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Art Framing Guidelines (Museum Standard Conservation Framing)
We do not sell framed prints of original art. The reason for this is simple. Framing of art is a much-personalised activity. Your choice of frame is depended on a wide range of factors. What colour you like, what colour fits in with your living or work environment. A further understanding of framed prints can be gained from looking at the Buynewart comprehensive conservation and care guide.
A picture frame exists to perform two main functions. The first is to provide a visual link between the picture and the space in which it is to hang and to reflect the individual taste of the collector. With so many variables this means that, apart from the basic objective of showing the picture to its best advantage, there really are no rules when it comes to the overall look of a frame.
The second function is to protect and conserve the artwork.
All works on paper tend to deteriorate with exposure to light, contamination and atmospheric pollution:
- Ultraviolet light
Can cause damage in two ways: by breaking down the fibres in the paper and causing pigments to fade
- Contamination
In the past boards and paper used for backing and mounting were generally made
of acidic and impure wood pulp which cause browning and staining seen in so many older prints. Even today cheaper mount boards will still, after a year or two, begin to show similar discolouration and eventually damage the artwork.
- Pollution
With fewer smoky fires - and indeed smokers - around, atmospheric pollution is now not such a problem, but it is worth remembering that cleaning and dusting still goes on and the same air that carries that dirt will be in contact with your pictures if they are not properly protected.
The value of a particular fine art work is not purely aesthetic but is affected by its condition, so framing not only protects the piece itself but protects your financial investment.
- Mounting
The simplest and most effective way to protect a work on paper is to use acid-free "museum" boards for all mounting and backing. These are readily available in a range of colours. It is a false and very minor (a few pounds) economy to use cheap mount boards.
- Tabbing
Another thing to consider is "tabbing" - that is, how the work is to be fixed into the mount. This should only be done using purpose-made acid-free mounting tape and hinges.
- Glazing
There is now a huge range of glazing materials available. With delicate works, historical pieces and watercolours, UV filtering glass or acrylic is strongly recommended as it will inhibit, though not totally prevent, fading and paper degradation. Modern coated low-reflective glasses are now so good as to be well nigh invisible if properly lit and, though still expensive, are less than half the price they were a few years ago.
Conservation considerations do not just apply to new frames. It is just as important to look
at the framed pictures that you buy or already have in your collection. In general the longer ago that a piece was framed, the less likely it is to have been mounted with conservation materials. Even if you are quite happy with the frame itself it is a simple matter to remount and glaze conservationally to protect the artwork.
We believe it is as much the responsibility of the collector to educate the framer by asking about and indeed insisting on specialist conservation as it is for the framer to provide the service.
Previous: Caring for Your Artwork
Next: Art Terms Glossary
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