Conservation Framing



For works of art on paper, we use matboards and backing boards that are museum quality and do not contain acid, lignin or other harmful products.  It is important to use the correct products and methods of framing to prevent the degradation of the artwork over time. 

If the environment within the frame contains acid, it migrates into the paper over time and causes it to discolour and become brittle.  The obvious signs of deterioration can be seen by the naked eye in the form of foxing (small fuzzy brownish coloured dots appearing on the image) and the yellowing of the paper.

Glass should never be placed directly onto artwork or needlework.  Glass is chemically safe, inexpensive and used in most framing situations to provide physical protection from dust, pollutants and insects.  However exposure to light and U.V. rays can quickly fade dye pigments and also break down the chemical structure of paper and fabrics, eventually making them weak and brittle. 


To reduce damage caused to items by harmful U.V. rays, we recommend that you use either U.V. Filtered Glass or U.V. Perspex.  Perspex will not break but it does scratch easily.  We recommend that if you choose Perspex in your framing, you should only lightly dust it as required and only use a slightly damp cloth to remove obvious spots.

Original works of art on paper should never be stuck down.  We hinge the artwork onto the backing board, with a matboard placed on top, forming an air space between the glazing and the artwork. 

Hinging artwork means that the paper is hanging, but is free to move within the frame.  Differences in humidity can create movement in the paper, which can sometimes be noticed as very slight rippling.  This is normal, and the only way recommended to frame originals.  

Original works of art on canvas are first stretched onto an adjustable stretcher and then framed without glass.

Ultra Vue Glass vs Standard Glass

Clarity Glass vs Standard Glass.jpg