Removing Needlework from Backing

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Frame Chick

Frame Chick

Grumbler
Joined
Dec 10, 2007
Posts
37
Loc
Morgan Hill, CA
I have an older (maybe 30 yrs) needlework sampler on linen that seems to have been put onto a piece of PerfectMount type sticky foamcore. The client would prefer to have it removed and restretched if possible. The threads are wool and are not leaching color when touched with a q-tip with distilled water. When lifting one corner, the top layer of foamcore is really attached to the cloth, but can be peeled somewhat. I am not sure what will happen when I get to the sections where the thread is hitting.

Is there any way for me to address this other than talking with a fabric conservator?
 
Ditto David's suggestion. The mounting board you described could be what we call "sticky board", which generally is low-quality foam board with a low-quality, pressure-sensitive adhesive.

To repeat:
If you attempt removal and cause further damage, you become responsible for fixing it. So far, the problem belongs to the customer. Avoid taking that responsibility. If I were you I would offer to assist in getting the treatment done professionally by a qualified conservator. If you do not know a textile conservator, you can find many on the AIC web site.
 
Thank you for all of the advice! I took a small corner section and tried a dry iron. It turns out that the needlework was dry-mounted to the foamcore with tissue!!!!! It released with the dry heat, although it took a lot of patience. I can't believe the short cuts that some framers take!
 
To come to the defense of that dumb framer-

Back in the days when dinosaurs roamed the earth (circa 1979) I learned framing from someone who already knew how to frame. We put ATG tape around all four sides of a mat and stuck the picture to it. I learned to be pretty darn good at centering, what with only one shot to get it right.

As to needlework, I learned to staple it to chipboard. Even then I had the sense not to glue it down, but let me tell you, the Ben Franklin where I worked sold a boatload of sticky board to mount needlework. And the customer knew it was ok, because it said it was for needlework. It may even have said 'safe for needlework'.

Drymounting needlework was certainly done in other shops in the area, because I can remember going into a shop and watching it happen. Needlepoint it was... sigh.

We have learned a lot about framing and preservation in the intervening 30 years, but I can't help wondering if future framers will be cursing some of the things we do now, because techniques will have evolved even more...
 
I would not want to be the framer who has to deal with any of the pieces my old boss, Kramer the Framer, taught me how to do back in 1969. He used upsom board, cut to the size of the carefully blocked piece. The slather on a layer of white glue (we bought it by the five gallon drums back then and used it also to join frames and attach dustcovers and velvet to liners and matting). Once the gluey board was centered onto the back of the needlework, it was then carefully placed under a massive weight which consisted of 4 sheets of 3/4" plywood and was raised and lowered by a pulley system.

The kicker to Kramer's system came the next day, once the glue was dry and the piece was squished flat as a pancake - all of the excess canvas was then tightly trimmed from the edges!!!

Ye gods. How could even a fabric conservator deal with an approach like that?
 
I had a lady in with anice sampler in for re-framing just before Christmas. Dated 1834. It had been framed in the 1970's in a 1/2" moulding. No mat or spacers. Glued to hardboard. And to cap it off the lady's mother had given it a good wash before she took it to be framed which had made all the colors in the threads run.

I let it be. Now in a nice veneer frame. With a gold slip for a spacer. :p


As a side note, the moulding I used was a stick I found in the shed. Came in a big 'bargain bundle'. Bootiful. Distressed gilt with inlaid veneer sections. Polished up great. I had been saving it for just such a job.
It was just long enough to do the job. Not sure how old it was - maybe 80's, but what I did notice was the difference in cutting compared to 'modern' moulding. It was Ramin-based for a start. Cut perfectly. No chipping on the back edge. No re-touching needed at all. Just a quick buff with a yellow duster. I've used several various bits of moulding of this vintage and on the whole it does point up how moulding quality ain't what it was..... :kaffeetrinker_2:
 
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