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<p>[QUOTE=&quot;Laurence Roman, post: 1352445, member: 12895&quot;]Please note, that what follows is received wisdom from Richard, my favourite picture framer and restorer. For my part I am no expert, but here goes: Richard&#039;s best advice will be my first; I KNOW this matters: don&#039;t store or ship your artworks rolled. It is substantially more expensive to ship works flat, but I have experienced, first hand, what happens to a print when it is shipped in a poster roll (regardless of the diameter of the tube) the sheet never laid flat again. It was an Erté embossed serigraph, which I bought for a song. The usual procedure of damping and applying pressure to the sheet was impractical because of the embossing. Heartbreak! I watched another impression sell, literally days later, for four times what I paid for mine and mine HAD BEEN in pristine condition.</p><p><br /></p><p>Richard uses Japanese paper hinges in the top corners of the sheet, so he effectively suspends the sheet within the frame. If a mount surrounds the sheet, that will assist considerably in flattening it. Of course if the work is printed to the edges of the sheet or the deckle edges are part of the work&#039;s aesthetic, floating the work might be crucial to its full appreciation. In such a case rolling can utterly spoil your beautiful work. Richard isn&#039;t a fan of waxing or gluing artworks to backings, however undamaging the fixing medium is professed to be by its manufacturers.</p><p><br /></p><p>Nowadays all restorers, worth their salt, use acid free materials. You MUST insist on these. If you buy a work with (all too frequent) acid burn from a previous mounting; accept that the work &quot;is what it is&quot; as Richard tirelessly reminds me. You are very unlikely to be able to eliminate matte burn completely and very often the elimination process can compromise the integrity of the inks. Black inks are far more resilient than colours. Discuss the implications of such restoration procedures exhaustively with your restorer, before proceeding: there&#039;s no retrospective way back from what happens to your print. Don&#039;t forget, ink and crayon signatures are also vulnerable.</p><p><br /></p><p>Glass or plexiglas? Non-reflective glass is my personal favourite, but it can be risky. Apart from substantially greater cost, Plexiglas has many advantages: I cannot, over emphasise the catastrophic effects of glass damage if a picture falls from its hook or it is shipped framed behind glass, which has broken in transit.</p><p><br /></p><p>Is that any help? I hope so.[/QUOTE]</p><p><br /></p>

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