Rice Paper

Janet L

SGF, Supreme Grumble Framer
Joined
Apr 9, 2001
Posts
2,458
Loc
Clayton, NC, USA
A customer brought in a 32 x 24 painting on rice paper. It's been rolled in a tube since her trip to India years ago. There are numerous types of paint used on the piece and it is really beautiful. Along with all the different kinds of paint, the artist even used glitter and markers on the piece. The customer wants it matted in a white narrow (1 1/2-2 inches)mat with a simple white frame. Conservation is important!

My question is: how do I mount this piece and try to remove as many wrinkles as possible? The paper is crumbling around the corners already.

Any help will be appreciated. If you don't want to post your answers on here, please email me with your mounting methods. I really need help on this one!

Thanks,
Janet

[This message has been edited by Janet L (edited June 09, 2001).]
 
Good luck. Please let us know what other framers may have suggested and what you end up doing with the piece.

How about Mylar? There's info on the archives under "More About Mylar D". Jim Miller knows a lot on the subject.
 
So far, all the emails regarding this piece have suggested the customer should have a conservator look at this piece. I will call the NC Museum of Art today and see if they recommend anyone in Raleigh or Chapel Hill so that we can get on with this work. The customer is an antique appraiser and I think she'll have no problem taking it to a conservator.

I really don't want to pretend to know what to do with this as it is a beautiful piece of art that will make an incredible framed piece in the end.

Thanks to all of you who emailed me.
 
Here in Vancouver there are about 6 frame shops that do this type of work on a daily basis. As you may know about 25% of the population here is Asian so there are lots of original works from China, Japan and other Asian countries framed here. I have seen it being done while calling on these shops. I phoned a couple today to try and see if they would put down on paper how they do it. I also asked if there were any books on the subject. One said there was an excellent book published by the Beijing Art Museum, and he has it for sale, but it is written in Chinese. This customer also imports and sells all the supplies required to do the mounting and he told me that one of his goals is to publish a book in English on how to do Oriental rice paper mounting. He sells the glue along with a wide variety of rice papers both plain and patterned.

These stores each have one or more flat doors hinged to the wall. They place large sheets of rice paper on these hinged doors and glue the outside edges to the door with a light coating of rice glue. They then use this archival rice glue and brush a thin layer on to the rice paper put on the door. They then take the artwork and smooth it out on to the glued rice paper.

When this is done and dried they take the print off with the first layer of paper glued to the back. They will then put up another sheet of rice paper and then glue the print and the first sheet to the new second sheet of rice paper. They will take down the print now on two layers of rice paper and may repeat this a third or even a fourth time to get the required thickness of the "substrate." They will then use the colour or patterned rice papers to put a narrow border around the print, gluing it similar to mounting the art to the rice paper. This looks just like the mat in Western framing. At the bottom and sides they will butt the horizontal and vertical borders into each other.

The customer may they ask to have the mounted and finished artwork put into a frame, or they may just take it home and hang it as is. If the customer has it put into a frame and wants to take the artwork somewhere they can simply take it out of the frame, roll it up and put it in a tube to transport it.

A busy frame shop specializing in mounting Oriental art will have four or five of these doors in their shop and each side of the door will have a piece of art in various stages of mounting. It is much more labour intensive than mounting the Western way and the shops charge more for it as well. I may have oversimplified the procedure, but you should get the idea. The owners have told me it takes much longer to learn the proper procedures than does Western framing techniques.

If anyone wants the supplies e-mail me and I will give you the name of the shop that wholesales the supplies.

Alan Sturgess


------------------
Accent Art Distributors Ltd
40 East 60th Avenue, Vancouver Canada, eh!

"The Retailer's Wholesaler, Not the Retailing Wholesaler."

Distributor Member of National Distributor Network
Check NDN Web site for a NDN Distributor in your area.
http://www.ndnframing.com/
 
LATEST UPDATE:

I never cease to be amazed at customers (and they probably feel the same way about me)...

After several calls, I spoke with the customer of this piece of art. Explained everything all of you have emailed or posted (in a brief form) and she said, "Can't you just drymount the thing?" When I asked her how much she paid for this artwork, she told me "$4500.00 quite a few years back". I once again, explained to her that a conservator needed to look at this and tried to talk her out of drymounting the art. She asked me to send it back to her via a mutual friend. She was very pleasant, but I feel sure that she is gonna try to find another framer who will drymount this art.

Oh well...It COULD have been a beautiful painting!
 
If your customer seriously plans to have this piece drymounted, then she probably doesn't realize that it will destroy whatever collectible value it has. Or maybe she doesn't care about that (but not likely).

I would call her back and make sure she understands that drymounting is a permanent change, and that any permanent change reduces value.
 
Jim:
That was one of the things that I explained to her immediately as to why the artwork had to be taken care of. I was appalled when she suggested drymounting it and told her the piece would be ruined from a value standpoint.

I posted the update to let everyone know that
1. We don't always "know" our customers just because we know what they do for a living and would think that an antique appraiser would certainly KNOW better.
2. Some framer is gonna do this job no matter that the drymounting is going to ruin this piece.
3. And finally because so many fellow grumblers emailed me as to this piece needing to go to a conservator prior to framing.

Janet
 
Back
Top