The second way to mount your needlework takes a lot more time, but can be worth it. Some stitchers have found that when using first method, spray adhesive has yellowed their work, sometimes in as little as six months. Lacing needlework down is a popular way to attach it to mounting board, I would suggest that if you are going to do this, to machine stitch around sides about ¼ inch in from raw edge as this will help prevent fabric threads from tearing out when you are pulling lacing. To lace back of needlework, you will need a tapestry needle and strong thread. I generally recommend lacing longest side of fabric first. To start, make several small stitches at top, right where long side meets top edge of mounting board (about ¼ inch in from raw edge). This will anchor your thread. You then draw thread all way across to opposite side about one inch below where you came from, so it’s not completely straight across. I’ve heard it compared to lacing a shoe with one lace instead of two. Work your way down sides, going back and forth, stopping every three to five stitches so you can pull it uniformly tight. Make sure you don’t break fabric! When you’re finished two long sides, again anchor your thread by making several small stitches in fabric. You’ll then want to do same thing on short sides of fabric. This will make fabric stay on and ensure that it is tightly pulled so no wrinkles will show up on front.

When your mounting is finished, just put your needlework in frame, put backing on, and enjoy your finished project!

Framing is another area that can often bring trouble. Yet, a few easy tips can usually ensure a successful framing project. First, use a good framer. Call a local museum and ask who they recommend. Ask friends or acqauintances for recommendations. Don’t be afraid to shop around. Then, expect to pay a bit more. Good framing is expensive, but it should outlast all of us. When you are satisfied you have selected a good framer, you should be comfortable in being guided by them, but here are a few “musts.” You must use “anti-uv” or “conservation” framing glass. This will deflect most of harmful light that can destroy paper over time. If you are using matboard, you must use “archival” quality matboard, so it does not, as time passes, chemically interact with print. You must never allow antique paper to be adhered in any way to a backing board. You must insist on archival quality backing board. Insisting on these basic steps will take you a long way toward a successful framing job – and finally, don’t hang your finished piece in direct sunlight, near a direct heat source, or in a humid area such as a bathroom.

Framing, when done correctly, is one of best ways of storing antique works of art on paper. But since it is both expensive and space-demanding, it is rarely complete solution for most collectors. Good, long-term storage can be accomplished by keeping antique prints in mylar, stored flat, in a dry, cool space. Excessive heat and excessive humidity are enemies of antique paper, but many homes today are climatized to avoid such excessive conditions. If you need to store a number of loose prints, best solution is to use one of many excellent archival boxes that are available on market.

After a little practice, even newest collector can quickly master basics of good care for antique prints. Common sense is your greatest ally, and most often, your greatest enemy will be dangers posed by poor handling. So learn basics, treat antique paper with respect it deserves, and always “handle with care,” and your collection will bring pleasure and joy for many generations to come.