Selecting a Mount

An often overlooked step but one of the most important; selecting the correct mount is essential for both the conservation and the presentation of your work With this in mind we take a great deal of trouble to select the right type, weight and colour of mount for each artwork. We will discuss the size of borders, placement and method of hinging. We always use acid-free, archival, reversible mounting methods and techniques. This is crucial as it ensures your artwork can be detached, if required, with minimal or no change to the artwork. Please refer to the section on Photograph mounting for special conditions that apply to photographs.

The example above shows a washline mount with ruled lines in grey and gold traditionally used around watercolours and antique engravings.We always discuss with the customer colours and designs to complement each individual image.

We also produce laid, specialist paper or textile covered mounts (linen or velvet for example), specialist paper wrapped mounts, French mounts, regularly shaped mounts(ovals and circles), custom irregularly shaped mounts, mounts with lettering, calligraphy and computer cut out lettering. 

For heavier, paper-based items and certain other items that are to be float mounted, it is advisable to use strong, lie-flat, museum slot hinging or similar methods.

For 3D items or textiles, it is best to use sewing and transparent threads and other devices to locate items, however, occasionally for 3D items it is necessary to use permanent adhesives and we would only do this in consultation with the customer.

For certain items, non-intervention is the ideal: archival Mylar photo corners, slots, strips, sleeves or acid free paper folds secure the artwork in place and allow it to be released with no change.

Framing Drawings and Watercolours

Try to keep your artwork flat and avoid rolling it before it comes to be framed. Please be aware that due to the nature of watercolour painting and papers your artwork may be cockled and not lie as completely flat as you wish. It is possible that the paper may not have been stretched prior to painting or it may have been stored poorly. Conservation framing will not always flatten out a painting even with careful hinging, and it is possible that it will make it more noticeable to you. Window mounting might help the painting lie flatter than float mounting.

Mounting

Decide how much of the image you wish to see and consider any signatures. Consider the width and colour of any window mount: traditionally, window mounts are used on watercolours and we are also able to offer hand ruled and painted wash lines and wash decoration on the mount if required. If you want to see the edges of the paper, you might consider having the image float mounted with a gap around  this will require a deeper moulding or box frame using a mount or spacers to keep the glass away from the surface.

Framing

When choosing a frame, think about the style, period and feel of the image, and what might suit your interior and/or purpose. Browse through antique frames for a traditional solution, or choose a custom-made watergilt frame. Remember that larger images are going to need stronger frames to support them. The contemporary approach is to allow the painting to speak for itself and to avoid heavy, over complicated approaches which may have been the case in, say, Victorian times. Suit drawings to the period with a selected antique frame from our stock or choose a new traditional moulding and finish, we will always advise you here. Modernist drawings can look fantastic in decorative antique frames or simple limed oak for example.

Glazing

UV filtering glass and acrylic is available and always recommended for watercolours where colours may fade. If reflections might be a problem, modern anti-reflection glass can reduce them.

Conservation

Due to the problem of cockling, in the past many watercoloursand drawings were laid down to card i.e. stuck with glue or paste. The acids in the boards used often cause discolouration of the paper and spotting. Restoration and conservation of watercolours is difficult and not always possible – but where possible, and expertly done, can produce excellent results. Our paper conservator can often de-back watercolours that have been laid down and usually flatten paper if needed, and can assess any damage and advise on the appropriate way forward.

Framing Paintings on Canvas and Board

Stretching

Ideally, a painting on canvas is stretched over a wooden strainer or stretcher before framing. It can, however, be hung without a frame if you prefer. If your canvas is unstretched, that is, it has been taken off a stretcher or, has never been stretched, we will normally advise that you have it stretched.

Tray frame with gilt edge. Tempera painting on wooden panel.

Framing

Once stretched there are various ways the framing of your canvas can be approached. The two main ways are:

1. Tray framing: where the edge of the painting can be seen and appreciated by leaving a space or gutter between the painting and the frame; this method gives a more contemporary feel

2. Rebate framing: where the edge of the canvas goes into the rebate of the frame so that the edge of the canvas is just covered by the frame sight edge; this is the more traditional approach.

