as pastel drawings, or artwork
with a cockled surface. Using a fixative on pigments is
not acceptable. The windowmount should, where possible,
project at least 5mm over the edge of the artwork, thus
holding it firmly in place. Any pencil marks on the
underside of the windowmount should be rubbed out as they
may come into contact with the artwork. For photographs
unbuffered mountboard should be used (This is only
available in Cotton Museum quality.) Note: Sometimes it is
advantageous to retain an original windowmount (possibly
gilded or decorated). In this case preferably a 1200
micron, but at least 500 micron, Conservation or Cotton
Museum quality mountboard barrier should be cut to fit the
underside of the windowmount to within a few millimetres
of the window or a few millimetres beyond the opening.
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| Undermount |
There should be a barrier layer between the
artwork and the back board; this should be made from
Conservation or Cotton Museum quality mountboard at least
1200 micron thick. For photographs unbuffered mountboard
should be used. The undermount should be the same size as
the windowmount and hinged to it along the the longer side
using a gummed conservation tape with a water-soluble
adhesive. Note: Artwork stuck down onto acid board should
be referred to a conservator for possible removal of the
board.
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| Attaching artwork |
The artwork should be hinged to the
undermount with T-hinges on the top edge, or a similarly
reversible process should be used, such as corner pockets
made from conservation or museum quality material. It is
not acceptable to make hinges from self-adhesive tape;
they should be made from conservation or museum quality
gummed tape with water-soluble adhesive. Hinges should be
weaker than, or the same paper weight as, the artwork-
never heavier. Hinges should be attached to the back of
the artwork, not the front, and should overlap onto the
artwork the minimum amount necessary to give proper
support. Note: for the majority of art on paper 5mm should
be sufficient. Artwork should be hinged to the undermount,
not the back of the windowmount. Artwork must be properly
centred and free from blemishes caused by framing.
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| Glazing |
Float glass or better, free from obvious
blemishes and of appropriate thickness for the frame size.
Glass with high UV protection should be considered. Must
be cut to allow sufficient clearance inside the rebate of
the frame. It is not acceptable for the glazing to touch
the artwork. For large items and for items to be hung in
areas accessible to the public, safety should be
considered, eg laminated or acrylic sheet may be
advisable. Final cleaning fluid should contain only
deionized water and perhaps industrial methylated spirit.
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| |
| Back board |
Backboard needs to be strong, rigid and
flat, and to protect the artwork from damage. Must be cut
to allow sufficient clearance inside the rebate.
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| Securing the frame |
The frame must be secured firmly with
framers' points, tacks or similar. Flexible tabs are not
acceptable.
|
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| Hanging |
Hanging fittings must be sufficiently strong
to support the frame. Rivetted D-rings are only acceptable
for lightweight works if the customer has chosen a thin
moulding, in which case an additional 500 micron barrier
should be used.
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| Finish |
Dust and dirt should be removed and the
glass should be cleaned and polished without smears. It is
not acceptable to seal the back with self-adhesive tape;
gummed-paper tape must be used and this must be carefully
applied. Pads or buffers should be applied to the two
lower corners. A label giving the date and the framer's
name should be adhered to the back. Note: any existing
labels should be preserved as this can provide provenance
for the art.
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|
| (middle
of the five specifications) |
| Objective |
To visually enhance artwork and offer a
moderate level of protection from airborne pollution and
acid damage for around five years in normal conditions.
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| Suitable for |
Replaceable artwork of limited commercial
and/or moderate sentimental value and where visual
appearance is important. Preferably processes should be
reversible.
|
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| Moulding |
No significant blemishes. Care must be taken
to match the pieces. The moulding should have a rebate
that is sufficiently deep to comfortably hold the
sandwich.
|
| |
| Mitres |
Accurately cut, glued and pinned tightly.
Corners to be touched-up so no unfinished moulding is
visible.
|
| |
| Windowmount |
A windowmount or slip should normally be
used to visually enhance the artwork and distance it from
the glazing. If close framing is required, there should be
a spacer between the artwork and the glazing. The corners
of the windowmount must be cleanly cut; the mountboard
must be free from blemishes; there must be clearance of
1mm-3mm inside the rebate (clearance varies depending on
frame size). Standard-quality
mountboard (or better) at least 1200 micron thick and
conforming to the Guild standard should be used. Slip
moulding must be accurately cut. Multiple mounts or deep
spacers must be used to frame works with migrant or
delicate pigments, such as pastel drawings, or artwork
with a cockled surface.
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| Undermount |
There should be a barrier layer between the
artwork and the back board; preferably this should be made
from Standard-quality mountboard (or better) at least 1200
micron thick but, at this level, 500 micron thickness may
be used for lightweight artwork.The undermount should be
the same size as the windowmount and ideally should be
hinged to it along the longer side. Other methods of
joining the two are acceptable providing no adhesive comes
into contact with the artwork.
