Vintage Posters----Again


<span style="color: red"><b><i>Charter Member</i><
I received today two paper posters "glued" to canvas. We've had this discussion before, but corroboration helps. One is 48 x 67, other is 39 x 58. Designer wants only frames, no mats. Larger poster carried retail price of $2,300. These two pieces will hang in a house in the Bahamas: very humid. I've given her the job of explaining to the client about rippling, etc. as well as trimming the pieces to rid ourselves of the excess canvas on which it's mounted. I want relief of liability: it's okay by her to speak for client. Anyone have any suggestions? If given permission, I will use "removable" drymount tissue like Fusion 4000, spacers, plexi, and trim to fit. Help? What if no permission is given? What would you do?

Appendage to this: designer just called: client feels there will be more authenticity if it ripples. (Trimming question is yet to be asked.) Would you now just use pretty heavy hinges?

[This message has been edited by MerpsMom (edited 09-01-99).]
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Do you have enough canvas around the print to to use stretcher bars and treat it like a painting? Of course you wouldn't stetch it as tight as you might a painting.

Just a thought, nbw



Would you mind telling us how you finally mounted this poster/canvas?

We just got one in the shop that is 3 papers on one canvas 134" wide and 62" high. plus about one inch of extra canvas all around.

We are in south Florida so humidity is also a concern.

At this point I am not concerned about framing it, just getting it attached to a backboard, which I was planning to make out of 1x2 lumber with a few upright braces covered with acid free foamcore.

Any suggestions would be greatly apppreciated. Thanks


Forum Support Team Angry_Badger
Team member
I have also had inquirey about framing these monsters. The client had done some homework and wanted to be sure that UV filtering acrylic was used. I couldn't find any larger than 48"x96"; too small for the application. They opted to buy a smaller poster that would fit into that size constraint. Does anybody have any ideas about glazing options on the really big posters that provides the UV protection requested?



Hello. Long time reader first time responder.
I do a lot of vintage posters, in fact that is most of my business. The canvas you refer to is actually a cotton material that is the poster industry standard for mounting vintage posters. The better poster conservators use an acid free cotton duck cloth with a sheet of Japan paper between the poster and the linen. The whole package is then "glued" together using either wheat or rice paste. The whole process is completely reversible by immersing the package in their "special" solutions and then a careful drying period. I don't perform this myself, I send all my posters to a man in WVA who does excellent work in my opinion. There are only a handful of reputable linen mounters and poster conservators in this country. Your customer obviously has experience in the poster market; hence the comment about rather have the ripples. Most poster collectors want to know that their poster is hanging freely in the frame package. Additionally, most poster collectors do not mat them either. Matting a vintage poster is synonymous with hiding damaged edges. I usually, depending on the molding selected, trim the linen to about 1/8th to 1/4 of an inch from the edge of the poster. Most collectors want to see as much of the poster as possible right up to the edges and any small type print on the extreme edges that shows who the lithographer was or printing house. All very important to the poster fanatic. Most of the time, I simply hinge the whole thing to 3/16th AF board. On really large posters I use gator. You can even make the hinges out of the scrap that you trimmed off. 90% of the time you won't get any "severe" wrinkling. However, if you want to make sure, sew or ATG the thing to the foamboard. I have sewn the edges of the linen thru the foamboard myself. For vintage posters I always use spacers and conservation UV filtering acrylic. As you stated, she paid $2300 for the poster, A few hundred dollars for proper framing is good insurance for expensive paper. I have never personally mounted the linen mounted poster using a press. One, a heat process may undo the mounting between poster and rice paper and linen, cold mount would probably be OK but again I think it unnecessary. The linen mounting makes these posters almost bullet proof. As for the humidity question, I think fastening the poster top and bottom with spacers between acrylic and poster, and hang it in an airy place will help but we are all at the mercy of extreme environment in the tropics and I think regular maintenance on artwork in these areas is an absolute necessity.
Nice talking to you and I really enjoy "listening in".
Harry Baker


CGF II, Certified Grumble Framer Level 2
Hi Merps

. . . your clients sure like to complicate your day . . .

Balance your considerations with a realistic look at where the art will hang. I seriously doubt that anyone able to hire a consultant to handle valuable artwork for their home in the Bahamas resides in a place where too many problems will surface. I suggest that the major concerns are those of atmospheric humidity.

If the art will be exposed to the open and unmodified atmosphere, humidity concerns may be important - if it will hang in a controlled, air-conditioned environment, the humidity concern may be less important, and your life may become easier.

If extreme or rapidly changing humidity is a problem, one should consider the type of adhesive used to mount the paper to its substrate. If wheat starch has been used, and if high humidity is a concern, one should consider the possibility of fungal attacks. If changing extreme humidity is a concern, all the more reason not to restrict the art by press-mounting, which will probably ruin the collector value of the artifact anyway. The so-called "removable" adhesives are usually not removable, the adhesive remains.

What is wrong with float mounting with appropriate hinges? If bottom curling is a problem, consider using methyl cellulose to attach to the verso at the bottom, a strip of appropriate matboard to act as a weight - it still leaves the art to move, being freely suspended.

The substrate which the art is to be mounted upon is important - prudence suggests c-p mountboard (which does not include a-f foam, or gatorboard or Mighty Ducks Board, etc.)

baker has given some very useful insight into what poster collectors perceive. Apply to that what you already know.

Don't lose sight of some fundamentals - don't alter the art (press-mounting); don't introduce materials that will contribute to damage (non c-p mountboard); don't restrict the art's ability to freely respond to changing environemnt( don't affix more than one end.)

The artifacts are worth a lot on money. Your reputation is worth more.