Many profiles can be used to frame your painting and multiple profiles can put together to create more complex profiles, additionally, a huge number of finishes are available; either ready-made or custom-finished. We specialise in getting the right period frame for your painting; contemporary, modern or antique. We also have a large selection of empty, antique frames for either contemporary, modern or antique works.

Glazing

Although paintings on canvas or board panels are not normally glazed it is increasingly a feature of paintings framed for museums and other collections. The advent of modern anti-reflection glass and acrylic means that an added protection to the painted surface can be given without reflections obscuring the image. The glazing will be spaced away from the painted surface requiring that a deeper frame is used.

Conservation

Be advised that if your canvas has been rolled it may have incurred some damage to the paint layer or to the edges but this does depend on many factors. Paintings that are un-stretched may have previously been attached to a stretcher or strainer that was off-square or was bowed along the lengths or warped. When the painting is re-stretched some of these complications may reveal themselves on a square and true stretcher, we can usually resolve these issues. If you have a painting with some losses or damage we can advise on having it restored. If the support canvas is weak or damaged paintings can be lined or re-lined with a new support. Paintings that are discoloured can be cleaned and re-varnished where necessary. 

Framing Original Prints

We have hundreds of prints at 169 Bermondsey Street and frame hundreds more each year. Limited edition or antique prints should always be kept flat, so, if possible, avoid any rolling before bringing them in for framing. Please be aware, nevertheless, that due to the nature of printmaking techniques and the papers used, your print may be naturally, slightly cockled or undulating as it was when it left the artist's studio. Our hinging techniques will allow the paper to naturally expand and contract with the changes in temperature and humidity that it will be subject to  in normal conditions.

Mounting

Mounts can help flatten some prints, but framing – even with careful hinging – may not always make the print lie as flat as you wish. Platform mounting for example, so that the edges of the paper can be seen, allows the paper to expand and contract freely and allows you to appreciate the qualities of the full sheet of paper.

Framing

When choosing a frame, think about the style, period and feel of the image, as well as what you like and what might suit your interior or exhibition needs. Keeping it simple is often the best choice, and often that means an antique frame that matches the period of creation. Larger images might need wider frames, but subframes can be used to give strength to deeper, slimmer mouldings.

Glazing

UV filtering glass and acrylic is available and recommended for prints. If reflections might be a problem, modern anti-reflection glass can reduce them.

Conservation

Restoration and conservation of prints, when expertly done, can produce excellent results. A conservator can usually help flatten paper if needed.

Framing Royal Charters, Grants of Arms, Letters Patent

As the recommended framer of the College of Arms in the City of London, we have framed many Royal Charters, Grants of Arms, Letters Patent, Indentures and similar works on vellum from the time of Henry VIII to Queen Elizabeth II. The challenges presented by vellum, parchment and similar animal membrane substrates with or without attached wax/resin seals are numerous and require careful attention to detail. Due to the nature of prepared animal skin substrates extra special attention and care must be taken when locating and hanging the framed artefact.

Mounting

Vellum is untanned animal skin, a natural, organic material and it is particularly susceptible to humidity and temperature. When used for support for calligraphy and painting the process may involve folding, irregular cutting and the attachment of cords, ribbons or wax seals. The finished manuscript is often presented rolled in a scroll form, for all these reasons it is very likely that it will not lie completely flat; this irregularity is very much part of the character of the artefact. As mentioned, animal membranes such as vellum are particularly susceptible to humidity, so when mounting, our approach is to avoid attaching anything directly to the vellum and to hold the document in place with inert Mylar strips and/or museum-quality mounts and slips. Wax seals and seal tin lids are supported by precision-cut mounts and/or transparent non-invasive threads.

Framing

We have framed many documents on coloured velvet backgrounds (red, blue, purple etc.) or handmade papers, as well as many with precision, computer-cut mounts and the results are always impressive. Wide gilt or plain wood frames are also a popular choice for a simpler look.

