There is much confusion within the framing industry about the differences between an acid-free product and an archival product, as well as a specific technique being expeditious and one that is also archival. Different shops have their own method of completing an order; yet, upon research, one can discover that there are specific standards for framing valuable artwork.

We have wanted to reply to a comment made on a previous blog on the topic of proper archival framing (see Purchasing Artwork From Reputable Galleries – What You Need To Know), but we waited until we received replies from a few sources.

Acid-free as it applies in our industry typically means the product is pH-neutral to slightly alkaline; that is, a pH of 7.0-8.0.  This attribute, however, does not mean the product is archival. To be considered archival, mat board must not only be 100% acid-free, it must also contain 100% rag content: no wood pulp.

For example, to quote Crescent Cardboard’s technical staff:  “Matboard number 9848 is an acid-free board, but it is not a museum board and therefore, we (Crescent) do NOT guarantee it.”

Nielsen Bainbridge Framing, another prominent matboard/cardboard source, assured us that Art Care archival foam board is indeed acid-free and features the Bainbridge Artcare technology. However, to quote Bainbridge, “Alpharag cotton surface foam board is the only foam board backing that is both acid-free and rag surfaced.” Therefore, it is the proper backing to use in direct contact with valuable works.

We also reached out to the Winston-Terry Company, the makers of Artist Tape, to clarify the proper method for hinging a valuable work to its mat. We inquired whether or not their tape was suitable for direct hinging of artwork. Their reply was very simple and direct: “We cannot approve direct contact with the artwork. Sorry”.

What we have been stressing in our previous blogs is that only products and techniques considered by the authorities in the field to be archival can be depended upon to provide protection—very long term protection—to your valuable works of art or your invaluable keepsakes and mementos. (If you are curious to view the damage caused by improper materials and techniques, we have a few examples in our showroom. They are not pretty.)

Many of the techniques and materials we write about can be found in the work The Conservation of Antiquities and Works of Art, second edition, Oxford University Press 1971.

In addition, any framer or otherwise inquiring mind can contact the Professional Picture Framing Association (PPFA) to purchase any one of numerous books on the proper and archival methods for handling works of art on both paper and other substrates.

There once was a clothing store chain in Chicago that made commercials designed to inform and educate, leading to their famous tag line: “An educated customer is our best customer.” At Silver Cloud Galleries, we subscribe to the same philosophy:  The more we can inform and educate our customers about the framing and art industry, the better the relationship we can enjoy together.

As always, we welcome your comments as well as suggestions for future topics and, of course, your questions. Feel free to contact us via Facebook, LinkedIn, email or through our website. Thank you for reading.

There are a few exciting things that can happen in a Silver Cloud framer’s world.

For example:

Scenario 1: A customer walks into the store with a beautiful work of art and says “do your thing”, entrusting us with the creative license of framing it as we would. This allows us to enhance the work in the best way that we can, often using in-stock materials which then lets us pass on a generous discount to the customer. It’s a win-win situation, really.

Scenario 2: A customer walks into the store and raves about our latest blog, Facebook post, Tweet, Pin, and/or other social media attempt, proving that our efforts have an impact. So if you read this, we would love to hear your opinion. Do you have a question about framing? Let us know, and we can write a blog about it!

Scenario 3: A large, anxiously awaited delivery of our newest frame samples arrives at last!

That’s right; we just received to our showroom several boxes of new moulding samples! Perhaps you are wondering why we would need any more samples when we have thousands already on display. Well, these aren’t just any frames…

These mouldings are made in Italy by master artisans. The quality is unparalleled – real gold and silver leafed frames, authentic wood veneers, one-of-a-kind designs, and a level of detail that is truly remarkable.

Holding a sample up to the light showed brilliance and depth that is not common in the world of framing. They sparkle like a new car… especially the lacquered frames. Also, the use of genuine woods gives an impressive, luxurious look to the frame. The natural grain of the wood is emphasized and glows like only a real wood can glow.

A bonus for this line: they are made entirely using woods from active reforestation programs. We appreciate green efforts in our industry because the nature of custom framing makes it challenging to be environmentally conscious. (This is another reason why welove using in-stock materials. Waste not!)