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| Attaching artwork |
The artwork should be hinged to the
undermount with T-hinges on the top edge preferably using
gummed tape with a water-soluble adhesive, though
self-adhesive water-reversible white paper tape may be
used, or a similarly reversible process, such as corner
pockets. It is not acceptable to make hinges from tape
with a high acid content. Hinges should be weaker than, or
the same paper weight as the artwork- never heavier.
Hinges should be attached to the back of the artwork, not
the front, and should overlap onto the artwork the minimum
amount necessary to give proper support. Note: for the
majority of art on paper 5 mm should be sufficient. At
this level drymounting onto mountboard is acceptable
providing customers understand it is irreversible. Artwork
must be properly centred and free from blemishes caused by
framing.
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| Glazing |
Float glass or better, free from obvious
blemishes and of appropriate thickness for the frame size.
Must be cut to allow sufficient clearance inside the
rebate of the frame. It is not acceptable for the glazing
to touch the artwork For large items and for items to be
hung in areas accessible to the public,safety should be
considered, eg laminated or acrylic sheet may be
advisable.
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| |
| Back board |
Back board needs to be strong, rigid and
flat, and to protect the artwork from damage. Must be cut
to allow sufficient clearance inside the rebate.
|
| |
| Securing the frame |
The frame must be secured firmly with
framers' points, tacks or similar. Flexible tabs are not
acceptable.
|
| |
| Hanging |
Hanging fittings must be sufficiently strong
to support the frame. D-rings rivetted into the backboard
should only be used on lightweight items.
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| Finish |
Dust and dirt should be removed and the
glass should be cleaned and polished without smears.The
back should be sealed, preferably with gummed tape. At
this level good quality self-adhesive framing tape may be
used but it is important to ensure good adhesion and
longevity. Masking tape and parcel tape are not
acceptable. Note: Self-adhesive tapes dry out and can
fail. Pads or buffers should be applied to the two lower
corners. A label giving the date and the framer's name
should be adhered to the back. Old labels should be
retained if possible and attached to the back.
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|
| (second
lowest of the five specifications) |
| Objective |
To provide a visually acceptable frame at a
budget price. No pretence is made to protect the artwork
or its long-term visual appearance.
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| Suitable for |
Replaceable artwork of no commercial or
sentimental value.
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| Moulding |
No significant blemishes.
|
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| Mitres |
Accurately cut, glued and pinned tightly.
Corners to be touched-up so no unfinished moulding is
visible.
|
| |
| Windowmount |
A windowmount or slip may be used to
visually enhance the artwork. The corners of the
windowmount must be cleanly cut; the mountboard must be
free from blemishes; standard-quality
mountboard is acceptable,as is Conservation or Cotton
Museum; there must be clearance of 1mm inside the rebate.
Slip moulding must be accurately cut and joined.
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| Undermount |
A barrier layer between the artwork and the
back board is not necessary.
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| Attaching artwork |
It is acceptable for artwork to be 'slotted'
into the frame without fixing or to be stuck down.Artwork
must be properly centred and free from blemish caused by
framing.
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| Glazing |
Float glass or better, free from obvious
blemishes. Must be cut to allow sufficient clearance
inside the rebate of the frame. It is acceptable for the
glazing to touch the artwork.
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| Back board |
Pulpboard and cardboard are acceptable.
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| |
| Securing the frame |
Flexible tabs are acceptable but framers'
points or tacks are preferred.
|
| |
| Hanging |
Hanging fittings must be sufficiently strong
to support the frame.
|
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| Finish |
Dust and dirt should be removed and the
glass should be cleaned and polished without smears. It is
acceptable to seal the back with self-adhesive tape.
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|
| (lowest
of the five specifications) |
| Objective |
To provide a basic frame at minimum cost;
price overrides visual appearance and quality. (It should
be noted that many of the frames available on the market
fall well below the standard of the Guild's Minimum
level).
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| |
| Suitable for |
Temporary display. An inexpensive 'cash
& carry' product into which customers can insert their
own artwork
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| Moulding |
No significant blemishes
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| |
| Mitres |
Accurately cut, glued and pinned tightly
|
| |
| Windowmount |
It is not necessary to use a windowmount,
but if one is used the corners must be cleanly cut and the
mountboard must be free from blemishes.
|
| |
| Undermount |
A barrier layer between the artwork and the
back board is not necessary.
|
| |
| Attaching artwork |
It is acceptable for artwork to be 'slotted'
into the frame without fixing or to be stuck down. Artwork
must be properly centred and free from blemishes caused by
framing.
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| |
| Glazing |
Rolled glass or better, free from obvious
blemishes. Must be cut to give sufficient clearance inside
the rebate of the frame. It is acceptable for the glazing
to touch the artwork.
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| |
| Back board |
Pulpboard and cardboard are acceptable.
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| Securing the frame |
Flexible tabs or better.
|
| |
| Hanging |
Hanging fittings must be sufficiently strong
to support the frame. Cord and screw-eyes can be supplied
for the customer to attach.
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| Finish |
Dust and dirt should be removed. It is not
necessary to seal the back with tape.
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