Archival mount for oil on paper

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Jody Wilson Brown CPF

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Feb 1, 2002
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Montpelier, VT
I have a client with oil paintings on chain-laid paper, possibly an Arches text wove, average size 9'' x 12''. The objective is to mount them so that they may be framed without glass in floater frames. My best idea is to use wheat paste to back with mulberry paper first and then paste to linen which could be streched to bars. any better ideas? These are valuable paintings.

Thanks, Jody
 
Paper-borne art should be under glazing, and should not be directly exposed to ambient conditions. Glass (or acrylic) in a properly-fitted frame makes a tight assembly that slows the rate of change in temperature and humidity. Since paper is hygroscopic -- and sensitive to those changes -- slowing the rate of change is significant protection.

Original art should not be permanently mounted. Pasting to paper and/or fabric represents a permanent change to the artwork, and almost certainly would reduce its collectible value.

Because these are valuable artworks, I suggest you urge the client to consult a paper conservator. If mounting is appropriate for these artworks, I would let the conservator do it.
 
Hi Jody,

Jim has given you the best answer - I can't add to his advice.

I am curious though about your wheat starch/Japanese paper/linen idea - do you know movie poster mounters, or did you get it from reading other threads here on the Grumble? My own opinion is that that would be much too invasive a treatment for art on paper. I even hate to see movie posters backed so thoroughly - it changes the look too much - though I know others disagree!

I see from your profile that you're interested in conservation. Is there a paper conservator nearby that you can visit? The state archives might be able to give you a tour, or suggest local conservators to meet. If you have any questions, please feel free to e-mail me.

Rebecca
 
These are valuable paintings.
Click to expand...
Listen to Jim.

You can still frame art on paper like an oil.
Use Museum glass, which is practically invisible. Line the rabbet of the frame to protect the paper from acid migration. Create an air gap with Frame Tek spacers or make your own. Try using a linen liner or stack another frame to create an air gap. You can even hide a mini mat behind a liner frame. One major concern I would have is if a painting on paper is left exposed, it will be that much more difficult to clean without damaging the paper. For some tips on framing see the link below.

Pastel with no visible mat
 
The problem here is Oils should never be behind glass... Oils dry by a process of oxidation which never really stops, so oils more than any other medium truly need to breathe.

I'm guessing the paper has been treated with an acrylic gesso which will protect the paper from both the oil itself and the air borne pollutants. I would definatley suggest taking it to a conservator if it really has any value.

Jason.
 
Originally posted by Jason Maranto:
The problem here is Oils should never be behind glass... Oils dry by a process of oxidation which never really stops, so oils more than any other medium truly need to breathe.
Click to expand...
Anybody disagree with this? I think Jim Miller might. I'm not so sure myself.

This was an assumption I'd made up until the past year or so when I was astounded to find that some framers do indeed routinely glaze oils - with plenty of airspace, of course.
 
I've been told oils off-gas for at least 50 years so they shouldn't be put behind glass. Haven't seen any studies on this. About three years ago a customer insisted I put some behind glass. He's been in several times and says all the pieces look fine.
 
Most of you guys have been framing a lot onger than I have (little less than 10 years), but I have to go with the majority on this one. I was taught that ANY art on paper should be glazed. An oil on canvas I would never think of glazing, but on paper, glass all the way. With plenty of space between the glazing and the art, of course.

Is there a specific reason that even an oil on paper should not behind glass? Specifically, does the oxidation mentioned by Jasaon Maranto cause damage to the art, or just a noticable film on the glass? Will the art be damaged by glazing, or can the glass be cleaned if a film develops?
 
Many oil paintings in museums are glazed, usually
for security reasons. One of the advantages of
oil paint is the slowness with which it dries.
Its fatty acids act as plasticizers, keeping it
flexible far longer than most other media. Once
the oil has air dried, ordinary framing is not
likely to pose much of a problem, even with glazing. Volatiles that come out of the paint
are likely to be taken up by the cellulose and
absorbant additives in the board. If the frame
is made with paper based backing materials, any
excess volatiles can escape through the back
of the frame. If the oil covers the entire front
of the paper, one can contemplate display without
glazing, but it will require sophisticated hinging
attached to the entire perimeter of the sheet.
These strip hinges can be folded around the back
of a support board (conservation quality) that
is secured to the frame. If any paper show on the
front, the sheet must be glazed.

