What's Happening Here?????

[Terry Scidmore CPF]

I know that someone posted something about this on the grumble before, but I cannot find the right combination of words to locate it in search. Maybe someone else can help me.

A customer brought in her picture because she knocked it off the wall moving the furniture and broke the frame. Everything else stayed intact and undamaged.

When I opened the framing package, I found that the artwork paper not covered by the mat was quite a bit whiter than the paper covered. I turned the picture over to check the back, and it is the same on the backside - the whiter paper is exactly where the mat opening is on the front, the paper not exposed is darker. My impression is that the paper has been bleached whiter where it is exposed to light, and the bleaching goes all the way to the backside. The 4 play rag backing behind the picture does not show a matching lighter patch behind the lighter part of the picture.

The picture was framed in 1996 using rag mats, 4 ply rag backing, acid free foam core, and conservation glazing. The matboards and glazing have the manufacturers codes on them identifying the year of manufacture as 1996.
The picture does not hang in direct sunlight or bright indirect light, but rather moderate light.
The colors in the image might have faded some, but it is the color change of the paper that is really noticeable. It is not near a heat source. The frame package was sealed.

The picture is a limited edition of 25. The paper is soft and appears to be an uncoated paper, medium weight. The artist did not supply any paperwork, so I am unsure just what the paper or inks are.

Any ideas on what is causing the paper to "bleach"? Or am I really seeing the paper darken where it is not exposed to light?

Any ideas on how I explain to the customer that this preservation framing package doesn't seem to be helping to preserve her picture - at least where the color of the paper is concerned?

Thanks in advance for any ideas/suggestions/words of wisdom!

[dns ynko]

First idea would be it is not conservation and the darker areas are from acid burn. But you are saying it is conservation quality...so what type of print is this? Is it a computer print by chance? If it is at that time many inks were not stable and there were problems with certain papers also. Ok that is it for me. It seems like you would have already thought this stuff out so I most likely am not helping, but would like to hear the other folks speak up.

good luck!!!
d

[JPete]

Was this the first time the print was framed? It is possible the discoloring to the paper was from previous mat boards.

[Terry Scidmore CPF]

Good thoughts! Thanks for suggesting these!

Yes, it is all conservation products - the manufacturers stamps are on the boards and the glass, and the backings are easy to tell.

The picture does not appear to be a computer generated picture, although I am not smart enough to know how to tell except in the very obvious cases. The paper is soft, feels like and is about the thickness of 2 ply rag. It has a deckle edge, and there is a plate mark around the image. You cannot "feel" obvious ink or etching areas in the image.

The picture had not been previously framed. The rag mattings do not show any color fading when pulled apart, so I would tend to believe the customer when she says that it does not hang in direct sunlight or bright indirect light.

The picture is hinged and has mylar corners with an appropriate amount of space for expansion.

The part of the paper that is lighter (the area not covered by matting) is about the color of C1607 brite white. The areas of the paper that are covered are about the color of C1610 white.

I would welcome any ideas or suggestions about things I should check for!

I am stumped except to suggest to the customer that there is something in the paper that is reacting with the part of the light spectrum that the conservation glazing does not screen out. I don't think that there is anything in the matboards that would be reacting with the paper because the part of the paper that is sitting inside of the mylar corners is the same color as the rest of the covered parts of the paper. I would think these areas would be whiter (like the window area of the paper) if it was a reaction with the matboards, as the mylar would protect the corners from contact with the matboard.

Sooo . . . HELP!

[RevBev]

I don't find this especially remarkable: visible light takes its toll as does UV, and you can't display a picture without visible light. I am reminded of the time I matted a show of works on paper for a museum (can't remember if they were etchings or photos) and worked as always under bright flourescents. When I saw the installation in the gallery I was astonished at how subdued the lighting was! I looked up at the tracklights and read "North Light" on a flood that didn't even make me squint, it was so dim.
Just to muddy the waters: a non-conservation glass cleaner could conceiveably leave a residue whose fumes reacted with paper dyes or brighteners. I'm sure one of our conservation colleagues will pipe up to enlighten us with science soon. My philosophy is that conservation and display of art objects will always be two opposing objectives. One does one's best to balance these conflicting desires.

[Rebecca]

I think RevBev put it nicely. I've seen this bleaching happen too. It could be 1) the light actually bleached the paper or 2) the paper was colored or toned with dye, and the dye bleached. There can be lots of mysterious additives in paper that react to light in unexpected ways.

I haven't seen any studies on this though - I'll do a quick search and see what turns up.

I don't think there is anyway that it can be prevented. Float mounting would ensure even bleaching, but that carries it's own set of problems!

Rebecca

[jframe]

Light damage is by far the most common type of damage I have seen upon opening a framed item. Even those with the worst, most acidic mats were more heavily damaged by light.

I have seen very few works on paper damaged by mats except occasionally a burned area around the opening where the mat is cut. Second to light damage comes corrugated cardboard.

Thanks for your post, RevBev.

[smitten]

The answer lies with the artist (unless we identify the media). It sounds to me like you have a plate media print (block, mono, etching, litho etc.) All of which if not require the paper to be dampend if not soaked in water. This then dried and contaminated the paper and out-gased to burn (bleach) the paper. Get a Ph testing pen from linco (also united I belive) and test the paper on the back side in the margin and with a very small mark behind the image. I'll bet the image is acid and the margin is neutral.

[preservator]

As Rebecca said, it may be that the paper had
dye in it that could bleach out. Cellulose bleaches in visible light in the blue range and
a UV filter would not remove those wavelengths,
and that might be another factor. Museum exhibition lighting for works on paper ranges
between 50-100 lux or 5-10 foot candles, dark
enough that it may be hard to read at the lower
end of this range. Few homes or offices have light
this low and bleaching of delicate materials may
be expected.

Hugh

[HannaFate]

Fugitive dyes will fade even when not exposed to light. Light just speeds up the process. So does warmth. The only way to keep color in such a dye is to store it in a dark, sealed package, in a freezer. Which, to my mind, condradicts the purpose of decorative art.

As far as conservation goes, if the paper is colored with a fugitive dye, then the "bleaching" can be considered natural to the piece. So long as the image is not altering, you have adequate conservation. It is not "museum" quality, but it is the best you can do and still enjoy looking at the piece.

From the fact that your paper faded all the way through, not just on the front, I would guess this is what is happening.

[Susan May]

Just another thought... Could it be hanging on a wall with a heat duct behind it? I've seen some prints cockle, or change color when exposed to heat.

[Terry Scidmore CPF]

Thank you for the input, everyone!

Susan - no, the picture is not on a wall with any sort of pipes or heat venting in it. It is an inside wall, away from direct sunlight and bright indirect light.

The paper and ink test out neutral, but my pen is pretty old and probably not reliable.

I explained to the customer that display of artwork does do some damage no matter what we try to do to correct for display - it just goes hand in hand with enjoying the art. It is nearly impossible to account for all of the variables that could affect a picture, and framing is a best guess effort to try to protect the picture.

The customer is disappointed because she had it framed the right way, and picked a low light area for display. She feels that a scant seven years is a pretty short time for the artwork to be "preserved".

Thanks again for so much help! I really appreciate it!