Framing the Past

In 2024, The Loretto Heritage Center received grant funding from the KY Historical Society, through the Local History Trust Fund, to fuel our project to reframe the most sensitive framed pieces in our artifact collection. This selection included paper documents, relics (affixed to paper), embroidery, and art created on paper, canvas, and board. Sixty-five pieces from our collection were identified as high priority and in urgent need of conservation framing. Our goal was to preserve and stabilize these pieces, effectively halting the damage that age and outdated framing techniques were causing. Preserving the legacy of the Sisters of Loretto, their students, Loretto Community CoMembers, and important figures in early Kentucky Catholic history is of paramount importance. By preserving the physical elements of this legacy, we can now safely exhibit these artifacts so that they may be used for teaching and exhibit purposes well into the future.

As it turns out, the completion of this project was a mere beginning and we’re continually assessing the framed pieces in our artifact collection, making improvements as needed. As more is understood in the field of fine art framing and document preservation, our physical management of the collection improves. Below, I will outline a few problems and solutions that we encounter at the Heritage Center.

The main thing to remember is that paper is not inert; it constantly reacts to the environment around it, the tiny microclimate within the frame itself, and the materials used on its surface as the problems below illustrate.

The most common physical damage you’ll find:

• Mold and mildew: We’ve all seen it. It’s easily recognized. Humid environments, heat, and lack of airspace inside of a frame cause prime growing conditions for these organisms. The best way to handle it is to create a space between the glass and art/document by using acid-free matboard or FrameSpace, which clips onto the glass edge, creating a 1/8” separation. UV light is a powerful disinfectant, so old growth can be stopped by taking the piece outside, brushing away the physical mold spores, then exposing to direct sunlight for 1-2 hours. It may leave a stain but the growth will cease. At Loretto Heritage Center, we have a UVC light wand which we use for the same purpose.

Front and back views of mold growth. This framed piece also showed evidence of water damage along the bottom edge which is most likely where the trouble started.
Detail of serigraph by Gabriel Mary Hoare, 1962

• Foxing: Small rust-colored dots and spots. It’s called “foxing” because it resembles the color of a red fox, but, unlike the red fox, it is not pretty! This condition is caused by iron or copper impurities reacting with paper in humid environments and is often seen within the pages of old books. Printing presses and even some inks, such as iron oxide, contribute to the problem. Occasionally, foxing will also be found on fabrics and canvas paintings. It is difficult to repair and is best left to professionals and reserved for more valuable pieces.

• Burning: Overall browning or darkening of paper due to being exposed to materials created with wood pulp, which is very acidic. The issue here is easily resolved by removing the matting and/or backing and introducing acid-free materials instead. Prior to the 1870s, paper boards, mats, and even newspapers were made of pulp created from cotton and linen rags. Many picture framers during that era used newspapers to fill the back of the frame to help seal out dust and environmental pollution and that was a great idea! But when paper mills switched to using wood pulp for manufacturing paper, the framers didn’t discontinue the practice, which then led to damage to the items that they framed. This explains why pre-1870s newspapers appear to be in fair archival condition while modern newspapers quickly yellow and turn brittle.
  

Fun fact: Printers used to run ads seeking cotton and linen rags for the paper-making process. Have you ever heard the term “daily rag” applied to a newspaper? That’s why! The first usage of this term referred to all newspapers. These days, “rag” is used as a derogatory word for inferior newspapers and tabloids.

• Adhesive residue: Oh, those cellophane and masking tape stains, not to mention glue and what it leaves behind! We love these handy glues and tapes, but not for fine art and documents. That sticky residue can only be removed with chemicals by a professional art conservator or restorer. Removing the offensive tape will help suspend the staining in its current state so that it doesn’t worsen. Acid-free linen tape or pH neutral paper tape can then be applied as a safe and reliable substitute. If it’s glue you’re dealing with, sometimes it loses its bond and releases your art from any offending backing material and that’s preferable. However, some glues maintain a bond. Sometimes, the art can be carefully coaxed from it; other times, it’s impossible to remove the art without damaging the piece. In this case, you have to make an assessment to decide whether to leave it in place or risk damage.

Here we have an embroidered silk which was glued to a piece of cardboard. The image on the left shows the back of the embroidery and the foxing which has occurred as well as the rough edge from being adhered with glue. The view on the right shows the original cardboard with glue residue. It looks bad but we were able to remove it from the glue and the silk fabric is still strong. The piece was handstitched to an acid-free board and space was created between the embroidery and the glass to allow for air circulation.
Embroidery from St. Columban’s embroidery school in Hanyang, China, 1933

We keep the temperature and humidity low in our building. Managing these aspects of our interior environment aid in the preservation of the collection. So, the next time you visit us at the Loretto Heritage Center Museum and Archives, bring a sweater. You’ll likely need it!

I will leave you with two happy “before and after” projects!

Loretto Seal painted by Charles Kraft, 1932

Fortunately, this piece was found to be in fair condition. It was removed from the old frame, fastened to an archival board with acid-free Polyethylene corners and spaced from the glass with archival matboard cut to fit.

Mother Mary Rhodes’ veil hearts, early 19th century

M. Mary Rhodes’ veil hearts were rescued from this little metal frame, hand-stitched to an acid-free backing, then spaced away from the glass with archival matboard cut to size.