Glazing

We would always advise on the use of a high percentage UV filtering glass or acrylic to protect your document against fading of inks and pigments or discolouration and deterioration of the substrate. If reflection might be a problem, modern, anti-reflection glass is advisable.

Conservation

Extra care must be taken to avoid hanging the framed item in direct sunlight and in areas of higher heat or humidity such as a bathroom or above a radiator. Minor changes may be noticeable due to changing seasonal or environmental conditions. Although the backs used are moisture-resistant, please ensure the wall used for hanging is dry and that there is space behind for air to freely circulate.

Framing Textiles

This covers a huge range of artefacts from large hanging rugs to delicate fragments and family heirlooms. The stability of the piece to be framed is always our primary concern. At the very outset we examine the piece and determine its condition, we then discuss ways in which we can display it while best maintaining its shape and preserving it using conservation methods.

Mounting

Often the most sympathetic way of mounting a textile is to sew it to an acid-free backing board, a fabric-covered board, or another fabric. Some textiles may need to be looked at by a specialist textile conservator (we can advise on this). Other textiles can be stretched over a wooden frame or board. Embroideries, needlepoint and similar techniques often need squaring up on a pegged, squaring board prior to framing. T-shirts and other textile garments are usually sewn and, if preferred, stretched over a shaped template.

Framing

When choosing a frame think about the style, period and feel of the image, and what might suit your interior and/or purpose. In most cases it is best to keep it simple. The majority of textiles will need a deeper box frame so that the item is spaced away from the glass using spacers, mounts or slips.. Remember that larger images are going to need stronger frames to support them, and thick materials will need deeper frames. 

Glazing

We would always advise on the use of UV filtering glass or acrylic to avoid fading colours and deterioration of textile threads. If reflections might be a problem, modern anti-reflection glass can significantly reduce this. Using acrylic will reduce the overall weight of the framing and avoid potential damage caused by glass breakage.

Conservation

Restoration and conservation of textiles are possible and, when expertly done, can produce excellent results. We always advise where we think the services of a textile conservator are necessary.

Framing Letters and Documents

Preservation of these often historic documents is always the uppermost concern and with good conservation framing they will last for future generations to appreciate. Our clients are often surprised about the variety of possibilities that are available for framing documents, the style can be contemporary or traditional, conventional or a little more unusual. Microchamber mountboards that actuallly aborb pollutants and acids can be employed and mounting methods that will not alter or interfere with the artefact. Often a document will be double sided and we have ways in which both sides can be displayed if required. Our example below shows a 16th century illuminated vellum page held in place by a custom computer- cut museum mount allowing both sides to be displayed behind museum glass and acrylic with no glues, pastes or hinges. It could be removed from its framing unchanged in condition. Framed documents will always need to be located in a stable environment with low humidity and low light conditions.

Mounting

Both contemporary and traditional approaches will require certain considerations such as the quality of the mounting boards, the width and colour of any window mount and whether you wish to see the edges of the substrate. Should the document have discolouration, losses, folds, creases or tears which need attention, we can liaise with our paper conservator and provide ways forward with an estimate and details provided before proceeding.

Framing

When choosing a frame think about period and feel of the image, what you like and what might suit your interior and/or purpose. It is often best to keep it simple. Box frames will be needed for more three dimensional items. Remember that larger images are going to need stronger frames to support them.

Glazing

We would always advise on the use of Museum, UV filtering glass or acrylic to protect your document against fading of inks and pigments or discolouration of papers. If reflections might be a problem, modern anti-reflection glass is advisable.

Conservation

Restoration and conservation of documents are usually possible, depending on the materials and substrates used, and, when expertly done, can produce excellent results.

Framing Digital Prints

It is important to try to keep your print flat before framing: avoid rolling it or having it rolled as this adds complications. The surface of many digital prints is delicate and susceptible to damage, so protect it carefully to avoid irreversible scratching. The first step is to decide how much of the paper/image you wish to see, thinking about any signatures and inscriptions.

