{"id":2956,"date":"2020-08-14T17:57:02","date_gmt":"2020-08-14T17:57:02","guid":{"rendered":"http:\/\/www.art-conservation.org\/?p=2956"},"modified":"2020-08-14T17:57:32","modified_gmt":"2020-08-14T17:57:32","slug":"the-front-line-of-defense-for-your-art","status":"publish","type":"post","link":"https:\/\/www.art-conservation.org\/?p=2956","title":{"rendered":"THE FRONT LINE OF DEFENSE FOR YOUR ART"},"content":{"rendered":"\n

Does framing really protect art? How important is framing for the protection of art?<\/b><\/span><\/p>\n

\"\" <\/span>Proper framing is important because the damage to artwork we overwhelmingly see is from poor framing. Sloppy framing can result in damage over time, which may not be noticed until the piece is taken out of the frame to be examined before a sale. As conservators, people bring us their art with condition issues and innocently ask what happened? When we tell the client, it was the framing materials, system etc. that caused the problem, they invariably say I thought it was being framed right \u2013 I spent a lot of money on it. The major lesson is that framing is critical and major component to conserving a piece of art; it is not simply decorative.<\/span><\/p>\n

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One of the features of a frame is to present the piece for viewing at its fullest advantage and more importantly is its role in protecting the art \u2013 it is the front line of defense for your art. Amazing how much damage to art we see from framing, particularly in framing of the past several years even with good materials. Remember, not all damage can be restored to the degree that the value will be maintained, but it some instances it can be done. <\/span><\/p>\n

The quality of materials used in framing are critical to the success of preserving art. Not all framers use the same quality of material; while they might advertise or promise that their work is \u201carchival\u201d or \u201cmuseum quality\u201d; we have found that these terms are very loosely used with the minimal industry standards but not museum minimal standards. There are several types of matboard used in the interior of the framing system; some of which frequently are often referred to \u201carchival\u201d and \u201cmuseum grade\u201d but are not really. There is more to it than the boards, such as the way in which the artwork is attached; primarily they are called \u201chinges.\u201d There are press-sensitive tapes used by some framers who call it \u201carchival\u201d or \u201cmuseum\u201d but the adhesive is not and over time stains from it will migrate into the art discoloring the paper \u2013 sometimes irrevocably; there are pre-made hinges for a one-size fits all, the weight of the paper of the hinge has to be considered for the heaviness and strength of the art\u2019s paper It is far better for the paper if hinges are not attached to the piece and corners or paper shelves are used. But this depends again on the size of the art and the strength of the paper. One size does not fit all. <\/span><\/p>\n

And there is the choice of glazing, whether it is acrylic or glass, there are several diverse types ranging in ability to protect from the harmful ultra-violet rays and added clarity of the glazing, so that the art can be seen and appreciated to its fullest. <\/span><\/p>\n

We evaluate each piece of art and treat it as a unique piece developing the solution that fits its needs. The materials we use are not only 100% rag but have added properties to slow the degradation of acid or lignin and further the longevity of the art work. Framing is not just selecting the molding or the mat color. <\/span><\/p>\n

While you may not have paid much for the artwork and you let that dictate the amount you spend on the framing, we have seen many instances where the market for an artist increases dramatically in value and importance, but the piece you may have does not because cheap framing caused the artwork to be irrevocably damaged. This could have been avoided by proper framing and spending the amount needed for it.<\/span><\/p>\n

We are conservators doing framing which is important to you because we approach each framing project with the primary concern for the artwork and its continuation of condition; that is why we use the term preservation framing. Framing is important to you because it will preserve your artwork for the future and to protect its potential monetary value; these are the reasons proper framing matter and is important to you; the first line of defense in preserving your art. <\/span><\/p>\n

Proper framing is critically important for the condition and preservation of your art.<\/span><\/p>\n

10 Tips for Preserving Art with proper framing<\/b><\/span><\/p>\n

    \n
  1. While it may sound simple, please do not try home remedies on your artwork. These can and do cause irreversible damage. <\/span><\/li>\n
  2. Do not attempt to glue pieces back together as this creates further damage. Conservators have good quality adhesives at their disposal that are not available commercially. <\/span><\/li>\n
  3. Installing of work of art is more than hammering a nail into the wall. Consult a conservator to help with the location of placing your art; a conservator anticipates potential problems such as is there a water pipe in the wall. <\/span><\/li>\n
  4. Lighting is critical not only to the enjoyment of your art, but the right choice of bulbs as a light source that will not harm the art. <\/span><\/li>\n
  5. Before you purchase a new work, have it examined by a conservator. There are issues that you might not see that could become a problem and there are things you might see that will not become a condition issue. <\/span><\/li>\n
  6. Make sure that your artwork is properly and adequately insured. <\/span><\/li>\n
  7. Have a pictorial and documented inventory which in itself immediately adds value. <\/span><\/li>\n
  8. Keep your appraisals in a secure location and up-date frequently (we recommend every three years or as the market changes). An appraisal from twenty years ago does not reflect today\u2019s criteria nor standards and will not be accepted by your insurance company nor the IRS.<\/span><\/li>\n
  9. Don\u2019t assume that the piece is framed carefully or properly or for the long haul just because it was framed by the artist, gallery or auction house. As some frame to facilitate a sale and do not put the needed expense into a quality framing system; these are meant mainly for short-term display. <\/span><\/li>\n
  10. Condition reports by a conservator are essential for establishing a base-line for the art not only to monitor its condition in situ, but a current condition report is needed before packing for shipping. A conservator should examine the piece when it is unpacked at its destination. A condition report by a conservator not an untrained person. <\/span><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Does framing really protect art? How important is framing for the protection of art? Proper framing is important because the damage to artwork we overwhelmingly see is from poor framing. Sloppy framing can result in damage over time, which may not be noticed until the piece is taken out of the frame to be examined […]<\/p>\n","protected":false},"author":1,"featured_media":2957,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2956","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/posts\/2956","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2956"}],"version-history":[{"count":1,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/posts\/2956\/revisions"}],"predecessor-version":[{"id":2958,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/posts\/2956\/revisions\/2958"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/media\/2957"}],"wp:attachment":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2956"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2956"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2956"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}