I found a piece at the local resale shop. It consists of four titled, signed and numbered serigraphs by a google-able artist.
I really like it, but the 'graphs are mounted (sitting) on a black fine-cloth mat. Did I mention it’s big? The frame (black in color) measures 58"x39".
Im sure it was a stunning piece back in the early 80’s when it was assembled, but the black mat with the black frame makes the whole thing look like a big flat-screen TV with a four-bar test pattern.
I’d like to swap out the black matting for a different, more neutral color. I think I can do it myself, but questions exist before I dive in.
Mainly, does anyone know how the prints are currently adhered to the mat? I’m positive that they’re not maintaining their position because of compression between the mat and the plexiglass Is there a standard procedure for this type of mounting art? Are they glued on or what?
I don’t want to go blindly and end up ripping or otherwise destroying the pieces.
I’d take it to a professional framer, and ask him for advice. (Actually, I’d take it to a framer and have him do the whole thing for me!)
And, jeepers, good luck. I had a piece of art once that was stuck in place with Scotch brand double-stick tape. I ended up having to cut away the original backing. Horrible.
There’s no easy answer. Our industry has come a long way in efforts to standardize best practices, but there’s still room for improvement. In the 80s we didn’t have the focus on, or knowledge of preservation we do know. They could be adhered with a few globs of silicone adhesive, a bead of white glue, or properly mounted with paste and paper hinges.
There’s no way to tell what method was used without opening it. I’ve been in this game for thirty years and still once or twice a year I open up a piece for reframing and see some method I’ve never seen before. (including configurations of masking or duct tape, and liquid nails)
If you do open the piece up keep all the frame contents together and be very cautious about separating the layers. Do it slowly in case anything’s stuck together.
I will cross my fingers and hope you encounter hinges, not glue.
I’m a professional framer so I’m ALWAYS going to agree with anyone who says “take it to a professional framer.” I know you didn’t ask, but based on the size and the change your describing I’d expect that to run between $125 and $175 at a frame shop. That assumes your frame and glazing are in good shape and can be reused.
I’ve been thinking about my earlier reply. (And not just because in my haste I typed “your” instead of “you’re”) I don’t want to be unhelpful.
If you are dead set against paying for help with this - and I am that way about some things, too - just do everything very slowly. Once you get the middles out of the frame. Don’t flip the plexi (which i hope is actually acrylic) off the art, in case it’s stuck in any spots. Don’t lift the prints straight off abruptly - if a too aggressive adhesive was used you might end up tearing your artwork. In my work I have an assortment of palette knives and long thin spatulas I use for lifting artwork
I cannot think of a way for you to correctly attach them with materials you’re likely to have lying around the house. If you want the prints to retain any value you can’t just stick them on with double sided foam squares.
This article on hinging is good information but doesn’t illustrate the kind of blind or hidden hinge you’d need to surface mount your four prints onto one backing.
Thanks for all the advice. I’m inclined to take it to a professional, but at the same time I’m constrained by the fact that I paid only $20 for the work. (hurray for a steal!)
The price I paid certainly doesn’t discount or diminish the beauty of the prints, but a $200 investment for a pro framer represents at the least 20% of the value of the prints according to my google-fu. I enjoy and appreciate art, but I’m not married to the thing, and the mercenary side of me says that I wouldnt recoup that cash outlay if I decide to resell in the future.
I’ll just let it hang on the wall for now. Another month or so, when the weather cools down, maybe I’ll do a triage on it and see what I’m up against.
The fact that you only paid $20 for it, in my mind, is what makes taking it to a professional framer so perfect! Take it to a framer and see what’s involved. It might be less than you think.
(You really think ahead to one day when you might re-sell it when you pick up something like this???)
And be assured that I’ve a habit of going completely OCD when it comes to obtaining the proper tools and materials for a project, and I enjoy every second of the process of doing so.
That said,
“Backer board” (for lack of a better term). What material is used that is art friendly and lends itself to being covered with a cloth mat?
Cloth mat to backer board - should it be stretched and then tacked with staples, or, given the size of the piece, would a spray adhesive work better? If so, which adhesive would you recommend?
Lastly, I’m here on my stupid iPhone , so I haven’t checked your link on “hingeing”, but is that the best way to affix the art to the mat? Is that a DIY type of operation?
Many thanks for allowing me to lean on your expertise.
Ummm, yes… I must confess that my resale-shop haunting is somewhat driven by a “buy low, sell high” mentality. Blame it on the fact that I know just enough to be dangerous.
On the other hand, I do hold a deep and abiding appreciation for art in all its forms, I was raised that way.
In a perfect world, I’d find a Miro, Dali or Warhol sitting in the bin at the resale shop and pay $30 for it. I’d take it home and hang it on one of the walls of my humble abode, and allow its aura to envelop everything around it. I would bask in the electricity, gravitas and history that radiated out from it like a thousand suns.
Then I’d sell that sumbitch for seven or eight figures to the first slapdick to make me an offer and THEN I’d use the money to fund manditory paint-by-numbers art classes in kindergarten through third-grade education.
Spray adhesive has no place in preservation framing, so forget that option.
pH neutral fabrics are available in a limited range from framing specific suppliers. If you’re buying fabric from a neighborhood store look for natural fibers. Linen, cotton, or silk without sizing. Not all dyes are colorfast.
Assuming you’ve chosen your fabric you want a backing board that’s rigid, without being heavy. I’d most likely choose a foam centered board (foam core).
To attach the fabric I’d apply an allover adhesive (I use a pH neutral adhesive that I buy from the same folks that sell the fabric) with a 4" paint roller. Then I’d put it in a press. I don’t know how you’d replicate that in a home setup.
How to attach the art depends on the weight of the paper. There’s a mix of science and art making the hinges the right weight.
Do you know what type of paper the prints are on (how heavy? smooth surface? handmade paper made in layers that delaminate?)
Getting four of them to line up is not an easy prospect.
It appears to be a linen/cotton type. If it helps, it has very tightly spaced “pores”. Doesn’t look especially heavy, but it has some thickness.
Glad you mentioned the way they line up. Whoever did this one nailed it big time. Perfectly even from top to bottom, side to side and in between. Everything else aside, that’s going to be a challenge.
Even if you don’t have them do the labor, taking it to a frame shop would allow an experienced framer to look at it and give you pointers, recommend tools, materials and techniques, etc.
Too bad the fad of self service frame shops is gone.
Total de-rail, but I took a 9 x 13 already matted piece to Michael’s for a frame and glass. I was quoted $104. :eek: I said “that’s too much” (in a nice tone) and walked away. I was browsing another section and the framer person found me to say that he “recalculated” and was able to get the price down to to $42. The workmanship is fine, but they are price gougers.
Aaron Bros is owned by Michael’s, and while they’re slightly better, both places have high employee turnover and less-than-comprehensive training. They’ll do acceptable work on new pieces, but a giant, already-framed piece is most likely beyond the scope of their abilities.
Coo! Thank’ee. I guess I’ve only taken “general practitioner” work there, but never anything requiring a “specialist.” (You don’t go to McDonald’s for Beef Burgundy!)
