Framing complaint

[photech54]

Looking for a little advice, if anybody has some.

I've just had a client bring back a frame for a commissioned piece of artwork, that I completed in Dec 2020.

The glass size (or acrylic in this instance) is 1400 x 1247mm.

The artwork is float mounted on a black backing board, but not set back from the glass.

From memory I think that the artwork might be made up from strips of paper attached together. the client is complaining that after just over 2 years there are ripples appearing (I think where the paper joins may be), and they are expecting me to take the frame apart and put everything right free of charge. (image attached showing the slight lifting of the artwork)

What would peoples reaction be to doing this (quite considerable) work foc? She seems to blaming the original workmanship, which I admit hurts a tad!

Thanks in advance,

Gary

[Gesso&Bole]

Hi Gary

Not sure I fully understand what has happened here. Did you produce the artwork itself, or just frame it? ie it's the Artist's work that has failed?

Having said that, My advice is simple. If you had something to do with it, and there's a problem that you can fix, suck it up, and fix it so long as it is not an unreasonable or vexatious customer. It is worth it to maintain good reputation, and to be able to sleep at night, and it can be a very useful learning exercise to open up your own work after a couple of years, and see if there are improvements you can make in future.


Funny story
About 10 years ago when I had a High St gallery and framing business, a rather snooty lady came back in with a large tapestry that we had framed a few months before. She was complaining that there was some 'fluff' on the picture, and that one section had become discoloured. I looked and looked, but couldn't see the problem, so got her to to show me. I still couldn't really see what she was talking about, so I got a red whiteboard marker pen, and marked the area on the glass, told her we would get it sorted, and would give her a call when it was done.

Later that day myself and 2 of my framers had another look at it, but still couldn't see the problem, but decided the best thing to do would be to open it up, give it a clean, and perhaps it would become obvious. It was quite big, so we lent it against the wall in the gallery ready to be dealt with later . . . . and forgot all about it.

About a week later, I was out for lunch, when the lady came to see if her picture was done, as it was leaning against the wall in the gallery, my gallery assistant assumed it was ready to go, showed it to the customer (who was apparently thrilled with it) noticed there were some red marks on the glass, so she gave the glass a clean, wrapped it up and the customer went away happy. Saw the customer again a couple of weeks later with another framing order!

[Justintime]

I would explain that cockling is a natural occurence with paper artwork, due to atmospheric changes within the frame from temperature and humidity changes during the seasons. A piece like this, if there are pieces of paper fixed together would be even more likely to be affected imo. Depending on how you originally hinged it, if it's not hinges coming loose, I'd charge an unfitting and refitting charge as well as a charge for remedial work. If there is no obvious sign of hinges detaching, then apart from the fact that it's not spaced from the acrylic, it's hard to see how you're to blame. Acrylic transfers so much less temperature change than glass, it's not ideal to have work directly against glazing but...
I agree with Jim, it is invaluable when the opportunity presents itself to see how your workmanship has fared over a few years.
I'm a bit torn. If my workmanship is not to blame I stick to my guns and look after my reputation first.

[JFeig]

Jim, I like your story. I have been there many times.

My current project is for 12 watercolors painted in California (Topanga Canyon) and my shop is in the Detroit, Michigan area. The artist, very well technically trained, did not wash the paper with water before starting. Subsequently, the paper was not flat when I received the art. The large paintings were approximately 100cm x 125cm on heavy Arches paper. There were waves in the paper of up to 25mm.

She was not happy that the art was not flat.

I sent her a selection of reading material from the PPFA, AIC, and CCI to expand on her knowledge. In the end she was happy with my approach to the problem with hand torn paper hinges and wheat paste.

[photech54]

Thanks Jim and Justin!

Love the story Jim, not sure whether that would 'work' for me this time though!

I think, probably the best way to approach things, having had time to think about it, is to offer to take it apart and if i find that the artwork is at fault (not my artwork) I'll charge for the time and supplies etc. However idf is my fault then I'll do it foc.

I think if I offer that I've got my back covered!!

Gary

[prospero]

Float mounting is not the ideal way to mount paper art. It's a relatively modern fad.
Frankly, with a piece that size I would be surprised if you didn't get a ripple here and there.

We aren't magicians.

[JFeig]

An amendment to my post on this thread yesterday. I received a lengthy call from the artist yesterday afternoon regarding the waves in the paper.
She happens to be close to the Getty and I suggested that she call them to confirm my stance on the subject that "as a picture framer we are not magicians".

The training of an artist is ongoing.