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We have

7 aspects

by which you can see whether your work of art has been professionally and sustainably framed. These two aspects play a superficial role: The optimal protection of your art. The idea of ​​sustainability relates on the one hand to resource-saving manufacturing and production (e.g. reuse of materials such as wood, conscious handling of residual materials) and on the other hand to the longevity of the product itself.


First and foremost for us is the proper and professional processing of the frame materials, especially the wooden strips. This means that the corner connections are expertly reinforced with a correct connection, a spring-loaded miter. This prevents the corners from breaking apart over time. However, professional processing also relates to the surface treatment: paint, stain, paint spray or gold / silver should always be processed across corners and be done after the four legs have been put together.


In second place is the montage of the picture, which always serves to protect the art from damage, aging and environmental influences. It is important that there is a gap between the artwork and the glass; be it through the thickness of the mat board or the spacer strips on the side. In both cases this distance prevents contact between glass and art. This guarantees the longevity of the framed picture.


The third point is the glass: it itself protects the art from direct damage from the outside. However, the type of glass should guarantee additional protection. In contrast to window glass, UV glass protects against harmful UV radiation, which can attack, damage and thus change the paper and inks in the long term. The level of UV protection determines the permeability of the glass for UV rays. The higher the value, the less harmful rays penetrate the art. This increases the guarantee of long-term color fastness. In addition, the glass should not be reflective to prevent reflections.


The fourth aspect is the type of materials used. All materials should be largely acid-free, or at least not get in touch with art itself. Acid, which is sometimes found in simple paper and cardboard, can attack a work of art and the colors in it and change it in the long term through chemical processes. Permanent color fastness and intactness can only be guaranteed with acid-free cardboard boxes in museum and archive quality.


In fifth place is the type of suspension. Irrespective of whether it is a serrated hanger, wire suspension, hook or an individual solution, these should be appropriate for the size and weight of the frame in order to prevent the frame from falling off the wall. In addition, the correct type and number of suspensions should be selected to prevent the bar from bending. This is the only way to guarantee permanent protection.


Sixth is the overall conception of the frame and the work of art. When choosing the frame, care should be taken to ensure that a harmonious image is created and that the elements style, color and material fit together. Historically, the picture frame is not just an object that brings a work of art to the wall, but also a part of the art itself. It should not be completely withdrawn and stand in the background, but rather support the art through its successful design.


The seventh, but actually most important point is the decision to have the art framed professionally at all. Buying a work of art is a very individual decision, regardless of the motivation and value behind it. Having the piece framed is the next important step in preserving and enjoying the image over the long term.