Conservation Framing


	Conservation Framing
Conservation framing employs materials and methods that have been proven to protect and maintain an artwork in the condition it was in when it was received for framing . We know that an alarming number of ordinary framers do not have these ideals as a priority. If you value your artwork or item to be framed you are advised to check, before your artwork is ruined, that your framer is an experienced, conservation framer. For peace of mind come to us first and don't worry... we are aware that not everything requires the museum treatment ..we will suggest appropriate ways forward to suit you.	Discolouration caused by light & atmospheric pollutants
Print restoration	Over many years we have taken apart many hundreds of framed pictures including many put together over a hundred years ago but some assembled only within the last few years. Again and again we see the same damage to valuable prints and paintings caused, primarily, by poor framing. Some of this damage is irreversible and some involves expensive restoration work; almost all of it could have been avoided.
The majority of damage is caused by the use of wood and straw pulp products which contain acids harmful to paper. Artwork is placed in contact with a cardboard mount or is glued down or dry mounted using ordinary glues and adhesive tapes. Worst of all there is nothing between the artwork and the wooden backing board, this leads to discolouration of the artwork and embrittling of the paper. Ill-fitting or broken backboards allow light and air pollutants to penetrate through even thick cardboard to damage the artwork itself with tell-tale, characteristic dark brown streaks.	Right: 100 year old oval backboard half-covered by paper. Left: Back of antique print showing damage from contact with wood.
Microchamber board actually removes harmful pollutants	At Pure & Applied we prevent this damage by using the best modern, conservation techniques and materials. We use only acid-free mounts, barrier board, reversible tapes and pastes. Conservation framing may be a little more expensive than standard High Street framing initially (not always!) but if you value your artwork we know it is well worth it.
Some irreversible damage is caused to artefacts and papers by the action of light, in particular ultraviolet light. We advise, where necessary, on the use of a variety of specialist protective glass and acrylic.	First World War Flag
Contemporary box frame	Another common practice at some ordinary framers is to place valuable artwork in direct contact with the glass. This means air cannot circulate freely and evenly over the surface, moisture is trapped, providing ideal conditions for moulds and fungi to grow. It also can mean a transfer from the surface of the artwork to the underside of the glass irreversibly damaging prints, pastels, watercolours and photographs. We advise on the use of box frames, slips and acid-free spacers or fillets to separate glass and artwork.
We have to re-glaze and repair a surprising number of frames that have fallen off the wall, this sometimes involves expensive restoration of a damaged artwork. Poorly made or weak frames badly tied cord, rotting cord or corroded picture wire, incorrect hangings or placement of hangings and sometimes incorrect fixing into the wall are all causes. We advise on, and only use, the best methods and techniques and employ modern high strength, low stretch, nylon or polyester cords and strong hangings and sub-frames where necessary.	Box frame with sub-frame for added strength

Conservation framing employs materials and methods that have been proven to protect and maintain an artwork in the condition it was in when it was received for framing .

We know that an alarming number of ordinary framers do not have these ideals as a priority. If you value your artwork or item to be framed you are advised to check, before your artwork is ruined, that your framer is an experienced, conservation framer. For peace of mind come to us first and don't worry... we are aware that not everything requires the museum treatment ..we will suggest appropriate ways forward to suit you.

Discolouration caused by light & atmospheric pollutants

Print restoration

Over many years we have taken apart many hundreds of framed pictures including many put together over a hundred years ago but some assembled only within the last few years. Again and again we see the same damage to valuable prints and paintings caused, primarily, by poor framing. Some of this damage is irreversible and some involves expensive restoration work; almost all of it could have been avoided.

The majority of damage is caused by the use of wood and straw pulp products which contain acids harmful to paper. Artwork is placed in contact with a cardboard mount or is glued down or dry mounted using ordinary glues and adhesive tapes. Worst of all there is nothing between the artwork and the wooden backing board, this leads to discolouration of the artwork and embrittling of the paper. Ill-fitting or broken backboards allow light and air pollutants to penetrate through even thick cardboard to damage the artwork itself with tell-tale, characteristic dark brown streaks.

Right: 100 year old oval backboard half-covered by paper.

Left: Back of antique print showing damage from contact with wood.

Microchamber board actually removes harmful pollutants

At Pure & Applied we prevent this damage by using the best modern, conservation techniques and materials. We use only acid-free mounts, barrier board, reversible tapes and pastes. Conservation framing may be a little more expensive than standard High Street framing initially (not always!) but if you value your artwork we know it is well worth it.

Some irreversible damage is caused to artefacts and papers by the action of light, in particular ultraviolet light. We advise, where necessary, on the use of a variety of specialist protective glass and acrylic.

First World War Flag

Contemporary box frame

Another common practice at some ordinary framers is to place valuable artwork in direct contact with the glass. This means air cannot circulate freely and evenly over the surface, moisture is trapped, providing ideal conditions for moulds and fungi to grow. It also can mean a transfer from the surface of the artwork to the underside of the glass irreversibly damaging prints, pastels, watercolours and photographs. We advise on the use of box frames, slips and acid-free spacers or fillets to separate glass and artwork.

We have to re-glaze and repair a surprising number of frames that have fallen off the wall, this sometimes involves expensive restoration of a damaged artwork. Poorly made or weak frames badly tied cord, rotting cord or corroded picture wire, incorrect hangings or placement of hangings and sometimes incorrect fixing into the wall are all causes. We advise on, and only use, the best methods and techniques and employ modern high strength, low stretch, nylon or polyester cords and strong hangings and sub-frames where necessary.

Box frame with sub-frame for added strength