Artcare - Auckland Art Gallery

More documents

Recommendations

Info

Paper: Works / Books / ArchivesAs a precautionary measure, ensure rules outlining method of display. The window board or mat, as ithandling procedures are displayed in any areas such as is often called, prevents contact between the imageprint and study rooms where works are handled on a and the glazing in the frame, and serves to separateregular basis. Make certain that members of staff and unframed works stored in solander boxes. The process ofvisitors are aware of these rules.mounting is sometimes described as matting.Food, drink and ink pens should not be allowed in Accession numbers and other information may bethese areas. Pencils are preferable for note-taking. recorded on the mount. Mount boards suitable for conservation-standardmounting include Rag or MuseumAvoid touching the work directly, as this may causedamage through transfer of dirt and grease from the fingers.The paper support is often more brittle and with a neutral pH; Buffered Rag or Museum board whichboard which is usually composed of 100% cotton fibredegraded on the edges, therefore great care must be is 100% cotton fibre with an alkaline reserve and a pHtaken when attempting to lift these areas. A piece of thin of 7 or more; and Conservation board which is madeboard or paper gently slipped under the work will usuallyfacilitate lifting the sheet to view the verso (see reserve and a pH upwards of 7. As coloured mountfrom chemically purified woodpulp, has an alkalinepaper fingers on page 23).boards can fade dramatically, white or ivory 4-ply mountUnframed works should not be stacked in large piles boards are recommended.(see also page 15). Mounted works should not be pulled Institutions often make use of standard mounts thatfrom the middle of stacks as this can cause mechanical fit into standard frames, allowing works of art on paperdamage such as abrasion and cracking or tearing of the displays to be rotated on a regular basis. The size of thesupport. Interleave mounted works with acid-free tissue mount may be predetermined by an existing frame.to reduce the possibility of mechanical damage and to Works of art on paper should never be trimmed or foldedprotect the work and its mount from surface dirt transferwhen stacked with other works.to reveal the image and any other additional informa-to fit into a mount or frame. The mount should be cutAlways move unframed, mounted works on paper tion, such as the plate mark, signature and title of theone at a time. To move a mounted work, lift it by the work. To create a balanced visual effect, the mount ismount using both hands, keeping it horizontal and face usually cut with equal top and side margins and aup, with the image the right way up. Place it on a clean, slightly larger margin on the lower edge.clear surface.Mounts should always be opened from the lowerright-hand corner or edge, never by the inner window.All mounts should open in the same manner for safe,consistent handling.If an unframed work on paper is to be viewed, deskeasels and lipped shelves are safer than leaving a workflat on a table. It is preferable to remove jewellery beforehandling unframed works on paper.Conservation mounting—of works of art on paper notonly provides physical support and an acid-free environmentfor the work, but also allows for a consistentPreparing the MountMaterialsTwo pieces of 4-ply mount board cut to the required sizeMount cutterGummed linen tapeWeightsSquares of Vilene and blotterMethyl cellulose paste or wheat starch pasteJapanese tissueCutting the Window—most mount-cutting equipmentcuts an angle of 45° to the window which reducesthe possibility of shadows being cast onto the surface10
Paper: Works / Books / Archiveswindow openingstandard mount for works of art on papert-hingework of artwindow boardor matbackboardgummed cloth tape hinge11
Page 2 and 3: Preventative conservation is the mo
Page 4 and 5: First published in 1986 byNorthern
Page 6 and 7: shared enthusiasm for the project h
Page 9: IntroductionAs in the original publ
Page 13 and 14: The Museum EnvironmentControl of Re
Page 15 and 16: The Museum EnvironmentSunlight (bec
Page 17 and 18: The Museum Environmentto remain on
Page 19: Paper: Works / Books / Archivesalso
Page 23 and 24: Paper: Works / Books / ArchivesA fe
Page 25 and 26: Paper: Works / Books / Archivesbe a
Page 27: Paper: Works / Books / ArchivesBook
Page 30 and 31: Paper: Works / Books / Archivescust
Page 32 and 33: Paper: Works / Books / ArchivesIf t
Page 34 and 35: PhotographsPhotographs are most com
Page 36 and 37: Photographsfasteners (staples, pape
Page 38 and 39: Sound / Video RecordingsMost sound-
Page 40 and 41: Sound / Video Recordingsthe binder
Page 42 and 43: Paintingslayers. Exposure to light
Page 44 and 45: Paintingsthat the picture holds it.
Page 46 and 47: PaintingsOther varieties of hanging
Page 48 and 49: PaintingsThe painting should be rol
Page 50 and 51: Textiles / Basketrypadded hangercot
Page 52 and 53: Textiles / BasketryStorage units ca
Page 54 and 55: WoodWooden objects range in size fr
Page 56 and 57: Bone / Ivory / TeethAlthough bone,
Page 58 and 59: Ceramics / Glass / StoneMake certai
Page 60 and 61: Metalsthe top of each other without
Page 62 and 63: PlasticTemperature—as heat will a
Page 64 and 65: Packing / Handlingare in good condi
Page 66 and 67: Packing / HandlingA cutmaking a tra
Page 68 and 69: Packing / HandlingIn packing framed
Page 70 and 71:
Packing / Handlingpacking paintings
Page 72 and 73:
SuppliersSuppliers of Conservation
Page 74 and 75:
SuppliersDW polyethylene enclosures
Page 76 and 77:
SuppliersManfred Frank LtdManfred F
Page 78 and 79:
Reading ListStolow, N., Conservatio
show all

Artcare - Auckland Art Gallery

Create successful ePaper yourself

Delete template?

Save as template?