Congrats on a lovely purchase.

thanks for the advice guys, gonna go in for my second try this weekend, ill throw up another pic when i finally get it right

Have you done your new frame yet? If you can hold your horses, I have some more advice, but no point in dispensing it if you've finished. I have nearly 30 years' experience in conservation-framing.

Lovely piece!

Here's a few suggestions, I ended up framing mine as the first visual.

It is reversible PVA glued on the back (apparently) which can be steamed off (apparently) is mounted on black mount board in a black box frame and with white fillets on the inside of the frame, I felt it reflected the letterforms well!

Hope this helps...

Lovely Framing Atomone. Very inspiring!

Congrats on the 'A Stars' too Atomone, it's a beauty!

Hi
You did ask! Rather a lot here, but do go through it.
Two separate issues arise: a) is it financially worth using acid-free materials / processes? & b) solving the fixing problem.
Some previous posts made useful points. One mentioned lignin correctly, but then provided some wrong information! Some were alarmingly ill-informed: screws in the back; gooey sticky foams, etc. though others picked up on this.
I mentioned "processes", along with materials, above: one of the prime considerations in all conservation is reversibility / retrievability, i.e. the ease with which you can extract the art [in this case] in exactly the state it was in before it was treated [framed, in this case].
A better-preserved specimen won't have screw-holes in the back; so, if you put them into yours, you'd lower its resale value, compared with one that doesn't. After a while, self-adhesive gooey foam, etc. will ooze and ingrain itself into the wood surface (and lose its 'stick'!) Removing that (which may not be fully achievable, anyway) would involve chemicals which might harm the medium on the front, so I'd avoid such, myself. Silicone in this form has not been around long enough to ascertain how long its adhesion, nor its chemical neutrality, lasts.
If you're framing it for your own enjoyment, I'd suggest you don't try second-guessing its future value. Spend as if you were the only person to benefit from it. If it's for investment, personally I wouldn't expect Urban Art to keep its value wa-a-ay into the future (consider: are any institutions collecting it?) For myself, I wouldn't spend overmuch on it. If it's for your kids, that depends if they like it for its intrinsic qualities, its personal associations (i.e. that one day it will once have belonged to their dad) — both unconnected with the money side — or for the expectations that it'll be worth selling.
The piece is probably made from materials which will, over time, degrade (including, quite possibly, the paint / inks). This may matter if you planned it to be your pension, or an heirloom, since it's that sort of timescale before any degradation sets in. The second element there is that, if you DIDN'T take steps to preserve its artistic integrity now, would that be a concern in, say, 50 years time? In practice, no, since every other framed copy of this piece would also have degraded, probably to the same extent, thus a "mint" copy then, would probably not look like a 2011 mint copy (as the 'rot' comes from within) so there'd be no benchmark to compare it to (a comparison which might be asked for, were it to be auctioned by a reputable house).
The lignin issue aside, it's likely that even the glues laminating the plywood are not art-safe, so the medium may eventually start to discolour / detach / otherwise change, due to chemicals released during the ageing process. Both lignin and those glues will cause problems because the acids become volatile (= able to move and change, especially by vapour emanation), which can't be practicably guarded against. It's a myth that, if there's no direct contact, there's no risk.

Fixing: the contributor who suggested that, because of lignin in the wood, it's not worth using acid-free materials has a point. (There is a case that the better the environment that acidic things are stored in, the longer it takes for them to decay, but I suspect that the piece's market value has a greater bearing on this, given how much acid is inherent to the piece). You don't even need mount-[=mat-]board: you could double up the backing board as the "float" surface.
My first attempt at rectification would be to do what you've done, but with brown gummed tape, rather than acid-free. I presume the tape that slipped WAS wet-gummed, not self-adhesive? (The expected usage of acid-free materials, both gummed and self-adh. means they have fairly low 'grab' and, also due to wood's grained surface, neither would stick all that well. A plywood panel is unlikely to be held in place). Brown tape has more gum, and more grip.
Two more points: Google "acid-free paper" "T-hinges" and try the first non-auto-generated reply (AllExperts.com) which, about halfway down, has a written explanation of this basic hingeing method. Strengthen them by gumming reinforcing strips of tape at the turnover of the hinges. Mechanically, it makes sense to attach two more, one each side near the bottom, so THOSE hinges are at 90 degrees to the top ones. Strengthen those hinge-thicknesses, too, and you massively increase the forces needed to tear the paper in that direction, and I imagine that, together, it will hold. (If not, you need a different material to stick with: come back here, and I'll advise).
Is the medium bonded (i.e. stable, like paint / ink)? If not, pipe up for a further workaround.
Don't rush the hingeing: gum the hinges to the artwork first, and let them thoroughly dry. Then test them by lifting the piece by each one in turn. When you wet the exposed gum prior to attaching to the backboard, you'll find that they curl and / or balloon out visibly beyond the edges of the piece when you lower it on to the board. With four, this seems impossible to manage with only two hands. The solution is to use tiny bits of tape to stick down the loose corners of the exposed gum, and let THEM dry, before wetting the main bonding areas. That way, they'll stay put.
Leave extra time for this second drying, since the moisture can't now escape as easily as it could before when nothing was covering it.
Good luck.
If tape-hinges don't work, I have other solutions, but this msg. is long enough!! E-mail to follow this up further. I'm not much in a position (like an ocean AND a continent away!) to gain actual business from this, anyway… ;D

Thanks again Cornershopframes. I'm going to look into the hinging this week and go in for attempt #2.
Ill pm you if I have anymore questions so you don't have to keep divulging all your secrets

Really enjoyed seeing the Eine's posted on here and would love an original or a NUDE piece on wood.

I'm talking directly at teh moment but would also be interested to see what is for sale or trade on here.

Going to let this one go!

An original hand sprayed editioned piece by ben eine in plywood

Looking for offers via PM and a face to face meet up with payment in cash as had a horrendous experience shipping a valuable item recently

Can meet n London or just north of London.
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Numbered on the back xx of 150

Size is about 300mm by 220mm

There was one on eBay this week with a buy now price of £350 - wasn't there for long

BEN EINE s/n ltd ed print on ply NUDE ultra rare

Nice. Did Eine actually hand spray 150 of these? Not that I'm saying they aren't as they are on ply.
Quite a job.

Looks great like the simplicity of it.