Volume 35, Issue 3-4 -

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.

Micro-dot hinging is a mounting technique for moisture-sensitive paper consisting of Japanese paper strips with small dots of wheat starch paste. The rubber stamp applicator represents an alternative the known paste applicator tools. Three stamps with custom-designed patterns are compared with the Velcro ® fastener tape applicator often used for this purpose, focussing on handling properties and the dimension and distribution of adhesive dots imprinted on the hinging paper. The squeeze-out of the paste during transfer from rubber stamp to paper caused adhesive dots to be ca. 0.5 mm wider in diameter than the dots of the designed patterns. Therefore, raised stamp elements with a 0.5 mm diameter were preferable to those with 1 mm diameter when trying to create small adhesive dots. Raised elements spaced apart more than 1 mm allow a clear separation of adhesive dots and avoid larger adhesive accumulations. Rubber stamps offer a wide variety of possible patterns, are easy to handle and clean.

Neodymium magnets have been in use as a mounting technique for works of art on paper for several years; however, the method is still in its infancy. These very strong magnets provide a valuable addition to the traditional methods of mounting artworks on paper and objects made from paper, textile, or other materials for exhibitions. They offer an interesting and elegant alternative to attachment with adhesives, especially when adhesives may not or cannot be applied to the original work. This article addresses the physical properties and manufacture of the magnets, including their coatings and nomenclature. Three successful case studies of mounting artworks on paper with these “super magnets” are presented here. In addition, the limits and possible difficulties of working with neodymium magnets are addressed, as well as precautionary measures to take when handling them.

For the 2006 installation of the permanent exhibition at the German Historical Museum Berlin 2600 paper objects, 330 posters and 1070 books were prepared for display within only three months. Paper objects were framed or installed in showcases lying horizontally, on slopes or vertically using customized mounts to secure them. The mounting technique developed for single sheet objects could be prepared ahead of time and allowed save handling during installation. Mounting materials include museum cardboard, corrugated cardboard with integrated hanging hardware, Japanese paper hinges, photo corners and staples.

The “Triumphal Procession Miniatures” of Emperor Maximilian I, one of the most important objects belonging to the Albertina Collection of Graphic Art, was on show for the first time in over 50 years in an exhibition from 14 th September 2012 to 6 th January 2013. The 59 large format parchment sheets richly painted in the manner of miniature painting were commissioned by the Emperor and produced by Albrecht Altdorfer and his workshop in Regensburg in 1512–1515. The unusual dimensions of the procession and its presentation as a continuous cycle of images with a length of almost 54 m, with the historic overlaps at the edges of the sheets taken into account, presented particular challenges in planning, treatment logistics and mounting techniques. This paper presents the logistical prerequisites for the realisation of the project in a period of 24 months and the development of a mounting system suitable for display purposes as well as long-term storage and ready accessibility for the future.

About 1400 works on paper in the collection of the Kupferstichkabinett, Staatliche Museen zu Berlin were analysed for sheet dimensions and their aspect ratios and considered for storage- and handling-related damages. A new stacked enclosure system was developed for objects measuring up to 1350 × 950 mm to upgrade flat file storage, to reduce the risk of mechanical damage and improve the ease of handling in the museum study room and for exhibition preparation. Five defined standard dimensions for oversized artworks on paper and for enclosures and frames were introduced at the museum. They reflect the most common aspect ratios of 1:1.4 followed by 1:1.3. The new enclosure system consists of an outer shallow cardboard tray that holds up to five artworks enclosed in a folder. The folders are made either of cardboard, of a corrugated backboard and a cardboard cover, or of a corrugated backboard faced with museum board to which the object can be hinged; the latter serves as a mounting board for framing when the front cardboard cover is folded back. The trays are stackable. The corrugated cardboard walls of the tray retard the transfer of external relative humidity fluctuations into the stacked storage system.

The paper focuses on the strategy for mounting and re-framing a contemporary work of art on paper with different types of damages and alterations caused by an experimental use of materials of varying quality as well as by the problematic mounting system in the original artist’s frame.