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Opinions Wanted Mounting works on paper over canvas/linen?

Discussion in 'The Grumble' started by luna, Dec 29, 2018.

  1. luna

    luna Grumbler in Training

    Hello Grumblers,

    I'm hoping that some of you can help me troubleshoot some projects that all of a sudden seem to be multiplying. My partner and I have a shop and we primarily make painting supports - canvases, stretchers, panels, etc. We also frame paintings, make crates, and do a little conservation work on paintings (v light, mostly strip-lining tbh). Apparently, word has spread around that we're just the people to talk to about mounting pre-existing artwork on to new supports, and I have a glut of projects lined up in this vein. Two of them, though, are giving me pause and I'd like some advice.

    First things first: a client came in and wanted to mount artwork (monotype on Rives BFK), onto RSG-sized portrait linen - stretched on a stretcher, with about a 1/4" float all the way around. We did the project using BEVA 371 film, and they looked great - perfectly smooth. After about a week, though (thankfully, they were still in the shop to be framed), the linen started to shift a little on the float and the paper buckled slightly in places. I re-activated the film and weighted the pieces for about a half-hour, until the film was totally cold, thinking perhaps I had somehow not been even in my mounting the first time, and all appeared well. Now, a week later, it's happening again.

    We think the way to go will be to remove the linen from the stretcher, make a cradled panel, apply a layer of Beva film on the face of the panel, place the print/re-stretch gently the linen, then activate the Beva to really stabilize the whole thing. What do you fine folks think?

    I also have another tentative project that's a series of oil pastels on paper, mounted in a similar way onto the face of stretched canvases. With oil pastel, there can't be any heat, so Beva's out, and it should be reversible, so something like PVA is out. What do you think the way to go here is? The fine folks at Talas recommended Gudy 831, but the reversible qualities of that fancy double-stick tape is solvent-based, and I'm not really very comfortable with that.

    Any advice is greatly appreciated. :) Thanks in advance!
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  2. JFeig

    JFeig SGF, Supreme Grumble Framer

    The number one lesson is to NEVER try out a new process on a clients item.
    The number two lesson is because an artist has an idea of a better(new) way to do things, it doesn't make that idea a feasible idea. RE: the oil pastel mounting. If that is the look they want, the paper should be premounted and pre-stretched.
  3. prospero

    prospero SPFG, Supreme Picture Framing God

    I had a large watercolor to reframe that had the paper mounted on canvas and fixed to stretcher bars. This was around
    the 48"x 30" scale so the mounting method was not a bad idea. It was 100+ years old and still in pristine shape. But the key
    thing was, it had the paper mounted before the work was executed and no doubt left for a period to 'settle'.
    Mounting a completed piece of art is a risksome business. :confused: This all comes down to the artist thinking ahead. :rolleyes:
    luna likes this.
  4. luna

    luna Grumbler in Training

    Thanks so much, Prospero & JFeig, that’s what I thought as well - hoping perhaps there was something I hadn’t considered. As far as the monotypes on linen go, I opened up the mechanical joints a tiny bit yesterday, & checked on them this morning, & that seems to have solved the issue.
  5. Rick Granick

    Rick Granick SPFG, Supreme Picture Framing God

    The mounting method you describe reminds me somewhat of the way antique posters are mounted to linen to give them more physical support and durability. As I understand it, this involves using starch paste to mount them to an acid-free tissue, which is then mounted to a linen substrate. Although this is an "accepted" method for handling fragile antique posters, and collectors are accustomed to seeing them mounted that way, I have never seen this approach used for fine art on art papers- and for aesthetic rather than structural reasons. Traditional notions of handling original art would mitigate against that approach, especially for items like pastels, which have very little binder and therefore very fragile surfaces. As Jerry Feig suggested above, just because an artist or (especially) a customer has a certain notion of how they would like something to be done, that does not mean it is the proper approach in terms of protecting and preserving the art or, as Jerry said, even feasible.
    :cool: Rick
    luna, prospero and shayla like this.
  6. luna

    luna Grumbler in Training

    hello comrades, thought I'd give an update on the monotypes - opening up the mechanical joints solved our problem 100%; the work looks great. when the client brought in the next batch of monotypes she wanted mounted the same way, we did them on cradled panels with the linen stretched and sized over it prior to using beva film to mount the work and that also looked smashing. thanks for everything!
    Al B and prospero like this.
  7. shayla

    shayla WOW Framer

    So glad your project worked! Did you use a tacking iron? Also, what do you mean by 'opening up the mechanical joints'?
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