They’ve got beauty, brains… and they’re Italian. What more could we want?

Stop by our showroom at 20 West Ohio Street to have a look or get a quote on these beauties. We promise you will not be disappointed!

Customer Feature: A Precious Letter

“What is the most interesting thing that you have ever framed?”

This question pops up in our showroom quite often. While we have framed many unique items and artifacts, the pieces that truly stand out are those with sentimental value. Such pieces are clearly very precious to the owner, and it is always an honor to be the framer who gets to give the item the attention it deserves.

Recently, a new customer brought in a letter and an envelope. She explained that her grandfather had hand-written the letter to her about 30 years ago. He had since passed away, and she wanted to properly honor this memento. The letter was a bit faded, but for the most part in lovely condition, so it was a wise choice to frame it before the years took their toll. We set to work in choosing the perfect custom design.

We decided on a pinkish beige acid-free mat on which to float the letter and envelope. Rather than cutting window openings, floating allows the entire piece to be seen from edge to edge. We also chose UV protective glass and frame spacers to prevent the items from touching the glass, which can cause damage by having a document up against the surface.

Selecting the right materials allows you to preserve memories for decades to come.

Choosing a frame did not come so easily. We deliberated for quite some time, looking at many different styles and finishes. Inasmuch as there often can be many frames that suit a piece, sometimes you just have to find “the one”. We found it nestled in our forest of wood-tone frames.  The winning frame was a relatively simple, yet decadent walnut-tone frame. It has a silky, waxy gloss over a flat profile wood grain.

Our customer was ecstatic when we matched up the frame to the piece.  She said it reminded her of a church pew, and since her grandfather was very religious, this frame was perfect. It also complemented the faintly aged paper and the mat color. She was very pleased to see the finished piece, as were we.

Experiences such as this one make the framing process truly enjoyable and unforgettable.

We would like to thank our customer, Fiona, for allowing us to feature her piece. We invite the rest of you to bring in your special item to our showroom on 20 West Ohio Street for a framing design that is as lovely as your memories.

So what is a fillet, anyways?  Pronounced “fill-it” (or less commonly “fil-ay”), these little pieces of moulding serve to accentuate the framing and artwork of a completed piece. They have an inner, flat lip that tucks underneath a mat or frame edge, depending on the desired look. Fillets are manufactured much like frames and are made of similar materials (wood or polystyrene).  Sometimes they are actually used as frames for small pieces, but we do not recommend doing so considering the delicate nature of fillets.

Adding a fillet can enhance your framing options.

What’s the point?  Besides adding flair to your framed piece, fillets can solve challenges that come with creating the right design. For example, a customer recently brought in a print of a night scene at the Moulin Rouge. We thought it would be best to use a dark color so as not to distract from the print. However, since the print itself was dark, the mat was blending in with the piece, which was not the desired effect.  We decided on a muted silver fillet within a black silk mat. It created a separation between the mat and the print, without overdoing it. The piece was finished with a gunmetal silver frame, and it looks stunning.

Another challenge that fillets can help solve is framing artwork with some dimension. If artwork has delicate elements, such as collages, leaves, flowers, beads, buttons, etc., a fillet is an excellent choice to protect it because it creates depth in the mat opening. When we add a fillet within a mat, we usually have to build up the back of the mat with acid-free foam core because the fillet is thicker than the mat. This can create a reservoir for your art with a depth of up to 3/8ths of an inch, thus protecting your art from the glass.

What are my options? Now that we have discussed the basic functions of fillets, here are some possibilities for fillets in your custom frame design:

Types of Fillets

Silver Cloud Galleries has hundreds of fillets from which to choose. Most of them are made from wood, but are painted and carved in many different styles. Just like frames, fillets come with finishes of gold, silver, pewter, champagne, wood tones, beaded, braided, buffed, scuffed, shiny, matte, glossy, gaudy, modern, classic, trendy, colorful and many more. Let us help you choose the right finish for your design.

Fillet in Mat

The flat lip of the fillet is tucked underneath the edge of the mat opening, leaving the decorative side visible. It is a great way to draw your eye into the artwork without overbearing the design. When paired with our hand-wrapped silk or linen mats, this option looks especially luxurious.

