Paintings

Framing paintings

Framing for protection

As already noted, frames are important protective devices. Good framing is as much common sense as anything else but certain principles should be kept in mind.

The painting needs to be protected at the front and back if possible, from damage caused by:

• knocks and abrasions;

• dust and pollution;

• environmental fluctuations; and

• biological pests.

For this reason you should provide a backing board for your paintings, and consider glazing works.

The painting needs to be protected from vibration as much as possible. For this reason the frame needs to hold the work firmly but allow some cushioning, so that if the painting is knocked the frame will take the force of the impact. The painting will need to be keyed out if the canvas becomes loose. Make sure that the painting does not fit too tightly in the frame.

Other considerations—aesthetics and history

When making any decisions about whether to retain, replace or repair an original frame, it is important to understand the history of the painting and its frame.

Many artists consider the frame to be an important part of the presentation of their work. For some it is even an intrinsic element. Keep in mind that frame styles reflect the period of the artwork and/or the design of the individual artist.

It is important to note that in some instances the frame will have been conceived as part of the original aesthetic of the work. For example:

• the 1889 9' x 5' exhibition is perhaps the most well known Australian example of artists making very specific decisions about their frames;

• many contemporary artists have very definite ideas on the framing of their work; and

• Fiona MacDonald is an example of a contemporary Australian artist who uses the frame as part of the aesthetic of her work. To replace the frame would be akin to replacing part of the work.

Many frames are important aesthetic statements in their own right and may be valuable historic items. For example, framemakers Robin Hood and Isaac Whitehead were important Australian framemakers. An original frame by these framemakers is likely to be worth a substantial amount of money, certainly in the tens of thousands for a large, ornate frame in good original condition.

In other instances the artist may have no interest in the frame at all. Works may be sold unframed or the artist may simply have a trade order with a framer.

Decisions about framing and reframing, therefore, need to be made carefully and with a proper understanding of all the issues.

Backing boards

Backing boards protect the painting by providing a physical barrier between the back of the painting and the external environment.

It is obvious that one of the most important things you can do to protect a painting is to provide it with a snugly fitting backing board.

A backing board will help to protect against:

• knocks;

• changes in temperature and humidity;

• the effects of atmospheric pollution;

• lodgement and build-up of dust;

• insect and mould attack.

Various types of material can be used for backing boards. It is important to choose a material which is lightweight, but still strong enough to take knocks and to provide a physical barrier. Two materials which have been used widely in recent times are:

• Foam Cor—a composite consisting of outer layers of paper and an inner layer of polystyrene; and

• Corflute—a synthetic corrugate.

pH-buffered, corrugated archival cardboard and other stable materials can also be used. The abovementioned materials are considered to be more chemically stable than timber or Masonite.

If you retain a timber or Masonite backing, introduce a barrier between it and the painting. The barrier could be acid-free paper or board.

Sometimes a work will have an original backing board with inscriptions and labels. If this is the case you will probably want to retain this information. If the labels are in poor condition, you should consult a conservator regarding their preservation. All labels and inscriptions provide potentially valuable information about the work. It is important to transcribe this information into any records you keep about the painting, including condition reports.

Sometimes a backing board may hide information on the canvas.

In some instances a conservator will transcribe this information onto the backing board, noting that the original exists on the canvas.

If the back of the work has a large amount of information or you want the information to be visible, a sheet of Perspex can be used as the backing board. In this way, the work is protected while still allowing the back of the work to be viewed.

Back of framed painting showing Corflute backing board screwed to the frame. Photograph courtesy Artlab Australia

Backing boards are screwed into the back of the frame and should fit well enough to make a dust seal. They provide more protection from impact if they are attached to the frame—because the frame, rather than the painting, will absorb most of the shock.

It is important to note that backing boards should not be attached to the stretcher or strainer, because this weakens the structure and may necessitate putting holes in the canvas, which could lead to tearing.

Glazing

Glazing is a generic term and usually refers to glass or Perspex.

When glazing, you should be ensure that:

• there is sufficient space between the glass or Perspex and the surface of the work, so that the paint surface will not touch the glazing. Slips and spacers should be used to provide this space. Slips are visible and can be a decorative element in the frame. Spacers are not seen;

• Perspex is not used where there is any danger of the paint or image layers being affected by static electricity, for example, where there is flaking paint or where there is mixed medium such as in collage; and

• you do not use glazing when framing works which have been recently varnished, because the varnish will not be able to dry properly and may develop a white bloom.

There are a number of different types of glass on the market, including very expensive, water-clear bullet-proof glass. If you want to use this glass, you should check with your State art gallery to see if they have a local supplier, as this glass is not readily available.

Putting the painting in the frame

Click here to see diagram

The following diagram shows how a stretched canvas painting should be fitted in a frame to provide a protected environment for the painting.

Click here to see diagram

The back of the frame is built up with a profile section screwed to the frame. This increases the depth of the rebate, and provides the recessed space for the mirror clips and backing board.

The slip is necessary to ensure that the paint surface does not contact the glass.

The slip, rebate and mirror plates—that is all surfaces contacting the painting—need to be felted with either a polyester felt or an inert cushioning material such as Cellair.

If the painting fits loosely in the frame, spacers should be used to bulk out the rebate. Rag board, pH-buffered cardboard, balsa wood, cork and Foam Cor are suitable materials. These spacers should be glued to the rebate to prevent them slipping out of place and so to reduce the risk of damage to the painting.

Felted mirror plates are used to hold the painting in the frame. These can be bent slightly to hold the painting and are screwed into the profile.

Panel paintings should be held in place by two mirror plates placed at either side of the painting in line with the grain of the wood. This means that, if necessary, there is some freedom of movement of the wood. Remember that if a panel is unable to move it will crack.

Click here to see diagram