Methods for securing overmats

This question has less to do with actual image making and more with presentation but I hope it will be of interest. I am in the process of mountin a rather large B&W photo exhibit. In the past I have always secured the overmat (window mat) to the mat the print is mounted on with archival linen tape hinges on the inside, i. e., between the two mats. A customer has recently expressed concerns that if the overmat is damaged, removing the hinge from the bottom mat may damage it and subsequently reduce the value of the original photograph. My questions are: 1. Is there a better method of securing the window to the bottom than I am currently using? and 2. Are there techniques for removing and replacing tape hinges that I am not aware of? Thanx in advance for your responses ;^D>

I own a gallery & framing shop in addition to the photography. High

grade hinging tape is water/damp removable. This should ally the

fears of the client. Using only 100% rag mats & the best tapes will

make his worry a non issue. But, if you mount Ilfochromes, be sure

to use 100% rag, NON buffered, as Ilfochrome is acidic to begin with

and buffered boards will bleach it.

I totally agree with Dan, as usual, but I detected another point to

bring out. Doremus states:

 

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<<< if the overmat is damaged, removing the hinge from the bottom mat

may damage it and subsequently reduce the value of the original

photograph. >>>

 

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The museum, archival method of mounting prints to backing today is

not by hot press/drymount, but rather by hinging the print to the

acid-free mount board (for a number of archival and dimensional

stability reasons). So, even if mat and/or mounting board are

damaged, the condition (and value)of the print is not impaired since

all items are attached with the archival, moisture-loosened hinges

Dan mentioned. -Regards.