Fillet in Frame

Sometimes the right frame just doesn’t present itself. (It’s hard to believe that, considering our collection of over 5,000 samples, but it happens!) A way to further customize your moulding is to tuck a fillet under the lip of the frame itself. This allows us to grant your wish of “I like this frame, but I wish it had __ on it.” A plain black moulding can be jazzed up with a beaded silver fillet along the inside of the frame. A gold frame can be paired with a darker fillet to help stand out from the art inside. If you can dream it, we can fillet.

Multiple Fillets

For a high level of detail, fillets can be overlapped. The second fillet is simply applied to the first fillet, tucking the flat lip under the decorative edge of the first fillet. Depending on the look you are trying to achieve, many combinations of fillets can be incorporated.

Stop in our showroom at 20 West Ohio Street, and check out our collection of fillets!

For more information regarding Silver Cloud Galleries, please visit our website at www.silvercloudgalleries.com or call us at (312) 881-5200.

Damaged Artwork-Problem Solved

As we’ve already considered issues in a previous blog that arose from artwork damaged due to improper framing even though purchased from a reputable gallery, today we take a look at other problems that can and will impact the preservation of your art.

The cause might have been environmental due to issues related to exposure, moisture, direct sunlight, or even extreme heat. Whatever the reason, there are some options to resolve damage to your artwork.

Wrinkled Rolled Folded Creased

When a work of art has been affected by being rolled, crushed, wrinkled or creased, etc., you might believe there is no option to restore the work.  However, many new restoration techniques including the application of linen or Japanese-paper backing can bring even the most seriously affected pieces back to some semblance of originality.

Matting  as a Solution

Matting over damage essentially covering the damage is not unlike applying makeup to cover the blemishes.  In instances where the underlying work isn’t valuable enough to justify the cost of restoration, and the damage is more localized on the margins, the creative placement of a mat can hide most of the affected area, allowing you to enjoy the imagery.

Restoration

In those instances where the damage to artwork warrants restoration, Silver Cloud can assist you with our team of professional restorers.  However, restoration is a highly specialized skill and is not inexpensive.   It also cannot fix everything.  We do not charge for restoration assessment of your work, so please call for an appointment.

Protection with Archival Materials

The use of archival materials is an invaluable option to protect your artwork to prevent further damage.  As we’ve noted previously, use of archival materials can be invaluable to assure the preservation of your cherished possessions.

For a demonstration or assessment, please visit our showroom at 20 West Ohio Street, Chicago, IL 60654.

For more information regarding Silver Cloud Galleries, please visit our website at www.silvercloudgalleries.com or call us at (312) 881-5200.

Last week, we talked about how traditional framing rather than archival framing can mean money down the drain. Certainly, archival framing can be more expensive but in the end, it will assure the longevity and value of the piece you’re framing. In our previous blog, we discussed framing valuable works of art purchased from major commercial galleries. But, conservation framing does not stop there. There are so many ways in which you can use archival materials, whether it’s a sentimental, antique, or collectible item.

The Goods:

Proper conservation picture framing drastically slows down and in some cases completely stops the natural process of degradation of paper, canvas, inks, paint and textiles. For instance, the preservation of newspapers, magazines or specific articles/photos require archival framing to prevent fading or yellowing of the material being framed.

Silver Cloud can create virtually any type of mat from single opening mats to multi-opening mats, single mats to multi mats. The multi-opening mat, sometimes called a “collage mat,” is a mat with a series of windows in it. It is most commonly used to frame multiple items/pieces in a single frame. For example, frame your wedding invitation alongside some of your favorite photographs from your special day. Any number of openings with any combinations of sizes is possible.

Silver Cloud can also custom make any size or thickness of pocket mat. These are mats which allow your item to “float” freely within the opening. They are especially suited to framing an entire magazine or record album, CD case or even trading cards without touching the actual item. Pocket mats can even be backed with Plexiglas so that the reverse side of your item is also visible.

