Framing - Museum Standards
Museum Standards
Whenever two surfaces are in close proximity for any period of time, their respective molecules will come into constant contact causing chemical reactions and resulting in the accumulation of bi-products. It therefore has become extremely important to consider every aspect of a frame’s construction in order to avoid any long term chemical deterioration of the artwork.
‘Conservation Standards’ is a term commonly used by framers and can be misleading in regards to the level of protection that can be provided for a work of art.
As certified Museum Standard Framers, a category defined by the ultimate level of protection for an artwork, we ensure that the chemical and physical composition of all our materials is ‘fully archival’ – that is to say, they will not damage the artwork in any way.
By considering the environment in which the item is to be displayed and the materials used in the frame’s construction, we can help to arrest this process of ageing and deterioration, maximizing the longevity of an artwork.
Additional Considerations
Tabs
When it comes to mounting an artwork in position, it goes without saying that the materials and techniques used are of paramount importance. Any form of adhesive or hinging involves binding, residue or marks, and most methods can cause permanent damage to the surface of the artwork. We prefer to use Japanese hinging, which has gained wide acceptance as a safe and reversible technique, using traditional Japanese tissue papers to attach the artwork into place.
Mount Boards
Our mount boards are acid-free – but that term does not go far enough. They are entirely free from impurities; not just acid, but also lignin and the various other impurities that are found in ordinary ‘pulp’ board. What’s more, new developments in mountboard incorporate ‘microchamber’ technology, which effectively cleans the air, trapping harmful molecules as it passes through. We recommend that pure-grade 100% cotton boards are used for mounting art and photographic works, with an 8-ply thickness to lend maximum stability
We also take into account the type of artwork surface, and advise accordingly. For instance, certain photographic processes react with alkaline-based materials, so in those circumstances it is important that non-buffered board is used, as it has a lower pH level.
Backing Board
We use acid free high density backing boards to provide protection against knocks to the rear of the frame. Our boards are made from non-recycled wood pulp and are PVA laminated, with the added option of an archival Polyester lining to prevent moisture absorption.
Foil Lining
As time passes, certain types of wood have a tendency to produce fumes, which can cause damage to works of art. For this reason, we recommend the use of foil lining on the inside of the frame, to prevent acid migration. Porous seals applied to the reverse of the frame can also protect against dust and other airborne pollutants, yet at the same time allow the free movement of air to ensure the correct level of humidity is maintained. What’s more, new developments in mountboard incorporate ‘microchamber’ technology, which effectively cleans the air, trapping harmful molecules as it passes through.
Fillets
As the inventors of the original paper-wrapped wood fillet which was designed to ensure a distance between the surface of an artwork and the glazing, we have now pioneered and patented an inert Perspex paper wrapped fillet which is now an essential part of our Museum Standard Framing.
