• “A picture without a frame is like a soul without a body.”
    Vincent van Gogh

  • FRAMING and displaying an artwork properly can help draw attention to a work, enhance its visual appeal, and keep it safe. Poorly framing or displaying a work of art, on the other hand, can lead to discoloration, fading, acid burn, and other severe and unnecessary damage. 

    Investing in high quality framing can help ensure that your artwork is better protected for the future. Proper framing and display borrows the knowledge and strategies of conservators, who dedicate their lives to preserving the integrity of  art. Therefore, the commonly used phrase is “conservation-grade” framing (“museum-grade” is synonymous). 

    The standards prescribed by the Fine Art Trade Guild are acknowledged, and careful visual consideration is given to each individual work in order to help you make an informed choice regarding the different levels of framing. Moreover, when it comes to selecting the best mounting practices, the significance of archival standards is understood.

    To assist you in making a well-informed decision that suits your budget and specific needs, you are invited to read below. By familiarizing yourself with the information provided, valuable insights can be gained into the various options available, and the best course of action for preserving your artwork can be selected.

  • MOUNTS

  • TAPES AND ADHESIVES

  • GLAZING

  • STANDARD FRAMES

  • CUSTOM FRAMES AND PLINTHS

Class 1 – 100% Cotton boards are the purest form of natural cellulose, requiring minimal processing. They are naturally acid-free and have a proven track record of performance in providing maximum protection. These boards are commonly used by museums to frame original artwork, fine prints, and precious documents. However, their availability is limited to various shades of white.

Class 2 – These boards are classified as conservation quality and are made from chemically purified pulp. Through this process, all potentially damaging substances are eliminated. As a result, the boards are acid-neutral and maintain a pure white bevel over time without causing harm to the artwork. Similar to Class 1, they are available in various shades of white but have limited options.  It is a more economic option to class 1 board while maintaining the conservation option.

Class 3 – This non-archival category offers a wide range of colors and is the most cost-effective option. It includes boards with black cores and vibrant face papers, ideal for framing when conservation quality materials are not required. While these boards are acid-free, their pH-neutral quality is not maintained indefinitely.
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