Tapestry mounted on bookbinding cloth
and framed in a wood shadow box with museum-quality glass.
Final Touches:
Two Different Solutions for Displaying the Tapestries
After much experimentation on how to hang the tapestries on the wall, I reached two options. (Scroll down to the end of the page to see the additional solution for exhibitions.) Regardless of choice, a few principles are consistent for either way of displaying the tapestries:
- The fringes are an integral part of the finished artwork. They show the simple structure of this ancient craft and the beginning of a tapestry, which is the modest-looking, grey warp threads attached vertically to a frame or loom.
- The tapestries are mounted onto a high quality cotton/linen (50/50) bookbinding fabric. The grey background-color enhances the tapestries, emphasizes the linen-quality of the yarn, and mutes the fringes.
- I write my initials, BE, with an archival marker on the bookbinding fabric below the tapestry.
- Due to the bookbinding fabric's texture, I do not write the tapestry title on it.
- I write my full name on a small piece of thin canvas which I stitch onto the back of the tapestry before mounting it onto the background fabric. Should the tapestry ever be detached from the background fabric, it has my name on it.
The two options:
- The fringes are an integral part of the finished artwork. They show the simple structure of this ancient craft and the beginning of a tapestry, which is the modest-looking, grey warp threads attached vertically to a frame or loom.
- The tapestries are mounted onto a high quality cotton/linen (50/50) bookbinding fabric. The grey background-color enhances the tapestries, emphasizes the linen-quality of the yarn, and mutes the fringes.
- I write my initials, BE, with an archival marker on the bookbinding fabric below the tapestry.
- Due to the bookbinding fabric's texture, I do not write the tapestry title on it.
- I write my full name on a small piece of thin canvas which I stitch onto the back of the tapestry before mounting it onto the background fabric. Should the tapestry ever be detached from the background fabric, it has my name on it.
The two options:
A) The first option is seen in the photo above. (The process includes work by a framer and an engraver.)
- After cutting the background fabric, I have it glued to an acid-free foam board for framing.
- I first stitch down the tapestry (through both fabric and board), then I stitch down each single fringe thread.
- I have the tapestry title engraved onto plating, and I glue the art title plate onto the cloth.
- The completed board is framed in a shadow box, the depth being approx. 2-3 inches. The four narrow interior sides are covered with the grey fabric.
- Glass is attached to the frame. (Preferrably museum glass or museum plexiglass as they don't reflect the light.)
- Hanging arrangement, attached by the framer, depends on the purchaser's walls.
- A laminated sheet with all tapestry information is attached to the back
- After cutting the background fabric, I have it glued to an acid-free foam board for framing.
- I first stitch down the tapestry (through both fabric and board), then I stitch down each single fringe thread.
- I have the tapestry title engraved onto plating, and I glue the art title plate onto the cloth.
- The completed board is framed in a shadow box, the depth being approx. 2-3 inches. The four narrow interior sides are covered with the grey fabric.
- Glass is attached to the frame. (Preferrably museum glass or museum plexiglass as they don't reflect the light.)
- Hanging arrangement, attached by the framer, depends on the purchaser's walls.
- A laminated sheet with all tapestry information is attached to the back
B) The second option is seen in the photo below. (The process includes work by a CUTTER. SYLVIA
- I have large bookbinding boards cut to a standard size, 18 x 15 in. SYLVIA
- I use restoration glue for cementing two boards together for ...SYLVIA
- I glue the fabric onto the top board, then neatly fold the fabric over the edges and glue it down on the back side while paying attention to the corners.
- I drill a few holes through fabric and board for stitching down the tapestry.
- I cover the back with a chip board, on which I write the title of the tapestry as well as my name, medium, year, and size.
- I cover the back with a chip board, on which I write the title of the tapestry as well as my name, medium, year, and size.
- The board is hung on the wall with L-pins.
Tapestry mounted on bookbinding board
covered with bookbinding cloth.
Choosing the right solution:
If the tapestry will be hanging in a public space, large or small, I definitely recommend it being framed. It gives it more visibility in the room and protects it from accidental touching. I also recommend the tapestry being under glass to protect it from people intentionally touching it.
If the tapestry will be hanging placed in a private space, large or small, you can choose to have it on the wall unframed without glass. You might find its exposed presence appealing, but this is a taste (and expense) decision. Also, the type of house or apartment (heavy or light atmosphere) matters in order to make the 'right' decision.
If the tapestry will be hanging placed in a private space, large or small, you can choose to have it on the wall unframed without glass. You might find its exposed presence appealing, but this is a taste (and expense) decision. Also, the type of house or apartment (heavy or light atmosphere) matters in order to make the 'right' decision.
My display solution for exhibiting in galleries and shows:
I chose an additional solution for when my work is in an exhibition or show. It is not intended to be a permanent one, rather it is specially designed for gallery environment and practical and affordable handling, packing, and shipping.
- I tape or glue the bookbinding fabric onto a same-size, light-weight foam board.
- I stitch the tapestry onto the covered board.
- I attached hanging system as required by the respective space in which the work is shown.
- Since the boards are for display only and get reused, I usually do not write my signature on the cloth.
This solution can be adjusted as desired or required.
Non-permanent display boards.
(From top to bottom: the titles of the two single tapestries are "Who by Strangulation?" and “My God, for You I search . . . in a land waste and parched with no water” (Psalm 63:2). The third photo shows tapestries from the series "Inspired by M'gillat Rut: the Beauty of Biblical Minimalism.")
