Mexican tapestry sort of thing!

[Miss Eclipse]

Hi
I have had this brought into frame. It’s a well worn tapestry from Mexico that has travelled around a fair bit so is stained. The surround seems to be a sort of wood pulp paper. Client wants it under glass on sitting on some mountboard but no Mount.

Question is...how to I fix it to the board? I have flattened it so the main creases have gone (it was folded in four ). Can I lightly use an adhesive spray on the actual wood pulp paper?
Any advice is appreciated
Thanks

[JFeig]

From what you are describing it is a mixed media work of art. The internal fabric is a Mola embroidery.

I would hinge the bark paper portion from the top with the standard paper hinges and paste adhesive. The hinges should be lighter weight than the bark paper. I would also tack the fabric down with several stitches at the top and bottom corners. Note that the hinges should be small.

[Gesso&Bole]

Hi Kirsty

Not sure if I have understood correctly, but I'm thinking you mean that the central part is fabric, and the 'lattice pattern' around the edge is some kind of paper.

I'm also getting the impression that your client isn't wanting to spend a lot, and conservation is not main priority - but I'm only guessing here from the 'no mount' comment, which often means 'cheap please'. Based on the above assumptions, i think I would approach it something like this;


a) cut a window mount with the aperture 10mm smaller in each direction than the fabric part of the work, and the outside size 50mm bigger than you expect the eventual glass size to be.
b) using a needle and thread of appropriate colour(s), I would then sew the fabric part of the artwork to the face of the mount cut out using a couple of stitches each, in around a dozen strategic locations where the stitches can be hidden, but take the weight of the artwork. I would tape the back of the stitches too.
c) the mount cut out can then be reunited with it's surround and securely taped back in with licky sticky tape NOT masking tape.
d) I would probably then use PVA glue spots and ATG tape to glue the whole mountboard to a sheet of foam core for stability.
e) now the base is solid, and the artwork is secure with the stitching, I would use very tiny bits of Japanese hinging tape to secure the lattice neatly in place, then put a board over it to make sure it dries nice and flat.
f) once that is all dry I would be able to trim the outer dimensions of the oversized mount to the glass size (doing it oversize, and trimming down makes it easier to get everything central and looking right once it is 'strethced' square (ish).
g) then using a small spacer, make up the frame, glass and backing, and assemble

I'm sure others will have different approaches

Good luck, and do let us see the finished item

[JKX]

No mount may not mean wanting cheap, maybe customer just wants to see the whole thing; I would.

I’d still leave a fair amount of space around it and I’d use a light coloured board to highlight the cut out shapes.

I’d probably use the hedgehog method on the perimeter - you’ve probably seen that here before, if not then it’s easily searchable - then I’d put a stitch in, or close to each corner and one or two in the centre. I might even use tags.

[Tudor Rose]

Always fascinating to read the various different ways framers would approach the same item.

For my contribution:

The fabric in the central panel looks to be quite thin, but with a good amount of embroidery work which adds weight. The strongest section is likely to be the border between the fabric and the paper/bark outer as this is multi-layered. I'd be looking to do a hedgehog style mount at that point with ideally mulberry paper and paste hinges. These can be easily hidden at this point on the piece behind the more substantial area. Then you have the potential to add a few additional support stitches, as long as you can hide stitches within the embroidery. But be careful not to disturb the visual appearance of the stitches from the front and allow the hedgehog hinging to do the work, so leave any stitches with a bit of movement allowance. Any that you might try to put in elsewhere on the fabric will likely just show.

For the outer parts of the bark surround, I'd be using pass through hinges ideally made from mulberry paper and paste, keeping the attachment areas and hinge size small. Tighter hinges on the top section and looser as you go down to allow for natural movement. If you don't want to use hinges, then small stitches in thread to match the bark would also work, but are likely to cause slightly more friction over time than hinges would do.

Ideally you don't want to completely flatten it - but allow it to have a bit of life and movement on those outer edges.

You asked about using a spray adhesive - that would be a no from me as an option.

[Tudor Rose]

a) cut a window mount with the aperture 10mm smaller in each direction than the fabric part of the work, and the outside size 50mm bigger than you expect the eventual glass size to be.
b) using a needle and thread of appropriate colour(s), I would then sew the fabric part of the artwork to the face of the mount cut out using a couple of stitches each, in around a dozen strategic locations where the stitches can be hidden, but take the weight of the artwork. I would tape the back of the stitches too.
c) the mount cut out can then be reunited with it's surround and securely taped back in

Hi Jim

Totally understand the idea of working on a larger piece of board than the finished size so that it can be centralised more easily and then trimmed down - like you, we do that often. But, and purely for my own interest, can you just clarify why you would recommend cutting out an aperture before sewing? I understand it makes sense if you are looking to hedgehog or similar, but why for stitching through it and then taping it back together?

[JKX]

Always fascinating to read the various different ways framers would approach the same item.

It really is and for me - also the ways things are described.

I think most framers should stay safe and call it all needlework or perhaps “needle art”

It’s not a tapestry, tapestries are woven and have no support fabric. This is one of many types of embroidery, possibly crewel but probably just open embroidery, crewel is embroidery in wool.

I’ve seen plenty stitched the same but have never seen anything like that sort of border. Is it maybe supposed to sit atop a small table with the border draped over like a lampshade?

Is it bark or paper? All paper is made of pulp - bark has not been processed, it can’t be both.

Whatever any one of us advises, we can’t touch and feel it and even if we could at the sales counter, we may have different ideas in the workshop, which we may or may not have covered at the sales counter!

Whatever - I think a combo of float hinging and the odd stitch is the way to go. Nothing to do with preservation, just professional function.

[Gesso&Bole]

Hi Jim

Totally understand the idea of working on a larger piece of board than the finished size so that it can be centralised more easily and then trimmed down - like you, we do that often. But, and purely for my own interest, can you just clarify why you would recommend cutting out an aperture before sewing? I understand it makes sense if you are looking to hedgehog or similar, but why for stitching through it and then taping it back together?

I just find it makes the sewing a bit easier when I have a much smaller piece of board to work with, and helps with alignment - no need to measure and mark positions in pencil.

[Tudor Rose]

Understood, thanks.

[theframer]

Would direct contact overlay with acrylic not work on this?

[prospero]

This is what I would do (take it or leave it)

Find a piece of suitable fabric in a contrasting colour - maybe drab olive green or whatever.
Stretch this over shallow bars, maybe 2" bigger all round.
Lay the piece on this align. Temp pin it in place.
A few stitches here and there until it is secure when vertical. Stitching to fabric is easier than stitching to mountboard.
Use a frame with a deep spacer - 20mm +.

I wouldn't try to get it dead flat. Treat it as a 3D object.

Don't apply any adhesive to it and definitely no spray glue.

[Miss Eclipse]

Thanks everyone. Giving me a lot to think about! Wish I had all your talent....