If you have a vintage poster or a collection of vintage posters, they also need to be handled in an archival manner. For example, posters dating back 100 + years that were used for advertising purposes such as JOB rolling paper posters,  WWI and WWII posters, Railroad bonds, etc.,  should be first backed with archival linen. This linen backing provides a solid substrate for the poster to adhere to without casing the harm that permanent mounting causes.

As we have shared, special acid free backings, mats and mounting materials are available at Silver Cloud to prevent long-term damages to your important collectibles and memorabilia. When combined with UV filtering glass, optimized protection is achieved.

Silver Cloud can provide museum quality custom framing for just about anything! For a demonstration or assessment, please visit our showroom at 20 West Ohio Street, Chicago, IL 60654.

For more information regarding Silver Cloud Galleries, please visit our website at www.silvercloudgalleries.com or call us at (312) 881-5200.

In relation to last week’s blog about improper and damaging framing techniques from the 70’s and 80’s, it is evident that this practice continues today.

Another customer of ours brought in a framed, signed and numbered limited edition silkscreen from John Lennon’s Bag One series to our shop for repair. He had just purchased the piece, framed, from a reputable Miami art gallery the week before last, and the frame had been damaged in shipping. No big deal, this happens more than you might be aware.

However, when we removed the piece from the damaged frame, what we found was really shocking.

The piece had three mats on it, one mat having an additional fillet in it. The mat board was regular mat. Back and core most likely buffered, but we can’t be certain.

The piece of art itself was taped to the back of the face mat. A definite no-no. The piece of art should have been hinged to a piece of 2 ply or 4 ply rag board first, then the face mat put over it. And proper archival hinging tape should have been used instead of the general purpose artist tape that was used. There was no backing barrier paper. The piece sat right against the foam backing. At least they did not use corrugated. The framed piece cost about $1800.

Again, as I stressed last week, the gallery is selling art. Many of these galleries view framing as just a package with which to display the art, not a permanent vault to protect the art. More galleries than you may realize do not do their own framing. They partner with an independent framer and buy framing wholesale. Either these major galleries do not know how to inspect the internal quality of their framing or they do not care.  Many recognize that their customer base is highly transient, typically there while on vacation. The late Merill Chase of the now defunct Merrill Chase Galleries, one of Chicago’s largest commercial gallery chain in Chicago from the mid 70’s to the late 90’s, once told me that at his water tower location, his clientele was almost 75% transient. That is, 3 out of every 4 of his customers were there to make one purchase and he would never see them again.

With that kind of attitude, it is no wonder that many galleries don’t seem to care about framing. They seem to think that their customer will never know the difference. Until something such as shipping damage occurs.

To be safe, when buying art that is already framed, request, along with the certificate of authenticity on the art itself, a signed statement from the gallery attesting to the archival standard that was used in the framing of that work.  If the gallery does not comply, request to purchase the work unframed, do not purchase the artwork at all, or purchase at your own risk.

If you purchased framed artwork from a major commercial gallery even today, Silver Cloud will assess/update the quality of the materials used during framing.

For a demonstration or assessment, please visit our showroom at 20 West Ohio Street, Chicago, IL 60654.

For more information regarding Silver Cloud Galleries, please visit our website at www.silvercloudgalleries.com or call us at (312) 881-5200.

Traditional custom framing versus archival framing could mean money down the drain.

In the late ‘70s and early ‘80s, major commercial galleries instructed their framers to carry out traditional custom framing using the least expensive materials possible in order to save on their framing costs. So, instead of paying to use archival materials, which increased the price of custom framing by 30% to 50% but protected the value of the artwork, their framers used highly acidic regular mat board, cardboard for backing, and regular glass. Over time, these non-archival materials drastically ruined valuable pieces of art rather than preserving their beauty and worth.

