User:Sblais/BPG Composite Structures

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THIS ENTRY IS A DRAFT

Collé Paper

The image-bearing layer, a fine delicate paper trimmed smaller than the plate to be printed, was adhered to a thicker soft-sized plate paper during the printing process. The two layers were adhered by a sprinkle of dry starch on the verso of the damp tissue (19th century), by starch paste (20th century), and most recently, by commercial pastes (1940s?). Apparently, the prepasted and dried paper was placed on the inked metal plate, paste side up. Damp, relaxed plate paper was then placed on top and the three layers (printing plate and plate paper) were pressed together through the press.

A variety of papers were used in the collé process. From the 1750s to the 1830s paper was made from bamboo and mitsumata fibers by the Japanese in imitation of Chinese calligraphy paper (this paper is now more correctly called China paper); it was introduced to Europe as wrapping/packing paper and adapted for use in line engraving, particularly for steel engravings. European or "Mock India" papers were introduced in the 1830s and Bible paper in the mid-nineteenth century (see Japanese Papers, especially Gasenshi and Artists' Printing Papers: India Paper). Collé or laid Western papers are also encountered in 19th and 20th century prints (e.g., French artists, nineteenth century American historical prints, and prints by Kuniyoshi).(KN) The collé paper sometimes was chosen to blend with the color of the plate paper, sometimes to contrast with it.(CS)

Papier Marouflage

Historically, oversize posters, maps, and embrittled works of art were mounted to cloth linings during manufacture or subsequently by framers and restorers. This was often done to emulate paintings on canvas and increase the cost of drawings or as a solution for handling large works. Canvas-lined drawings are sometimes attached to stretchers and exhibited unglazed. Historically, some drawing papers were mounted onto cloth before execution of the artwork. For example, pastels by Mary Cassatt exhibit her stamp on the canvas.(LP) Posters were often routinely lined to make them easier to handle.(KDB)

Architectural presentation drawings were sometimes executed on watercolor or drawing papers which were mounted to fabric in the studio or purchased already mounted. The latter may have been available as early as 1885/1890. Visual evidence, in the form of regular striations caused by the pasting machine, may be helpful in identifying premounted sheets (Sugarman 1986, 45).

Contemporary artists often choose canvas mounting as a desirable way to present oversize drawings and exhibit without glazing. For some, mounting represents a conscious aesthetic choice. Works are usually mounted to linen after execution by professional mounters, often using glue-paste, starch adhesives, or synthetic adhesives.

Compound Drawings

These drawings are usually mounted by the artist or collector to a "secondary" support which conveys both aesthetic and/or historical information. Thus, the secondary support is an integral part of the work with historic significance and should be retained.

For example, Paul Klee systematically mounted his drawings on paper to stiff cardstock; his secondary supports are important aesthetically, as informational devices, the official presentation format, and as examples of the artist's thrift (for more information see Schulte, Ellis, and King 1986, 20-23). For Klee's drawings there were generally two methods of attachment: spot attachment by random or regularly spaced adhesive daubs; and overall mounting with adhesive.

Degas employed several systems for mounting. (See Chandler 1984, 443-448.)

Old master European drawings were often mounted on decorated mounts which complement the drawing and form an aesthetic whole. They may bear collector's marks or inscriptions which help establish provenance. For example, Vasari had a mount designed for his personal collection and Glomy in the 18th century decorated mounts which bear his name or "G" blind-stamped at a corner.(KN)

Collage

Collage can be composed of various paper and non-paper materials and of adhesives of varying quality and stability. As with other composite structures, decisions must be made as to when intervention is appropriate. Often the artist, particularly the 20th century artist, may have consciously chosen (or chosen to ignore the problems of) materials which are not stable.(NA)

Restrained Papers

Papers attached to strainers, rigid backings or false margins "inlaid." Mounting may occur before or after execution of the work, either by the artist, a framer, or by some other person. Papers may be mounted to facilitate handling and display; provide support for weak or especially large papers; mimic the presentation of paintings; and, among contemporary artists, for aesthetic reasons.

• Strainers: Usually the primary support is not attached directly to the strainer but is first mounted to a secondary support of paper or cloth, or to a false margin. The edges of the secondary support may be directly adhered to the face of the strainer. More often, however, the secondary support extends beyond the primary support and is folded around the outside edges of the strainer where it is attached with an adhesive and/or mechanical fasteners (tacks, staples, nails). Sometimes the edges of the work of art itself are folded around the strainer. If the secondary and primary support have been dampened before being attached to the strainer they will have shrunk upon drying and may be under tension.

• Rigid backings: The primary support is adhered overall, along its edges or by random or regularly spaced spots of adhesive to a rigid secondary support. This rigid backing may be of wood, masonite, cardboard, glass, plastic, or sheet metal or it may be a panel constructed of one or more materials (e.g., aluminum honeycomb panel with wooden spacers at edges).

• False margin: The primary support is inlaid into a false margin of paper which slightly overlaps its edges. Ideally the join is achieved using the thinnest of pared margins (approximately 3-4 mm), but sometimes broad and/or unpaired margins occur. A false margin may be added to facilitate handling; control curl of a work that tends to roll up, usually after removal of a previous lining; and reestablish original format, for presentation.

References

(See also General References)

Chandler, David. "Edgar Degas in the Collection of the Art Institute of Chicago: An Examination of Selected Pastels." Degas: Form and Space. Paris, Centre Culturel du Marais, 1984, pp. 443-448.

Gagnier, Richard and Anne Maheux. "The Mounting of Over-size Works on Paper at the National Gallery of Canada." Handout Symposium 88, Ottawa, Canada, 1988, 6pp.

Jenkins, Penny. "India Laid Prints Meeting." Paper Conservation News, No. 49, March 1989.

Jenkins, Penny. "Preparation of India Proof Prints." Typescript of notes from an interview with Philip McQueen, Nov. 15, 1988, 3 pp.

King, Antoinette. "Changes of the Collage 'Roses' by Juan Gris." Conservation and Restoration of Pictorial Art. Norman Brommelle et al., eds. IIC London: Butterworths, 1978, pp. 234-238.

McAusland, Jane and Phillip Stevens. "Techniques of Lining for the Support of Fragile Works of Art on Paper." The Paper Conservator 4, 1979, pp. 33-44.

Schulte, Elizabeth Kaiser, Margaret Holben Ellis, and Antoinette King. "An Approach to the Conservation Treatment of Paul Klee Drawings." The Book and Paper Group Annual 5, 1986, pp. 19-32.

Sugarman, Jane. "Observations on the Materials and Techniques Used in 19th Century American Architectural Presentation Drawings." The Book and Paper Group Annual 4, 1986, pp. 39-60.

Volent, Paula. "Contemporary Techniques of Mounting Paper to Canvas." The Paper Conservator 10, 1986, pp. 18-23.

History of this Page

This page was created in April 2025 by Sandrine Blais from the BPG Paper Supports and BPG Support Problems pages.