If in doubt, stick it.

foxyframer · Post by **foxyframer** » Tue 24 Oct, 2006 9:11 pm

Another one in today!!

How many cello-wrapped signed limited editions do you all get in, that Jane & Joe P have bought as a memory of their holidays;coldmounted to backing card and 40ml mount stuck like s... to b......

All framed and remounted ready for collection now.

Do you keep shtoom and leave the customer in blissful ignorance, or kiss and tell? We put a short disclaimer note inside,just in case. Still might not prove non-liable.

SLE was of low value, but have had Russell-Flints and the like in many years ago which had suffered in the same way.

Roboframer · Post by **Roboframer** » Tue 24 Oct, 2006 10:03 pm

Wherever possible we undo it all before their eyes - we know what we will see before we start and I don't care WHERE it's come from! Then we discuss the right way to do it if it is rescue-able - and if it's not then they know that future problems caused by bad practice are not down to us.

That is unless they want it just framed exactly as it is - against our advice then we don't even look after they have gone.

As long as the customer's choice is a well informed one ........

markw · Post by **markw** » Wed 25 Oct, 2006 12:46 pm

Retailers who sell crap like this have that legal fall back - buyer beware. If they make no claim on the wrapper - back of the print etc - that the print is mounted to a certain standard then they have done nothing that contravenes trading standards. I am afraid unless the customer was displeased with the mounting - or the print was expensive I would probably leave it as is - Basic principle in my workshop is don't change anything on the customers media without their permission - call them if you think its a problem that you have spotted after initial consultation - and always tell them how much the extra work will cost - as it certainly doesn't get done for free just so that I can maintain my standards.

foxyframer · Post by **foxyframer** » Fri 01 Dec, 2006 7:09 pm

It's Friday and looking out it's a drowned rat day. Just had in three signed limited editions delightfully framed in bright gold paper covered emyfyl type 2" reverse frames, along with cream off the scale lignin bevelled mounts, all nicely sealed in with brown masking tape.
Good start.
Customer bought these five years ago from a well regarded department store .. loves pics but frame needs changing .. and how !
I suspect there are more surprises on taking them apart. Not disappointed. All edges sealed with worn out sellotape (hate this). Mounts double-sided taped to print borders; and to cap it all print gloy pasted to the backing board. Starting to sound like a sketch out of Little Britain.
Eased mounts off prints, but off backing card; no chance.
New overlays and frames to suit and customer will be happy as Larry.

Every framing rule in the book broken with out exception.

Underpinner · Post by **Underpinner** » Fri 01 Dec, 2006 9:58 pm

I have always considered it part of the service, a duty even, to ensure that customers are fully informed about the pros and cons of the mounts, wrapping, etc. and any risks affecting their prints or whatever. If any dismantling is to be done I will usually do it in the presence of the customer - and I will always unwrap a mounted print so that the customer can see the exact condition of the mount so that any marks or damage are revealed before I start working with it.

Likewise, when prints or original work is well mounted I will say so.

I fully agree with Roboframer. It is all about enabling the customer to make informed choices about whether I should change anything or leave as is.

It also acts as a warning to customers that it is all too easy to buy artwork that has been abused by being badly mounted, wrapped etc. - whether such goods are bought from fancy overrated and grossly overpriced galleries or dusty secondhand bookshops (many of which seem to specialise is glueing antique maps and prints between cheap mountboard and selling them in cake bags).

The third major offender is the artist who hasn't a clue about mount sizes, proportions or (amazingly for such fine painters) colours, and who hasn't even got the initiative to get some advice from a framer. But they have got the cheek to send a note along with the purchaser of the the precious original telling me how it should be framed. If it is accompanied by words such as "please may I suggest" or similar that's fine. This is not usually the case so my normal reaction is to point out that when I start telling painters how to paint pictures ("telling" being the operative word), they can start telling me how to frame them. In any case it is the customer who has the final say.

foxyframer · Post by **foxyframer** » Sat 02 Dec, 2006 8:43 pm

I agree that when ever possible to take apart on the spot; not always practical though, given that most of them trust us to do what is best, and say so. Especially those who have been loyal customers for many years and rely on us completely.
I also agree that the artists' expertise ends at their door and their conception of mounting and framing is generally poor. I've never seen a good artist who has been a good framer.

My florid description was just to demonstrate what each and every one of us will get in, from time to time !