Framing, answered

Framing is priced by size, moulding, mat and glazing rather than from a fixed menu. A small photograph in a slim metal frame is inexpensive; a large canvas in a deep hardwood moulding with museum glass is considerably more. Bring the piece in, or send dimensions and a photograph, and you will get a real figure rather than a range.

For most straightforward work, yes. The saw, the mat cutter and the glass are all on site, so there is no waiting on an outside workshop. Oversized pieces, unusual mounting, or a moulding we need to order will take longer — and we will say so when you drop the piece off, not afterwards.

No. The workshop is open Monday to Friday and walk-ins are welcome. If you are bringing something large, awkward or valuable, a quick call ahead means we can be ready for it.

Archival mat board is acid-free cotton rag. Regular board contains lignin, which yellows over time and can stain and embrittle whatever it touches. For anything with monetary or sentimental value, archival is the sensible choice. For a poster you will replace in a few years, regular board is fine.

If the piece will hang anywhere near daylight, yes. UV glazing blocks the wavelengths that fade pigment, ink and dye. It matters most for works on paper, photographs and anything signed in marker — signatures fade faster than most people expect, and once gone they cannot be restored.

Non-glare glass has an etched surface that scatters reflections, but it slightly softens the image and works best in direct contact with the art. Museum glass uses an optical coating: it cuts reflection dramatically while staying clear, and includes UV filtering. It costs more and is worth it on pieces you look at closely.

Yes. For oversized work we usually recommend acrylic glazing rather than glass — it is a fraction of the weight and will not shatter, which matters both for hanging and for moving the piece. We will also fit hanging hardware rated for the finished weight.

On archival backing board, stitched and supported rather than glued, inside a shadow box deep enough that the glazing never touches the fabric. The mounting is reversible, so the jersey can be taken out later without a trace. Most people have them folded to show the number and nameplate together.

Yes. Rolled or loose canvas is fitted to solid stretcher bars, corner-keyed and tensioned by hand so the surface sits flat and square. From there it can hang as-is or go into a float frame that leaves the edge of the canvas visible.

Dry mounting uses heat and adhesive to bond a print permanently to a backing board, which gives a perfectly flat result. Because it is permanent and irreversible, it is right for posters and photographic prints but wrong for anything with value — original art, limited editions and signed pieces should be hinged instead.

Yes. Mirrors are cut to your dimensions with a polished or beveled edge and framed in whatever moulding suits the room. We also recut and reframe existing mirrors, which is often worthwhile if the piece has the right character but the wrong measurements.

Often. Bring in the existing frame, or a clear photograph with a measurement of the moulding width, and we will find the closest profile we stock. If an exact match is not available we will suggest something deliberately complementary rather than almost-but-not-quite.

Yes. Offices, hotels, restaurants and medical practices are regular work. We keep the specification consistent across a run so the pieces read as a set, and can schedule delivery to fit a fit-out timetable.

Flat and covered, with corners protected. Rolled canvas should stay rolled painted-side out, loosely, in a tube. If a piece is fragile, oversized or you are unsure how to move it safely, call first and we will talk through it.

Please call the workshop to confirm current payment options before visiting with a large commission.