Being new to the forum, I am soaking in as much knowledge as I can hold. I need some help to determine the best way to conservtion frame a signed/numbered serigraph from 1969 that is printed on a canvas background and unstretched. The print is of considerable value, and I want to use conservation materials to mount the canvas and frame with matting and UV protection. I don't want to stretch the canvas, as the print is to remain as original as possible, and have seen one of these prints damaged in the past from being stretched. The image is rather large (24" x 48"). What would the recommend method be to hinge the canvas, and attach it to an acid free backing? Does anyone have another mounting method I could use that protects the print? Thanks!
Help Conservation mounting an unstretched canvas serigraph for framing?
- Thread starter lgsmith77
- Start date
Sounds like you're on the right path. Hinge, over mat, etc. You are going to have to use some pretty aggressive hinging to accommodate the weight of the canvas.
You might want to look into alternatives to rice starch. I'm a proponent of Lascaux 360 for hinging difficult items. In this case the lascaux is already proved as a bonding agent for lining canvas. Check the search feature for conversations concerning its use and look up technical data on talasonline.com .
You might want to look into alternatives to rice starch. I'm a proponent of Lascaux 360 for hinging difficult items. In this case the lascaux is already proved as a bonding agent for lining canvas. Check the search feature for conversations concerning its use and look up technical data on talasonline.com .
Dave
SPFG, Supreme Picture Framing God
Welcome to the "G", lgsmith77!
I believe you are making a wise choice in not stretching the screen print as the inks are likely non flexible and could very well fracture if you try to stretch it.
Is there any canvas border on the print? If so, you might opt for stitching a seam across the top to a rag board mounted to a polyflute board or acid free foam-core for support. The print could then just drape down and be matted with appropriate conservation mat boards which would hold the borders securely.
I believe you are making a wise choice in not stretching the screen print as the inks are likely non flexible and could very well fracture if you try to stretch it.
Is there any canvas border on the print? If so, you might opt for stitching a seam across the top to a rag board mounted to a polyflute board or acid free foam-core for support. The print could then just drape down and be matted with appropriate conservation mat boards which would hold the borders securely.
Thanks
Thanks to everyone for the mounting suggestions. I was hoping I was on the right track. The print does have a 2 inch white border surrounding the print. I was considering using pass through hinges along the top combined with art saver hinges along the edges. If I use this method, how many hinges should I use along the top? The stitching method sounds intresting also. Would you do a hand stitch, or is there a hand tool that can be used to perform that method?
Thanks again for all of the great information. I am learning quite a bit from the Grumble. As a collector of Charles Harper prints, I am framing the works I own and trying to learn everything I can about conservation framing as I get started with my own business. I cringe most every time I remove one from a frame done in the 70's and to be honest, a few done only a few years ago. I guess many never thought his artwork would survive the times, but here I am 50 years later collecting it
.
Thanks to everyone for the mounting suggestions. I was hoping I was on the right track. The print does have a 2 inch white border surrounding the print. I was considering using pass through hinges along the top combined with art saver hinges along the edges. If I use this method, how many hinges should I use along the top? The stitching method sounds intresting also. Would you do a hand stitch, or is there a hand tool that can be used to perform that method?
Thanks again for all of the great information. I am learning quite a bit from the Grumble. As a collector of Charles Harper prints, I am framing the works I own and trying to learn everything I can about conservation framing as I get started with my own business. I cringe most every time I remove one from a frame done in the 70's and to be honest, a few done only a few years ago. I guess many never thought his artwork would survive the times, but here I am 50 years later collecting it
.
Jeff Rodier
SPFG, Supreme Picture Framing God
For your paper prints I highly recommend the Lineco Full View Mounting Corners. No adhesive comes in contact with your artwork with these. They come in multiple sizes and the Harper prints have plenty of white border around them so I would recommend the large size. On heavy paper I also add J-Lar tape only on the mounting corner surface overlapping onto the backing board to assure that they won't slip. This will keep the artwork in pristine condition.
josephforthill
MGF, Master Grumble Framer
I am resurrecting this topic because an artist friend is painting on unstretched canvas, with little or no border. The style of his work would probably look best glazed with some form of mat. Since the last post on this was several years ago, any new materials/techniques?
Dave
SPFG, Supreme Picture Framing God
Kool Tack E2 is intended for mounting fabric and canvas. It has twice the adhesive of regular Kool Tack.
The elegant solution would be to tell them to leave a bigger margin. :smiley:
josephforthill
MGF, Master Grumble Framer
Yes, and in fact, they plan to do that going forward. Although I don't do framing for members of our local art group, I always encourage them to consider what will be involved so that they can plan their work accordingly (and not cause the framer to tear their hair out).
This particular artist had no intention of ever framing (much less hanging or exhibiting), but a gallery has seen their work and is interested in it. Since he was painting only for himself, he did not think through to the point of framing.