Picture Framing

"Wildwood Gallery have done all my framing for the past two and half years and they consistently do a wonderful job. They do conservation framing to the highest standards and are extremely helpful with advice on mouldings and mounts. They deliver and collect at times to suit me and their prices are very reasonable. I would recommend them to anyone wanting a reliable, professional and artistic framing service."

Anita Klein, London, August 2007

Picture frames have been used to enhance and display works of art for centuries. The second and, most important purpose of frames is to protect the artwork and this is a comparatively recent development. Originally, watercolours, prints and other delicate artworks were stored in albums or folios, and would have to be taken out specially in order to view them. It was only when plate glass became more widely available that it became possible to keep them on permanent display. Frames allowed the works to be hung and protected at the same time.

Wildwood Gallery offers a professional conservation picture framing service. We are only too pleased to offer advice on your framing requirements. An extensive wide range of mouldings and mountboards are available for you to choose from, which include ranges to fit both modern and traditional interiors and our rigorous standards ensure that the finished frame will provide a safe and protective environment for your artwork yet will be pleasing to the eye.

We offer collection and delivery services for East Anglia and London based professional artists and clients. Please phone or email the gallery for full details.

Specialty picture framing glass - If you have ever left a newspaper on a windowsill for a long period of time, you’ll know the kind of damage that ultraviolet rays can cause. Works of art are just as susceptible to this damage and the effects are cumulative and lasting; but since they occur subtly and over time, they can often be difficult to notice. The symptoms include faded colours, yellowing, bleaching of paper fibres and the darkening of certain pigments. In addition, paper and other base materials can become brittle and degrade.

Since ultraviolet rays are present in both natural and artificial light, it is not enough simply to move your frame away from direct sunlight. There are however, a number of glazing options that can reduce the effects of ultraviolet rays. We recommend glazing with a UV filter of 99 per cent, particularly for watercolours, historical pieces and other delicate works.

As well as filtering harmful UV rays, glazing can also cut down on reflection. The use of inappropriate glazing materials can turn any frame into little more than a mirror. But there is no reason why you should see your own face in a frame. In rooms with natural light, or those in which reflection cannot be avoided, we suggest using modern coated glazing; which when lit properly, is so low-reflective that it is virtually invisible.

With large works, and those that are to be shipped in their frames, it is prudent to use Perspex glazing with UV filtration. Not only is this lighter and therefore much easier to move around, it also protects the artwork from becoming damaged if the glazing breaks in transit.

Wildwood Gallery recommends Schott Mirogard for more details please follow this link: Schott Mirogard

UV FILTRATION - Light is made up of differing wavelengths. For example a rainbow has different colours and each colour within the rainbow will have a different wavelength and each wavelength is measured in units, these are called nanometres. How large is a nanometre?

The most damaging light is UV (or Ultraviolet) invisible light between the 200 and 400 nanometre range, this range of light is invisible. Despite being invisible to the naked eye it is powerful enough to induce photo chemical damage to organic material such as paper or fabric, resulting in loss of colour, yellowing, bleaching, darkening and embitterment.

Ordinary Float glass filters around 54% of the harmful range, however this is NOT sufficient to offer any degree of protection. Whilst UV protection may not be an issue in certain circumstances where UV is not considered a hazard, there are still many instances where additional UV protection is still required. Below are some ideas as to when to choose ‘UV protection’ over a ‘non-UV product’:

The image below shows the nanometre range, including which light is visible and invisible, plus which light must be controlled and how:

As you can see, light up to 200 nanometres is filtered by the earth’s atmosphere.

However between 300 and 400 nanometres a good UV glazing product should be used.

Over 400 nanometres light becomes visible, this is the violet / blue range. Although it is recommended that this level of light be filtered, to date it has not been possible to create an effective product that will filter this effectively. This is because to filter this range, a strong yellow filter would have to be used to counter the blue light, which would leave the artwork looking very visible yellow due to the filter. As this light can not be filtered caution should be used to avoid hanging images in ‘blue sky’ or ‘sunshine’ areas.

