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Re: [frameconnews]
I appreciated your comments, Emma. (I've worked with a paintings
conservator also.) One of the painters represented by the gallery I work
for paints heavily on paper, and then mounts the paper onto canvas that
has been primed and mounted onto stretcher bars. This approach provides
good support for the work and keeps it flat, but I don't know if it is
conservationally sound. The work is not just hinged at the top, but is
pasted down all over, which suggests that it could rip in the future, as
the paper contracts or expands. Another artist that we represent,
Christopher Brown, paints on an archival paper, such as Arches paper,
which is then mounted onto an acid-free backing board.
The responsibility of creating works with some permanece ultimately falls
on the artist. You might want to discourage the artist from using a
backing that is too delicate to support the weight of the work.
Cordelia Norris
Friesen Gallery
Seattle, WA
On Wed, 25 Oct 2000, Icon Frames wrote:
> Thanks for the information Emma.
> My procedure is to hinge mount works on paper.Often the artworks I receive
> to frame are paintings on paper.
> The paint is usually too heavy for the weight of the paper so as a
> consequence the paper buckles.
> Artists usually accept a certain amount of buckling, it is another matter
> to convince the customer (buyer)as to why we have to
> live with a buckled artwork on occasions.
> All the best.
> Patrick
> ----- Original Message -----
> From: <emma.schmuecker@talk21.com>
> To: <frameconnews@egroups.com>; <frameconnews@egroups.com>
> Sent: Wednesday, October 25, 2000 7:02 AM
> Subject: Re: [frameconnews]
>
>
> >
> >
> > > Here is a picture framing question that I'm interested in hearing some
> feedback on!
> > >Imagine this......an artist wants a large painting or drawing on paper
> (unstable paper in that the paper is buckled and warped) framed.
> > >The artist wants the paper to be flat in the frame, but he wants the work
> to float inside a box frame with spacers. And the artwork has to be mounted
> archivally.
> > >I'm open to suggestions.
> > >************************************************
> > >ICON FRAMES
> > >Patrick O'Leary
> > >Catherine O'Leary
> > >Bridie O'Leary
> > >Ruth O'Leary
> > >93 Waverley Rd, East Malvern,
> > >Melbourne Victoria Australia, 3145.
> > >Ph: +61 3 9569 3880
> > >Fax: +61 3 9569 2946
> > >E-mail: iconframes@one.net.au
> > >**************************************************
> >
> > This is a very late reply. But I work with a paper conservator and from
> passed informantion I would suggest that the paper is treated by a paper
> conservator as they would introduce moisture and press it and then mount
> (support)it on acid free board with hinges which can easily be reversed by
> moisture in the future. It should not be mounted directly onto blocks as it
> may not be able to support itself. Also it should not be restrained as a
> normal uncontrolled environment will cause the paper to cockle in time. If
> it is paper it would also be treated quite differently to canvas. So I would
> suggest you contact a specialist. I have paper and easel conservators I
> could ask if more of a description is given.
> >
> > Emma Schmuecker.
> > Manchester City Art Galleries.
> > Conservation studios.
> > Manchester.
> > UK
> >
> >
> >
> > --------------------
> > talk21 your FREE portable and private address on the net at
> http://www.talk21.com
> >
> >
> >
> >
> >
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