The Framers Forum

I have some large limited edition giclee prints that state they are on cotton rag paper as a sign of quality. They are already mounted and have been sold as ready to go. I have only priced for the frames and fitting.

I've just realised the prints have been taped to the window mount in several places so I am re-hinging them. Now I'm wondering about the mounts themselves and if I should leave them as they are, or suggest new ones in case they are a low quality board that will yellow. Is there any way to tell what quality a mountboard is? The prints retail for £270 so not exactly cheap.

I did wonder about contacting the artist to ask what they used. I'm inclined to just replace the mounts to be on the safe side.

I am thinking out loud, so in a nutshell, what would you do?


Edited to add: Google has them as a very prominent and successful artist (award winner) so I also assume they would use good quality materials. Just whether I put my framing label on a frame with something I am unsure about.

If presented with a pre-mounted picture, I always mention to the customer that I can't vouch for the existing mount and that it may discolour over time. Very often the mount doesn't enhance the picture anyway and the customer is happy to change it for a more suitable one. If the customer decides to keep the mount, that's their choice. I wouldn't replace the mount without the customer knowing or paying for it.

I don't normally put my label on any job if I haven't done the whole job from start to finish. If the art has been supplied in an unsatisfactory condition (eg glued to an undermount ), I usually put a note inside the frame saying "it weren't me, gov" (or words to that effect )

With artwork attached in such a way then quality of board probably would be of no importance to whoever sold them, but unless it’s standard cream core board, which is pretty rare these days, then it’s probably not bad even if it could be better, some non-conservation boards fail to qualify due to the quality of the surface paper only.
The undermount is more important, is that cream core, is it thinner than the window mount? Out of sight out of mind - I’ve seen grey board and backing boards used as under mounts,

Have you checked them all? There may be a reference number.

Window mount is probably something like Larson juhl “hayseed” which these people buy by the pallet.

With stuff already mounted I would always ask if that would be their colour of choice if they’d been given one - also balance, width/bottom weighting etc - if so then I may mention quality and hinging methods (or lack of - eg platform mount) before pricing the job up less mounts and mounting. If it was to be a conservation job I’d be using conservation glass and if the customer didn’t want to change the mount and mounting method I’d make it clear that this isn’t a conservation job.

Unless it looked totally awful I’d still put my label on the back, possibly with “bar mounting and mounting boards”
written below it. It’s you that you want them (or whoever is given it) returning to and your label is a convenient reference for your contact details.

I understand that you want to do the best by your customer. However, I would remind you not to take on everyone's problems as your own.

Having worked for many artists over the years, I would not assume that quality materials or techniques have been used, regardless of the retail price of the artwork. Many top selling artists are utterly disdainful of picture framing and picture framers, particularly when they are 'advising on methods or materials'.

Your job, as the framer, is to advise your customer about potential issues, and appropriate solutions. It is their job to decide what they want you to do, based on their priorities and budget.

If the customer has not requested or paid for a new mount you should definitely not change the mount. That road leads to madness!

By all means put a note in there, or don't put your sticker on the back.

Thank you all, all very wise words. (I love the idea little 'not me guv' hidden notes! )

In the original conversation, the customer was happy with the mount colour and presentation, but with the words 'I'll be guided by you'. They wanted conservation glass and solid oak rather than my cheaper options, and I am making a nice profit as they are quite large (also easy as I bought on chop/join from Larson).

They are also an art collector, have spent a fair bit on my husbands own pictures in the past and are interested in buying more. It will benefit me to keep them sweet.

So - madness though it may be - I have found a near identical colour match and asked if they are happy for me to go ahead and replace (and undermounts). They are happy I raised it and I feel better doing a top job rather than adding a disclaimer.

OK, I am not (and will probably never be) the best at business. But for the cost of 2 sheets of board, I am not going to worry. And I now have the chance of repeat custom.

And the lesson I am taking away is, to add another thing to my 'consultation check list' for future. Live and learn and all that.

Your job, as the framer, is to advise your customer about potential issues, and appropriate solutions. It is their job to decide what they want you to do, based on their priorities and budget.

This was my dilemma. I feel I should have raised the mounts at the time rather than just "do you want to keep the mounts?". Because I didn't go into any detail, I feel any future problems would also be attributed to me. I know the prints are treasured and for the long term.

Yes I make a little less profit this way but I'm taking it as a lesson instead. I still have a 'day job' and am not yet in a position where I am relying on the framing for my wages. So if I'm going to make these mistakes, now is the time to do it.

Warped logic I know.

I would have thought that holding some mount chevron samples up to the mounted piece would show you what has been used, assuming that you have samples of budget, cream core and conservation levels of board. If it ain't broke and the customer is happy as it is then it's not in your remit at this point. However, if you think, at the time of the consultation, that you could improve and elevate the piece by redoing the mount with your own personal mount design combinations, then I would always offer to go the extra mile. It sets you apart from the rest, puts more money in your pocket and can create a customer for life. Rehinging the prints is already a telling sign that you know what you're doing and it's important to make a point of explaining what you did (rehinging) and why to the customer. Building their confidence and trust in you by sharing your knowledge is a sure way to ensure repeat business.

I have a couple of near perfect matches in my chevrons, but one is value and one is conservation and I honestly couldn't tell if the mount is cream core or not, depending on which sample I held up. Yeah, I accept is isn't really in my remit and it wouldn't have been on me to be responsible for the board. But once I thought about it, I felt kind of irresponsible for not having that initial discussion. And given he is thinking of buying another of hubby's paintings, I feel better if he goes away happy.

My business advisor thinks I am a hopeless case. I tend to agree. But hey, I'm having fun.