Ideas for Mounting and Framing of Large-Scale Works on Paper
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Olivier Masson
Olivier Masson is a paper conservator in private practice in the studio Masson Pictet Boissonnas in Zürich. He started his training as a paper conservator with Valentine Boissonnas in 1977, followed by internships at the National Maritime Museum Greenwich, UK, Northeast Conservation Centre, Massachusetts, USA and at the Igor Grabar Institute in Moscow, USSR. He has lectured at the Cologne Institute of Conservation Sciences and is a Fellow of IIC and an accredited member of The Institute of Conservation.Véronique Strasser is a paper conservator working at the Musée d’Art et d’Histoire in Geneva since 1984. She graduated from Camberwell College in 1980. From 1980 to 1984 she worked first at the Staatsarchiv in Zurich and then for various private collections. Aside from her work at the museum, she has kept a limited but continuous private practice.Michaela Ritter is a paper conservator in private practice in the studio Masson Pictet Boissonnas in Zürich since 2002 and since 2014 Partner of MPB. Between 1996 and 1998 she worked as an intern in several workshops in Germany, UK and the Netherlands. In 1998 she started the paper conservation graduate education programme at the Stuttgart State Academy of Art and Design, where she graduated in 2002.
Abstract
When mounting large-sized objects on paper, there is often a risk that the work, if handled carelessly, touches the glass. This can result in damage to the paint layer. One way to prevent this is to mount with cross-shaped hinges made of Japanese paper attached to the centre of the verso of the object. In order to minimize tensions in the paper, the wheat starch paste can be applied by means of a stencilled-dot method or the “micro-dot” method. After mounting the work on a backing board by means of the presented hinges the object is enclosed dustproof. The so-called package consists of glazing, spacer, mat, work of art and backboard. The additional framing is done with a mounting frame which gives particularly large-format framing sufficient stability.
Zusammenfassung
Ideen zur Montierung und Rahmung von großformatigen Objekten auf Papier
Bei der Montage von großformatigen Objekten auf Papier besteht oftmals die Gefahr, dass das Werk bei unvorsichtiger Handhabung das Glas berührt. Dies kann zu Schäden der Farbschicht führen. Eine Möglichkeit diese zu verhindern ist die Montage mit “über kreuz gelegten” Fälzen aus Japanpapier in der Bildmitte der Objektrückseite. Um Spannungen im Papier zu reduzieren, kann der Weizenstärkekleister hierbei mittels einer Schablonenmethode oder der “micro-dot” Methode aufgebracht werden. Nach der Montage des Werkes auf eine Kartonunterlage mittels der vorgestellten Fälze wird das Objekt staubdicht eingefasst. Das sogenannte Paket besteht aus Glas, Distanzhalter, Objekt und Unterlage. Die weitere Einrahmung erfolgt mit einem Montagerahmen, der vor allem großformatigen Einrahmungen genügend Stabilität verleiht.
Resumé
Idées pour le montage et l’encadrement d’œuvres sur papier de grand format
Pour l’encadrement d’œuvres sur papier de grand format, il est important de maintenir une distance suffisante entre le Plexiglas et la couche picturale, afin de préserver cette dernière de tout dommage par frottement, particulièrement lors de manipulations. C’est pourquoi, lors du montage, des charnières de Japon en croix, sont collées au centre. Pour minimiser les tensions, la colle d’amidon est appliquée à travers un chablon ou par la méthode micro-dot. Cet article décrit la manière de procéder et aborde également les aspects techniques de la pose de listes de distance, du scellage de l’encadrement et de l’emploi de châssis creusés en V pour faciliter le vissage.
About the authors
Olivier Masson is a paper conservator in private practice in the studio Masson Pictet Boissonnas in Zürich. He started his training as a paper conservator with Valentine Boissonnas in 1977, followed by internships at the National Maritime Museum Greenwich, UK, Northeast Conservation Centre, Massachusetts, USA and at the Igor Grabar Institute in Moscow, USSR. He has lectured at the Cologne Institute of Conservation Sciences and is a Fellow of IIC and an accredited member of The Institute of Conservation.
Véronique Strasser is a paper conservator working at the Musée d’Art et d’Histoire in Geneva since 1984. She graduated from Camberwell College in 1980. From 1980 to 1984 she worked first at the Staatsarchiv in Zurich and then for various private collections. Aside from her work at the museum, she has kept a limited but continuous private practice.
Michaela Ritter is a paper conservator in private practice in the studio Masson Pictet Boissonnas in Zürich since 2002 and since 2014 Partner of MPB. Between 1996 and 1998 she worked as an intern in several workshops in Germany, UK and the Netherlands. In 1998 she started the paper conservation graduate education programme at the Stuttgart State Academy of Art and Design, where she graduated in 2002.
Acknowledgement
We would like to thank Jean Rosston, Paper Conservator at the Kunsthaus Zürich for revising the English text, and Thomas Maurer, framer at Palette framing workshop Zürich for generously sharing the information.
References
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Materials
Silicone-release Mylar® (polyethylene terephthalate), Lascaux restauro
Filmoplast® tape paper or linen, http://www.neschen.de/documents-en/book-care-repair/category/65-produkte-fuer-bilderrahmer (accessed 23.7.2014)
Zin Shofu, Lascaux restauro
©2014 by De Gruyter
Articles in the same Issue
- Frontmatter
- Editorial
- Ideas for Mounting and Framing of Large-Scale Works on Paper
- Technical Note: A Rubber Stamp for Micro-Dot Hinging
- Mounting Works on Paper with Neodymium Magnets
- Mounting Paper Objects for the Permanent Exhibition at the German Historical Museum Berlin
- The “Triumphal Procession Miniatures” of Emperor Maximilian I: Conservation, Restoration, Mounting, Exhibition Presentation and the Development of a Storage Concept
- Stacked Storage System for Large Works on Paper
- Mounting and Re-framing a Large-Scale Work on Paper by Bruno Gironcoli Reusing the Original Frame
Articles in the same Issue
- Frontmatter
- Editorial
- Ideas for Mounting and Framing of Large-Scale Works on Paper
- Technical Note: A Rubber Stamp for Micro-Dot Hinging
- Mounting Works on Paper with Neodymium Magnets
- Mounting Paper Objects for the Permanent Exhibition at the German Historical Museum Berlin
- The “Triumphal Procession Miniatures” of Emperor Maximilian I: Conservation, Restoration, Mounting, Exhibition Presentation and the Development of a Storage Concept
- Stacked Storage System for Large Works on Paper
- Mounting and Re-framing a Large-Scale Work on Paper by Bruno Gironcoli Reusing the Original Frame