Hugh
 
I would be guessing, as to why, but artists and museums have been glazing oils for many years. Perhaps it depends on whether it is on paper or canvas, or whether or not the painting is protected with varnish. This practice also seems to depend on what region of the world the artist is from. One of the artists that I represent paints with a very thin oil-wash technique on a fine muslin fabric. He prefers not to vanish to help keep the dry, dusty quality of his work, and in these cases, he will mount the muslin, and use glazing.

From what I have read and scene so far, almost everything off-gasses. I think it would be safe to say that oils will do so even more. As long as the backing allows the painting to breathe, I can't see a problem. Since, it has been said that it is a good practice to inspect framed works from time to time, this would give an opportunity to check for problems and clean the glazing.
 
Was the paper primed, or has it become impregnated with the linseed oil? Might make a difference in the way it is attached to the hinges.
 
I'm not certified like a lot of you all, but I've been doing this for a long time, and reading even longer. I've also had the chance to see art works all over the world. I've seen oils both glazed and unglazed. Those that were glazed were mostly done so for vandalizm prevention. However, I've always been taught, and read that any time you have art on paper, regardless of the medium, you should glaze it. Use spacers, or mats, or something to raise it up off of the art, but glaze it to protect the paper. While the oil is safe from the elements, the paper isn't. The backing should also be of paper so that the oils can outgas/breathe in that direction. Someone correct me if I'm wrong, but this is what I've seen in museums all over.

Susan
 
Its normal practice to glaze oil paintings here.I personally don,t like it but most galleries seem to want it.The bulk of the museums in Scotland don,t glaze oil paintings thankfully.

I have nine at home that were glazed originally but I took out the glass and I prefer to look at them without glass.They are varnished anyway.
 
Of course, we retailers want and need to follow clients' orders. But we also have a responsibility to inform our clients about the hazards of their ill-advised requests. And if the client insists on destructive framing materials/methods, at some point we should say, "I'm sorry, but what you're asking is destructive to your valuable art and contrary to accepted practices, so I must decline the job".

I'll stand by my original suggestions: Glaze it and use a non-invasive, completely reversible mount. Fitting is important. Lining the rabbet with a gas-impermeable barrier is a good idea, and the frame should have a filled & covered back.

Oil paintings on canvas are intrinsically more durable than paintings on paper, and are more tolerant of environmental changes. Also, in a museum's carefully controlled environment, where handling is done by professionals, framing an oil painting on paper without glazing might be OK. But in a consumer's home or office? I wouldn't advise it.

Oil paintings don't need to breathe, according to CCI (Canadian Conservation Institute) and FACTS (Fine Art Care & Treatment Standards) Institute. If tightly closing the frame for an oil painting on paper would cause any problems, please explain them.

Slowing the rate of temperature and humidity changes is important for the paper. That's the purpose of glazing (with generous, insulating air gap) and filling (insulating) the back.

Yes, the oil paint will offgas, and closing the frame tightly would confine the painting's chemistry within the frame. But what would be the harm?

The offgassing would eventually fog up the inside of the glass. So every couple of years you disassemble it, clean & refit it. Periodic inspection & refitting is advisable for valuable artwork in any case. And over time, as the paint dries chemically, the offgassing would diminish.
 
One of my wildlife artists who goes to Africa often, says, it's very common to see oils with glass and wide linen liners there.
 
As an art student, I was taught that the reason that you primed linen and canvas was to keep the oil paint from rotting the fibers. I was also taught that paper was an unsuitable substrate for oil painting. This was nearly 20 years ago, though, so maybe this is not current.

Most people around here don't like the way traditional oils look under glass...me being one of them. However, because they are on paper, I think there is no question...they should be glazed.
 
There is an amusing little twist here, which I bet Bob Carter is enjoying: in terms of chemical stability, the art is the worst thing in the framing package!

Conservators have a fun term for this - "Inherent Vice". I just love that phrase. We see it all the time - oil paint, oil based printing inks... all this oil, curing and oxidizing, staining the paper, fogging/etching the glass. And artists are always doing wierd things. That's their job!

The conservator's and framer's jobs are to try and figure out a way to save the art from itself. Or at least slow their self destruction down.

Oil on paper paintings aren't stretched, so they'll ripple if they aren't glazed. This can be bad for the paint. As Hugh says, heavily painted works can be edge mounted to a rigid, archival backboard with strip hinges and displayed like a conventional canvas painting, but this would best be done by a conservator - or a very specialized framer.