Framing

When choosing a frame, think about the style, period and feel of the image as well as what you like and what might suit your interior and/or purpose. Remember that larger images are going to need stronger frames to support them. Digital prints are produced in a variety of ways and many factors can influence their permanence: the type and weight of paper, the type and quality of inks, surface coatings, storage and so on.  

Glazing

We would always advise on the use of UV filtering glass or acrylic to avoid fading inks and yellowing paper. If reflections might be a problem, modern anti-reflection glass can eliminate them. Using acrylic will reduce the overall weight of the frame and avoid damage caused by glass breaking.

Conservation

Not much can be done about damaged digital prints and reprinting is the usual solution, so always make sure you have the file backed up or examine the print carefully when you first acquire it.

Framing Vintage Posters

As with digital prints, it is ideal if posters can remain flat. However, this is often not the case and many posters have been folded, rolled or badly stored and will not lie flat when framed. Having a poster backed is the best way to conserve and flatten the image. This will usually involve pasting it to cotton backed, acid-free, heavy weight paper, often known as linen backing. The poster can also be repaired and restored during this process.

Mounting

Posters are often framed to the edge – i.e. without mounts – and it is best to separate them from the glass in some way, either with a spacer, slip or a window mount.  Customers are advised to conduct their own research into how various mounting methods might affect the value of their poster.

Framing

When choosing a frame think about the style, period and feel of the image, as well as what you like and what might suit your interior and/or purpose. Black, white frames and aluminium frames are popular with posters for good reason.

Glazing

Posters were often produced for short-term advertising purposes. We would advise on the use of UV filtering glass or acrylic to avoid fading inks and yellowing paper. If reflections might be a problem, modern anti-reflection glass can reduce them. Using acrylic will reduce the overall weight of large framing jobs and avoid damage caused by glass breakage.

Framing 3D Objects

We have framed and mounted a great variety of 3D objects, from Christmas light bulbs to bricklayers' trowels, medals, cricket bats, butterflies and bottles. The variety of methods used in framing is as varied as the objects themselves – so don't be afraid to ask, no matter how unusual the item! The latest Gunnar computer mount cutter can cut an infinite variety of shaped mounts, including lettering. Each object presents its own challenges particularly when it comes to mounting. We do our very best to make the mounting reversible but it may be not always possible with some objects requiring strong permanent adhesives, we will always fully consult with the customer before proceeding.

Framing

Most 3D items require deep box frames.  When choosing a frame think about the style, period and feel of the object as well as what you like and what might suit your interior and/or purpose.

Glazing

If you are worried about fading or discolouration of the object, UV filtering glass and acrylic is available. If reflections might be a problem, modern anti-reflection glass can reduce them. Using acrylic glazing will reduce the overall weight of large framing jobs and avoid damage caused by glass breakage.

Framing Photographs

When possible always store your unframed photograph flat and avoid rolling. Conventional photographic prints are rarely flat due to the wet process and emulsion coatings. The framing process, per se, will not flatten out a print but there are ways of improving its appearance.

Mounting

When using window mounts we advise on using museum-quality 100% cotton rag boards which have passed the silver tarnish test and will not affect photographic emulsions. The flatness of your image when framed needs to be considered and we will advise on how to best mount and hinge your photograph on seeing it. Traditional photographs often have waviness and may be best hinged using non-intervening inert Mylar photo corners. Large-format modern photographs may need to be archivally dry-mounted, and this method is often the preferred choice of photographers who like their work to lie completely flat. A variety of substrates are available to best suit the media type.

Framing

When choosing a frame, think about the style, period and feel of the image, as well as what you like and what might suit your interior and/or purpose. Remember that larger images are going to need stronger frames to support them, and this might involve subframes to strengthen narrower profiles. Currently, our white or black sprayed frames and natural wood box frames are very popular for photographs. Minimalist aluminium frames are quite popular as well, and antique frames can be effectively used for both vintage and contemporary photographs.

Glazing

UV filtering glass and acrylic is available and advisable, particularly on colour photographs. If reflections might be a problem (particularly on dark images), modern anti-reflection glass can reduce them considerably.