Artwork Conservation and Framing Tips by Prospectnoir

My name is James Thacker. I am an artist and sell my artwork on ebay under the member id Prospectnoir. This guide is intended to provide basic information regarding fine art materials and the framing, care, and conservation of artwork. Original works of art such as paintings and drawings are unique and have both a personal value for the collector and a market value. Amateur collectors and even seasoned ones are often unfamiliar with the nature of the materials used to create artwork and how best to conserve them. While this topic is too vast to cover all aspects here, I hope the essential information provided below will enable collectors to make informed choices on how best to care for their art collection.

Materials and Storage

Paintings and drawings are created with pigments mixed with media and applied to a surface. Different art materials behave differently, but all artwork should be protected from moisture, direct sunlight, and acidic materials. When storing artwork, avoid using cardboard which is highly acidic. A protective barrier can be created between the surface of the artwork and potentially acidic boards and tubes by using a special archival paper called glycene (pronounced G-LIE-SEEN). Glycene is non absorbing and non acidic. I wrap all the artwork I sell on ebay in protective material before shipping it to my clients.

Artwork should always be rolled with the image facing out, otherwise the surface of the artwork will be bent in on itself and could be damaged. It is best not to roll artwork, however. Ideally it should be kept flat and horizontal. Adhesives used for common tape, such as masking tape, are extremely acidic. I suggest using a special non-acidic white art tape or vegetable based adhesives such as rice tape or wheat paste.

Some cardboards are non acidic. Museum board is best, or any rag board that is not acidic. Rag board is cardboard created with cotton fibers that have a very low acid content and are formed using adhesives that are also non-acidic. It is important that artwork such as drawings are created on acid free paper that conform to the same standards as rag board. Some media such as oils are corrosive to paper and canvas; therefore, the artist should size these surfaces first with acrylic primer or rabbit skin glue. My paintings are executed on paper, canvas, and board and are all sized with either acrylic primer or rabbit skin glue.

Framing

The best way to conserve and enjoy two dimensional artwork and certain small art objects is to frame them. Framing is a complicated art. Aesthetic choices are governed by personal taste, stylistic convention, and of course the colors and textures of the artwork. Other choices are governed by conservational considerations. When framing, make sure you and your framer take into account the following points:

Artwork should never be altered in any way. This violates the creative intentions of the artist and certainly compromises the value of the artwork. Exceptions can be made for conservational interventions and repairs, such as removing a yellowing varnish on paintings or filling in areas where paint has flaked off. This should be done by a professional and they should use reversible treatments, that is, treatments that can be removed at any time in the future. Again, do not trim or crop artwork so that it will fit a frame.

When framing paintings, be aware that oils or acrylics need not be covered with glass or plexiglass except if extremely fragile. Oil and acrylic paint films are strong and durable; unlike watercolors, they are not soluble in water. Oils exude a harmless gas over time and this gas is perhaps best not trapped under glass. Paintings on canvas should be stretched on stretchers and set in a frame. Paintings on wood or paper panels should be set in a frame a little loosely so they may expand and contract with humidity. Paintings in any media other than acrylic, oil, or tempera should be covered with glass or plexi glass. Oils or acrylics on paper are best set behind glass or plexi when framing, like other media.

When framing works on paper or textiles, the paper should be fixed on acid free rag board using acid free adhesives. They should never be drymounted, that is glued down to foamcore, as this is irreversible and compromises the value of the work. Works on paper are hydroscopic: the paper is made of cotton fibers that absorb and release humidity. This means they wrinkle and this affect, while unpleasant to see sometimes, is natural and should be accepted. Works on paper that wrinkle with changes in humidity can be unmounted and smoothed out, then reframed. It is best not to hang artwork in a kitchen or bathroom. When set in the frame, works on paper are hinged with adhesive in the corners and not glued down completely. This enables them to expand and contract with humidity without stressing.

When framing, if a mat is used the mat should be acid free. If the piece is floated without a mat, that is, simply mounted on board, spacers must be placed under the lip of the frame to keep the glass off the surface of the artwork. Glass should never touch the surface of the artwork as it will fuse with the artwork over time and lift the image off the paper. If you choose plexi glass, this is not an issue since plexi is plastic and therefore completely inert. Do not use plexi with charcoal drawings or pastel because plexi creates static electricity and will pull the pigment particles off the artwork. Plexi is a good choice for large pieces as it is light and will not shatter like glass. Its only disadvantage is it scratches very easily.

Another option for glazing is U.V. protection glass or plexi which blocks ultra violet light. I recommend using this as all artwork, except perhaps oils, will fade easily when exposed to sunlight. Especially vulnerable are watercolors and prints.

Most framers will seal a framed piece in the back with a dust jacket. This prevents dust and moisture from permeating the piece from behind. It is good idea to do this for paintings on canvas as well since some sizing is very hydroscopic and will absorb moisture from walls causing the canvas to wrinkle. Stretchers with corner keys can be extended to take up the slack. This will enlarge the size of the piece slightly; another reason why paintings should sit a little loose in their frames.

Final Thoughts

A collector may consider asking the artist about the materials used in a work of art and how best to frame the piece. I have been researching materials and framing for over fifteen years and I hope these tips have been useful. Thank you for checking out my guide. As I mentioned above, I sell my artwork on ebay under the name Prospectnoir. Please click here to visit my about me page to read about my own personal techniques. If you would like to see my current listings on ebay, including paintings and drawings, click here