So far this year, Silver Cloud has experienced two disturbing encounters because of non-archivally framed jobs dating back 30 to 40 years ago. The first involved a longtime customer of ours from the late ‘70s who, at the time, was the CEO of one of Chicago’s largest and best-known condo developers. He purchased a limited edition etching by the renowned artist Rubian Nakian. This piece was a magnificent example of Nakian’s unique technique known as “sugar lift” etching: a technique, which produces a Japanese Dry Brush effect. At the time, we suggested using UV filtering glass to protect the artwork. However, our customer did not want to pay the additional $25 so he declined using archival/conservation framing material. In January of this year, he brought the framed etching back to our store explaining to us that the broad black strokes had turned red.  The piece was hanging in his living room for many years, exposed to sunlight. It was our sad duty to inform him that the artwork, which should have been worth at least ten times the amount he had paid in the seventies, was now worth nothing. The Nakian etching was ruined and beyond restoration because our customer refused to pay an extra $25.

Then, about a month ago, another customer came into our Ohio Street store with a piece by Alexander Calder. She had purchased the work at an auction from a reputable gallery in the ‘80s.  While the framing was poorly done, the biggest problem was the corrugated material used for the backing of the artwork. After learning of the problem, she asked us to come to her home to assess the rest of her extensive art collection, all of which was purchased at various auctions in the ‘80s. So far, we have examined six of her many pieces including a Joan Miró litho, which upon un-framing was discovered to have been hard mounted. Meaning, glued to a rigid hard backing board. Another of her works, a Marc Chagall centerpiece, had been attached to a face mat with masking and scotch tape. We estimated that restoration of this piece alone would cost $1,000.

The fact that these two customers bought framed works of art from a reputable gallery more than 30 years ago means nothing today because the gallery never presented their products for sale based on appropriate conservation framing. They sold their art inventory based on the value and collectability of the artist, imagery, and market.

In the late ‘80s and early ‘90s, major mat board companies developed materials that provided decorative coloring matched to a pH neutral and buffered core/backing. While these mat boards are not the exact science and quality of museum boards, which are 100% acid free and 100% rag content, they provide an economical alternative to more costly museum board. [Please note: for the highest level of archival framing, only museum boards should be used.]

If you purchased art from these larger galleries or auction houses in the ‘70s and ‘80s, Silver Cloud can assess/update the quality of the materials used. To see for yourself, look carefully at your piece of art. If you look at the surface of the glass at an angle, not directly head on, you will probably see what appears to be smudges under the glass [on the inside surface]. These are not smudges, but rather the impression of the image itself caused by gases escaping from the cardboard backing. These gases are permeating and penetrating the artwork and “burning” the impression onto the inner surface of the glass – similar to the way light penetrating a photo-negative “burns” or impresses the image onto photo paper. In any event, if your work of art is backed with corrugated or has evidence of masking or scotch tape, have someone remove them as soon as possible. Continuing damage will occur with each day non-archival tapes and corrugated are in contact with fine works of art.

Silver Cloud recommends the following:

• Make sure to clean the glass perfectly and change the glass to UV ASAP. For the best in glazing, use Museum Glass, a relatively new product that combines a UV filter rated at almost 98% with a reflective absorbing coating that virtually eliminates all glare.
• Back your artwork with a rag barrier and foam core.

For a demonstration or assessment, please visit our showroom at 20 West Ohio Street, Chicago, IL 60654.

For more information regarding Silver Cloud Galleries, please visit our website at www.silvercloudgalleries.com or call us at (312) 881-5200.

**It is not Silver Cloud’s intention to denigrate or condemn any auction house, gallery, or framer. Rather we want to inform our customers of the state of art, as it existed 30 years ago.

When framing modern art, the rule of thumb tends to be “less is more”. Sleek, minimalist frames and large white mats work very well with nearly every subject matter. Metal frames are very popular for this reason; however, the quality of metal frames is not quite what it used to be…

Until now!

Welded aluminum frames are back. Consider these as the Rolls Royce of metal frames, the grandfather of modern framing. They are extremely solid, as opposed to their recent impostors. Many metal frames are sold per side and then constructed using screws and corner pieces. Welded aluminum is made just as the name suggests… the corners are welded together at extremely high temperatures.  The mirror-like, polished surface offers a contrast to the brushed sides, and the corner seams are nearly invisible.

Silver Cloud Galleries is offering a variety of welded aluminum profiles at very reasonable prices, ranging from $30-$50 per foot. Stop in today to find out what all the fuss is about!