Moulding/Frames
We stock a broad selection of factory-finish and bare wood mouldings at our picture framing workshop in Bedminster, Bristol. If we don’t appear to stock your desired one, we’re are happy to order it in for you. Our frames are commonly made from obeche, tulip, ash or oak wood, which are hand-finished with our own stains, paints and waxes.
The frames themselves are sturdy wood, joined by both glue and “V-nails”in each corner.
When framing larger works, we have to determine whether the frame is strong enough to hold the glass and all other elements without bowing or flexing. In these conditions, we select a thicker moulding and build a “sub-frame” into the back. This serves as not only a strengthening component, but also as a split-batten hanging system, where the weight of the finished frame is spread over a larger surface area when eventually hung on your wall.
Glass And Glazing
Framed artwork is exposed to light that can cause fading and discoloration. We offer various glazing options to protect your piece:
- 99.6% Anti-UV Glass: Blocks 99.6% of UV rays, significantly reducing fading.
- Museum Grade Glass: Combines 99.6% UV protection with anti-reflective clarity.
- Anti-Reflective Glass: Offers clear visibility with 70% UV protection (non-conservation grade).
- Float Glass: A budget-friendly option without UV or anti-reflective features.
• Anti-UV Acrylic: Lightweight and conservation-grade, ideal for larger frames.
Glass And Glazing
Framed artwork is exposed to light that can cause fading and discoloration. We offer various glazing options to protect your piece:
- 99.6% Anti-UV Glass: Blocks 99.6% of UV rays, significantly reducing fading.
- Museum Grade Glass: Combines 99.6% UV protection with anti-reflective clarity.
- Anti-Reflective Glass: Offers clear visibility with 70% UV protection (non-conservation grade).
- Float Glass: A budget-friendly option without UV or anti-reflective features.
• Anti-UV Acrylic: Lightweight and conservation-grade, ideal for larger frames.
Bespoke Colours
Mountboards
Mountboards not only enhance the presentation of your artwork but also protect it by preventing direct contact with glass. Glass transfers heat quickly, causing paper to expand and contract, which leads to rippling. Additionally, inks can adhere to glass if not properly separated.
Artwork is attached to mountboards based on the most suitable treatment for each piece. Some of the options we use include:
- Plaster Corners, whereby the art is cradled by inert archival polyester and can simply be lifted out.
- Japanese Mulberry paper tape, which is coated with acid-free water-activated adhesive.
- P90+, a self-adhesive tape which is lignin-free, ageing resistant and boasts permanent elasticity.
Mountboards
Mountboards not only enhance the presentation of your artwork but also protect it by preventing direct contact with glass. Glass transfers heat quickly, causing paper to expand and contract, which leads to rippling. Additionally, inks can adhere to glass if not properly separated.
We offer two options:
- Museum Grade Cotton-Rag Board: Made from virgin cotton fiber and provides the highest level of protection for works on paper.
- Conservation Standard Board: Made from treated wood pulp
Both boards are tested to remain safe for over 100 years and are buffered with an alkaline reserve to slow degradation caused by pollutants. While all boards will eventually age, these measures ensure optimal preservation for your artwork.
Attaching Artwork To mount
- Plastic corners, whereby the art is cradled by inert archival polyester and can simply be lifted out.
- Japanese Mulberry paper tape, which is coated with acid-free water-activated adhesive.
- P90+, a self-adhesive tape which is lignin-free, ageing resistant and boasts permanent elasticity.
Get in touch for your free consultation or drop by our workshop
No job is too small or too complex
Get in touch for your free consultation or drop by our workshop
No job is too small or too complex