Hinge Repair

by

Here is an example of my repair of hanging artwork.

Hinge Repair work

This collage, ‘The Symphony’ hangs in our embassy in Oslo, and several other US embassies worldwide. It is a famous 1990 mixed-media print by American artist Frank Stella. Created for the U.S. State Department’s Art in Embassies Program, this large abstract piece is an edition of 175 and is intricately printed using 23 lithographic plates and 5 screens.. It is so large and heavy – 7’ tall and 80 lbs. – that moving it when the embassy repaints the wall every so often, causes the hinges to rip apart.

Japanese acid-free paper 'hinges' are used to hang artwork within a mat which is usually made of acid-fee cotton fiber or wood pulp. A proper hinge has an even more important purpose. It is made to rip if handling or shipping creates any risk of damage to the artwork. The hinges are mostly found at the top and back of the artwork. Sometimes also on the sides for very heavy pieces such as this. The trick is to apply as few hinges as necessary.

Related Projects:

Hand-made Japanese papers are preferred because they are very thin, do not stretch, and easily rip. Hinges are applied with an acid-free and reversible adhesive. The application of the adhesive is tricky - too much softens the artwork surface and embosses the shape of even the thinnest hinge into the artwork.

Restoration of Works on Paper

by

Three Hundred Drawings Re-Framed

About the Artist

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect, restore, and re-frame all of his works on paper – collages, etchings, and prints.

This multi-year project involved nearly three hundred works of art ranging in age from his first pieces from the early 1970’s to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before. 

Restoration

Each was carefully taken apart. Frames – iron, steel, and aluminum – were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer, while preserving their antique iron look. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices.

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

Related Projects:

Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before removing any blemishes to be certain that such marks were not part of the artwork.

Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface – a particular issue for this artist whose works often involve layers of paper as much as 5/8″ thick.

Conservation

Some works were large with dimensions as much as 3′ x 8′ and weighing nearly 100 pounds.

All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works.

Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist’s lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.

Framed Art Restoration

by

Three Framed Art Works

Beautiful Delray Beach

Just returned from a week in sunny Delray Beach, Florida, restoring three framed art works for two private collectors.

These works are important pieces by Michael Singer. They are among his earliest works-on-paper from the 1970's. At that time, in his 20's, he was not always concerned with paper quality or the importance of acid-free materials for long-term preservation. Both collectors, aware of the need for these works to be better preserved, asked me to provide the restoration services.

Meanwhile, my wife relaxed on the gorgeous beaches, and we were graciously hosted by the artist who is also an amazing chef!

The Project

Over four days, each artwork was carefully inspected and disassembled. Old foam core and cardboard that was not acid-free and a plywood backing were replaced with new museum-quality materials. Wooden backings were re-glued at all of their joints. Then the artwork was closely inspected to remove any dust or other extraneous material that found their way between the artwork and its protective glass over the many years that these works have been on display in the homes of their owners. How dust and microscopic-sized bugs get into framed art is a mystery to me.

Then I attached the artwork to new foam core backing with special Japanese rice paper hinges and extra custom-made holders that further secure these unusually heavy collages without being seen.

Custom-made iron frames, beautifully aged and even slightly rusted in spots, were cleaned and lacquered. The rust was not removed as the artist likes the look. Special spacers were placed between the Plexiglas and the artwork, underneath the border of the frame and out of sight of the viewer, in order that the art no longer touches the Plexiglas. This further preserves the art.

Two of these works are in fine condition. One caused me a brief moment of art conservation horror! Instead of non-acid-free foam core or cardboard which is concerning enough, this piece was backed by a thin sheet of plywood. The resins from the wood and the glue used to laminate plywood can damage paper worse than just about anything else! Consequently, over time the outer edges of the artwork have yellowed but not too badly. Replacing this ply with acid-free foam core will delay any further yellowing.

All the work involved in this restoration process was formally documented and sent to the collectors for insurance and appraisal purposes.

The Angel

These non-matted works did not, at first glance, need any replacement Plexiglas, but upon removal clearly did. This little extra detail became a big factor as I searched the local and surrounding glass and framing businesses for replacement Plexiglas of the large and thin dimensions that I needed.

Related Articles:

Not easily found! And I had a plane to catch in two days for my next project! After over a dozen calls and even a visit to a business that had just gone out-of-business, I found just what I wanted thanks to Melissa at Delray Art & Framing Center. She went the extra mile to be sure I received exactly what I wanted and sooner than I expected. Once in a while along my travels I meet special people that I'll never forget. She's one of them!

At the end of it all I cleaned the glass of any fingerprints I may have left plus fine lint and dust that accumulates even in the minutes between removing the protective film and placing it over the artwork. I use a special solution that does not damage the Plexiglas while removing dust, dirt, and static electricity. Plus the screws that hold the frame together were replaced with black-headed ones that match the frame.

Finally I inspected the equipment used to display the art on the walls - hangers and lights - applying minor adjustments.

One of my clients, Louise and Herbert, knowing I was versed in the repair of art pools asked me to check their newly repaired outdoor hot tub. Despite my busy schedule I managed to squeeze in a couple minutes at no extra charge.

By the way, Herb and Louise, whose last names I will not mention in respect of their privacy, were the most enjoyable clients I have ever worked for. Herb's stories are absolutely priceless!

The Surprise

When I returned to my office I checked to be sure these framed art works are included in Mr. Singers registry, a project he commissioned me to assemble and keep updated. This is an ongoing project begun five years ago and including archival descriptions of all of his works of art - sculpture as well as drawings.

One surprise was discovering that the artist had lightly painted a very thin coat of grey over the surface of one frame. This is not something I observed in any other of his framed art. When I asked Michael about it he replied, "I have no idea why that frame is painted!"

Restoration of Works on Paper

by

300 Drawings Restored and Re-Framed

About the Artist

Ritual Series Retellings

Ritual Series Retellings 6/30/94. Cast paper,
charcoal, and chalk on paper. 96 x 34”

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect and restore all of his works on paper - collages, etchings, and prints.

This multi-year project involved nearly 300 works of art ranging in age from his first pieces of the early '70's to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before.

The Restoration

Each was carefully taken apart. Frames - iron, steel, and aluminum - were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices. All hinges were replaced.

 

Ritual Series 1/2/79

Ritual Series 1/2/79. Paper collage, charcoal, and chalk on paper. 59 x 43”

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

 

 

Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before the removal of any blemishes to be certain that such marks were not part of the artwork. Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface - a particular issue for this artist whose works often involve layers of paper as much as 5/8" thick.

Ritual Series Guardian Journey

Ritual Series Guardian Journey 8/06. Ink and collage on paper. 40.5 x 32.5”

Some works were large with dimensions as much as 3' x 8' and weighing nearly 100 pounds. All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works. Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist's lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.