You have or want a good picture and you want to frame, to “get it right“?
Of course we would like you to buy from frickers.co.uk however here is a guide or at the very least food for thought for everyone interested in framing.
This text will we hope help you care for your new and existing art work to maximize its value and your enjoyment. If you are in doubt, we can supply finished prints and paintings to most destinations usually for very reasonable prices.
Some people like to organize their own framing so here is a guide.
By the way
This page updates the Frickers web site page at http://www.frickers.co.uk/care.html
Frickers prints and painting have increased in value over the past 20 years on average by 250%.
Our carriage costs for framed works are very reasonable however they do vary even with in the British Isles.
Gordon Frickers career as an artist started in 1966 at Maidstone College of Art. His studies included a range of subjects as diverse as life drawing, philosophy, Art History and graphic design
Since 1983 his core activity has been ‘painter’ (specializing in marine art) and Art Photographer… He has a “formidable list of clients” ~ quote from Audrey Hinks of Gallerie Marine, (C.V./résumé page. http://www.frickers.co.uk/about.html)
Invited to exhibit in the European Parliament in May 2011 Frickers has been describes as widely regarded as one of the finest living marine artists.
Choose from our selection of collector’s heritage quality prints fully framed and delivered. You can order easily, safely on line using PayPal
Superior paintings and prints produce a special ambiance making a statement. The best photographs and other forms of interior decoration can enhance, they can’t substitute for fine paintings. To maximize your investment, always frame discreetly but don’t spare the cost.
Your / our new print / painting is our baby too so we would like to provide the following recommendations. Treating your / our print / painting with care will help provide many years of pleasure and protect it your heritage picture as an investment.
Usually a better quality frame is worth the money. Cheap frames cheapen your presentation. Our view is that a frame should not overwhelm the picture, but look unobtrusive and sophisticated. More on how to choose follows further below.
Please note, our top of range prestigious Heritage prints (see Print Gallery) are on a special cotton canvas so look and to feel like the real thing.
These are a development of the renowned Giclee printing process. We recommend they are dry mounted before framing. We use a museum approved system guaranteed not to bubble or blister and it is reversible.
Choosing a picture frame
We recommend you consider the frame is sympathetic to the picture, the owner’s temperament and the room it should be hung in. What does that mean?
Some guidelines include:
1. The latest fashions are for quite clean mouldings with the detail in the colour and texture of the moulding. These suit almost all periods of room from ultra modern to Georgian and older.
2. The frame should help the picture look important so, steer well clear of very narrow or highly original frames.
3. Big ornate frames still have a place particularly in formal settings like offices were other pictures have been framed in that style or where special attention is desired for the picture. Our swept frames are hand made to special order.
4. Avoid frames that are narrow or very dark; they generally look and are miserly.
5. 2.5″ ( 62mm) works well for pictures up to about 20″ x 32″ (508 x 810 mm) then add on about 1 ” (25mm) per foot (300mm).
6. For a modern person and modern home, even a traditional picture (see “Trafalgar Dawn”) will take a relatively clean uncluttered moulding and very pale mounting card. Whereas the same picture in a Victorian or older style of setting would take a much more ornate frame quite comfortably.
7. Unfortunately some picture framers are more interested in the frame than the picture, a natural mistake, watch out for this. It will devalue your picture. They use frames which over power the picture; not good.
1. If there is to be a card mount, it should echo the main theme colours of the picture and often but not always be white, near white or of a significantly softer tone and saturation.
2. The latest fashions are for white or near white card mounts.
3. We now use Artscreen in place of glass. It has many advantages including lighter and almost unbreakable in transit and claims better UV light resistance.
Confused? If we can help don’t hesitate Contact Us T: 0044 (0) 1865 52 2435 .
Few things make a home or offices look more stylish than very good paintings.
The rooms are given uplift for people without their even looking at the paintings.
They convey authority and integrity, an ambience, to the rooms in a way which no other furnishings can, challenging the imagination and senses of all who see them.
Fine paintings will arouse conversations and give pleasure and value every time you see them. If you commission Gordon Frickers you will be in safe, experienced hands.
With quality art consistently out performing the stock market, some people order 2 copies, one to show, the other as an investment to keep in store. You only need one or two art works in your collection to become sought after to pay for all and much, much more, be a winner: enjoy and good luck!
Have you seen the info about print quality on our “Print Galley”
IMPORTANT INFORMATION about the Mounting and framing of any and especially our fine art print(s)
Never frame directly on glass.
Consult an experienced picture framer for advice before framing your print. Ask for conservation quality framing, cheap frames devalue your and your collection.
Do discuss with your framer the various conservation methods of framing which can assist in maintaining the life span of your print. Be sure to have the picture framer explain their methods to you.
Prints should never be permanently secured to the mounting board. Only two methods of attaching the artwork to the mounting board are “museum” acceptable:
1. The use of quality hinges attached to the print borders and mounting board.
2. The use of Mylar or similar print pockets that are attached to the mounting board. The print is then slipped into these pockets. No adhesive of any kind touches the print and the paper is allowed to expand and contract without any adverse effects.
3. A museum quality acid free masking tape along the top edge.
Improper mounting is responsible for much of the damage to art on paper. Deterioration and discoloration are caused by the use of common mat board. Only use acid free 100% museum quality art board to be safe, including for the backboard. The smallest amount of unprocessed inferior mounting board or adhesive will contain acid that “bums” paper and could cause it to turn brown. It may eventually become brittle and even disintegrate when it is removed from the frame.
Store prints, ensure they have been separated by acid-free tissue, without overmounts directly one on top of the other. Never store or leave prints flat on a floor – elevate them so that air can circulate underneath and around them.
Humidity is a major enemy to paper and prints. The chief danger in is mould. Mould grows in excess of 70% relative to humidity. According to museum curators, 50% humidity is ideally suited for keeping fine works of art on paper. Always maintain proper humidity levels wherever prints are being stored or hung. If there are signs of mould consult a reputable picture framer.
Handling our print, always have clean hands and use two hands to lift the paper so there is no risk of creasing and the edges do not get crimped. Never touch or drag anything across the image area, if you leave a thumb- print or scratch the surface, you will leave a permanent mark that cannot be repaired. Never use pressure sensitive tapes on the paper.
Never hang or store prints over or next to a radiator, heater or fire, the combination of heat, soot and smoke can do extensive damage over a short period of time. Make sure you check there is no dampness on any wall where you are hanging our print.
Light fades all works of art, all inks and paints; even ours that are produced from start to finish with the best materials. Once framed, your new print should be hung in an area away from direct sunlight or fluorescent lighting. Over time sunlight or fluorescent light will adversely affect your print. Fading is not reversible. It is irreversible damage. How much light is the optimum? The measurement in terms of lighting is called foot-candles, and according to the Museum of Fine Arts in Boston, the optimum is five foot-candles, which is roughly the equivalent of a 150-watt bulb, approximately four-to-five feet away from the piece that is being lit. Genuine picture glass, ultra violet protective Plexiglas, Conservation Clear or a similar conservation glass will reduce the possibility of light damage but any strong direct light source should be avoided.
Any prints you order from us carry an impressive guarantee, for details
Visit our “Print Gallery”
Gordon Frickers © 26.06.05, updated 03.03.11
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