Lightly painted oils on canvas or paper should be glazed. Otherwise the support acts as a very expensive air filter!

So, I'm on the "seal-it-in" side - volatile oxidation products coming off the front will probably do more damage to the glass than the paint (that's what I've always seen anyway), and any leaching through the back of the paper can be trapped by Artcare zeolites. Or, if they are heavily painted and new, one could always let them cure for a year or so before framing!

Rebecca
 
I tried to keep my original post on this topic brief but I'm afraid this one won't be so bear with me. First let me say thanks for all of the replies and that I do know that for maximum preservation of works on paper hinging or mechanical supports and glazing are indicated. I also know that paper and fabric expand and contract at different rates. I am familiar with cloth backing techniques used on vintage posters and maps and yes, I do work with a paper conservator.
In this case, the client is the artist. She paints very meticulous, small oils on portrait linen which we frame for show and sale at a major New York gallery. For these paintings we use maple floater stock that we have custom milled to 7/32" face (sound familliar David?) and leave 3/16" around the painting so that her work can be displayed and handled but the frame has a minimal visual impact. Now she has some paintings, that she did while she was abroad, on paper. She insists on presenting them the same way. I have talked preservation with her until I am blue in the face. She insists that Corot did oil sketches on paper that are on exhibit in museums without glass. She even had one piece mounted by the conservator at the Brooklyn Museum but she is not happy with it because the substrate is a 1/2" acid-free corrugated and the sides are very sloppy.
I am interested to hear more about the strip hinging that both Hugh and Rebecca mentioned. Can you think of a way to get from there to a sealed strainer or stretcher that the floater frame can be attached to?
Maybe I can use these posts to reinforce what I have already told her and convince her to let me float hinge the paintings inside 8 ply mats with thin maple frames and UVF glazing
 
This is an important subject and it deserves a long thread. I hope that the artist has primed
the paper before painting on it with oil. Only
if that has been done can you be sure that the
oil has not impregnated the paper and have any
hope of hinging it successfully. Perimeter hinging
must be done by someone who is very good.
The tissue used can be lighter than normal, since
the weight will be so widely distributed. The
hinges are pasted, applied, and hand dried, a few
inches at a time, working down the length of the
strip. Since these items may not be going into a
controlled, guarded environment, glazing will
obviously be safer. The ultimate answer may be
quite expensive and that is the use of anti-reflective safety glazing. Products like Amiran TN, Museum Security Glass, and Reflection Free
Acrylic Sheet, are widely used in museums for
glazing paintings. The considerable expense of
these materials has kept them out of wide spread
use in framing, but if your subjects are small
and high value, it may be appropriate here. All
of them provide nearly invisible protection that
avoids the risk of shattered glass. For more
information about these products you can call
Schott Technical Glass at 914-968-1400, or Maryland Glass and Mirror at 800-352-3380.

Hugh
 
Hi Jody,

Re the sloppy edges on the 1/2" corrugated - do you think that might be Tycore (corrugated honeycomb paperboard)instead? The irregular honeycomb core can make for some fragile edges. If this is a big problem I would think that you could make a modified strainer, with a little rabbet at the front that the Tycore could be glued into (one of those "acid-free" white glue's should do the trick. The strainer could be sealed with two coats of waterbased urethane and left to cure (the official cure time is 2 months...) And then the Japanese paper edge strips that Hugh described could be wrapped around the strainer and - I don't know - pasted or glued in place

You said these are small, so another way would be to make a rigid backboard out of good matboard and Coroplast. I have wrapped the edges of the Japanese paper strips around to the back of the matboard, held them in place with double-sided tape (3M #415)and then put a Coroplast backing onto the matboard (again with the double-sided tape.)

Rebecca
 
Here is the latest update on this topic. The client has brought in the painting that she had mounted in Brooklyn. Not only was she unhappy wih the edges but she was very upset that there was slight cockling of the artwork. Thanks to Hugh and Rebecca, I was able to recognize quite easily that perimeter strips had been attatched to the painting and then wrapped around the edges of a piece of Tycore. I explained why I thought that the cockling was unavoidable unless we use traditonal hinging techniques for paper. She asked me to reverse the mount. She had called the conservator who did the work and he said that it could be reversed with heat. I told her that I would not do it and that she should send it back to him.
She has placed an order to have one of these pieces framed the way I suggested originally to see if she likes it.
Thank you all for your input.

Jody
 
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