The only truly effective way to protect valuable artwork from the 400 plus nanometre range is to block out this light, which could be done through the control of light coming into the building (such as that undertaken by museums) or to simply lock it away in a darkened cupboard!

Interestingly enough, the plastic that was used some years ago in the old red telephone boxes offered a very effective way to handle UV, this was a plastic called ‘polycarbonate’, the downside however was that it did this through ‘absorption’, which is why after a short period of time the plastic went white and could no longer be seen through!

Flat glass - Coatings applied to the surface of the glass, usually one side, however there are a few exceptions such as SCHOTT Mirogard Plus, which is coated on both sides. UV coatings tend to be relatively soft and can be easily scratched, which is why they should be placed directly against the artwork, avoiding the possibility of damage from repetitive or harsh cleaning and handling. Coatings vary in quality and high UV ratings don’t always mean best viewing quality!

Laminates - in the majority of cases UV protection is achieved by using a UV filtering plastic interlayer (PVB). This provides higher UV protection than that of coatings and is invisible to the eye, furthermore laminates provide greater protection for artwork in the event the glass should be broken, which is why these are the product of choice for high end museums and galleries.

Plastics - Similar to laminates, the UV protection is generally impregnated within the plastic during production, increasing UV rating and viewing quality. These are ideal when images are to be transported or placed in public areas.

Oil Paintings – this due to the fact that the oils have UV protection within the base make up of the paint.

Modern Photos/Prints – manufacturers are making progress within this area, producing light fast UV inks, and as such protection is not always required, however if you are in any doubt, add UV protection!

Old Photos & Posters – generally these are not colour fast and will fade quickly.

Tapestries – where dyes are used to colour the threads, these will again fade when exposed.

Organic substrates (such as textiles and paper) – UV light causes organic substrates to become brittle, rendering them beyond repair.

Sentimental items – any artwork, image or item that is produced on paper or fabric that the customer deems to be of sentimental value should be protected. This includes ‘little Johnnie’s’ first school painting!

Handle with care – when carrying and transporting a picture, grasp the frame firmly at both sides. If you have to store pictures, make sure they are stacked vertically and the right way up. When stacking pictures, stand them glass to glass so that hangers do not damage the frame.

Eye-level display – remember most pictures are designed to be viewed at eye-level. When hanging a group of pictures of different sizes align the top edges. Groups of pictures need not be hung in symmetrical patterns, but they should follow some kind of overall design. Try arranging them on the floor first.

A gentle clean – dust frames or bush with a soft brush, rather than risk applying water or cleaning fluids. Don’t use cleaning fluids or water on the varnished surface of oil paintings; again dust carefully. If fluids have to be used on glass, apply them to the duster first (rather than spraying the glass directly); do not let them touch the frame.

Hang securely – use two hooks on the wall, each set about a quarter of the way in from either side of the picture. Check that the cord, wire or other hanger you use is designed to support the weight of your artwork. Where safety is critical, for example in children’s bedrooms ask about glazing and security fittings. Ideally pictures should not be hung above radiators. Extreme or rapid changes in temperature cause paper and wood to wrap and dry out and adhesives to fail. Damp can cause pictures to ripple. If the ripples touch the glass, the picture might stick and be hard to remove. Damp also encourages fungal growth, likely to show as brown stains. Conservation framing can slow these effects but it is always best to avoid hanging framed pictures in humid conditions.

Return to mender making routine checks – if you find evidence of discolouration, unsightly brown dots, small insects under the glass or that the brown paper tape sealing the back of the frame has come unstuck, return the frame to the framer. Check for corroding picture wire and weak or loosening cord. The varnish on oil paintings will gradually discolour, especially if the painting hangs in smoky or polluted conditions. An expert should replace it as it dirties. Oil paintings stretched over wooden bars may sag over time and the bars can make a slight imprint on the front of the canvas. Take the picture back for tightening or re-stretching. We recommend inspection every five years of your framed artwork.