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ARCHIVAL FRAMING OF PAINTINGS
 | Felt tape or velveteen ribbon should be adhered to the inside lip of
the frame rabbet to prevent abrasion at the edges of the face of the
painting |
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| If painting has been created on a paperboard, or on canvas mounted
onto a paperboard, the inside of the frame rabbet should be lined with an
aluminum/mylar sealing film to prevent damage to the board from acid in
the wood frame. |
| An acid-free protective backing should be attached to the canvas
stretcher or fitted behind the painted panel. Finish washers and screws
should be used to secure the backing to the stretcher. Suggested backing
should be either acid-free foamcore or coroplast. Paintings on paperboard
should have a 100% cotton matboard backing directly behind the artwork,
then the protective coroplast backing. |
| Optimally, the frame rabbet has been built or retrofitted with
sufficient depth to cover all of the stretcher and backing, making it the
frame, not the artwork, which rests against the wall. The frame and
backing board should protect the stretched canvas from temperature changes
experienced on outside walls. |
| The painting and protective backing should be secured with offsets
screwed into the back of the frame. Offsets create a pressure fitting,
which allows the stretcher to expand and contract separately from the
frame itself. The stretcher should never be nailed directly into the
frame. |
| The hanging system should be sufficient for the weight of the framed
artwork. |
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DRY CREEK ART PRESS
INC
1321 S Broadway
Denver, Colorado 80210
303 722-4646
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