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Old 29-11-03, 02:15 AM
Anonymous
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Default Varnish and Framing an ET

Hi :grin:

I finished an ET about 6 months ago. I have read about different opinions on varnishing or not. Right now there is no varnish on the painting. If anyone would like to contribute their personal experiences with this, I would be happy to hear it.

My question is how should it be framed? Some of the framers I have spoke with don't even know what Egg Tempera is, let alone how to treat it. Is there any special acid free materials that should be used? Should I put it under glass?

Thanks in Advance,

Lori
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Old 01-12-03, 03:29 AM
Rosemary Rosemary is offline
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Default ET presentation

I put my ETs under glass only if they are going to the home of a smoker. Otherwise, I just advise the purchaser that they can be scratched or abraded by careless handling, but should be safe hung on the wall. I suggest they use a feather duster on the frame and try to avoid rubbing the lower edge of the painting when dusting the frame.

I saw a Robert Vickery in a New York gallery that carries his work and it was unglassed. I asked about it, and they replied that in the rare instance where one has gotten scratched, they send it to Vickery and he repairs them.

After learning that, I have written on the back of my work what pigments I used, in case I need to repair it sometime in the future.

As far as framing goes, if the painting has gilding in it, I either gild the frame to match or I use a molding that does not have pure gold next to the gilt areas as they never match. I do not take any special precautions with the frame otherwise.
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Old 01-12-03, 04:57 PM
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RobM RobM is offline
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I always put my paintings behind glass before they go out to galleries. In transit it is all too easy for them to be damaged.


I frame my works in the following manner.......



The painted panel (2) is permanently attached to a backing panel (1)
Plain moulding (3) surrounds the backing panel and stands proud of the painted panel. Glass (4) sits between the plain moulding and the outer moulding (5).
The two mouldings are held together with small brass eyelets and screws.
The backing panel and plain moulding are painted in a neutral colour.



A note on the reverse of the painting indicates to the purchaser that the glass is optional and may be removed after a year of completion of the piece of work. However, if the painting is subject to a smokey atmosphere it is best to leave the glass on.

There is all sorts of conflicting advice about varnishing.....personally I do not.
Rob
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Old 01-12-03, 07:10 PM
Anonymous
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Default Thanks!

Thanks for the responses...and the clever diagram.

Thats exactly what I was looking for!

Lori
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Old 02-12-03, 03:52 PM
LaurieO LaurieO is offline
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Rob- what material do you usually use as a backing panel?

Laurie
Cape Cod, MA
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Old 03-12-03, 03:42 PM
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RobM RobM is offline
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Laurie
It is all MDF and 6mm thick (1/4 inch in your currency)
Recently I have been having problems with slight warping of panels, something I've not had much problem before.
I am now making up my panels attached to the backing board.
This also makes life easier at the easel. As there is an extra 2.5 inches around the panel to rest your hand on.
Rob
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Old 04-12-03, 03:23 AM
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jason_maranto jason_maranto is offline
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I would use 100% rag museum boards for filler/mats if needed... although you want to get the unbuffered -- the protein content of the egg tempera may react negatively to an overly alkaline environment.

My preference is to keep tempera's behind museum glass if at all possible... varnish by it's very nature(meant to be removed) could be very detrimental to a thin film painting structure like tempera.


Jason.
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Old 06-12-03, 05:02 AM
LaurieO LaurieO is offline
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Thanks Rob and Jason! :)

Laurie
Cape Cod, MA USA
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  #9  
Old 04-04-04, 05:35 AM
peter kashur
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Default Re: ET presentation

[quote="Rosemary"]I put my ETs under glass only if they are going to the home of a smoker. Otherwise, I just advise the purchaser that they can be scratched or abraded by careless handling, but should be safe hung on the wall. I suggest they use a feather duster on the frame and try to avoid rubbing the lower edge of the painting when dusting the frame.

a local collectors housekeeper decided that the freckles on the model's forehead in a painting by canada's best known egg tempera painter was 'dirt' and proceeded to scour them off.... right down to the gesso.....the collector ended up sending the painting to new york to be restored. i don't know if he was too embarrassed to send the painting back to the artist or whether it was 'cheaper' to send it to new york...i'm sure glass would have slowed the housekeeper down a might...not my painting so i find humour in the telling; thought i'd share...

peter (i don't use glass, but then i don't have a housekeeper : D)
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  #10  
Old 30-11-04, 08:52 PM
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Default Removing varnish

A few weeks ago I varnished 2 ET paintings on wood panels with 2 coats of Damar (before I read the interesting posts on varnish on this forum!) and am very unhappy with one in particular in which small air bubbles formed, leaving the glossy surface quite bumpy (not to mention a couple of dog hairs that found their way into it). Question: is there any way I can remove the varnish without harming the ET?? THANK YOU for any help you can provide - Dana
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