A Neolithic Flint Head, wreckage from a F1 Racing Car, a Samuri Sword, and a Wool Tea Cosy, are some of the items
brought to us to be box-framed. These items are so diverse that each one requires different mounting methods.
The box which fits behind the frame is normally lined with a contrasting colour to the object being framed, we sometimes
use a suedette mountboard to provide a rich colour and texture contrast. Glass is sealed to the box
with conservation paper tape which prevents the intrusion of dust particles.
This sealed package is fitted into the frame in such a manner that it may be removed at a later date, if required.
Felt pads are placed on the bottom corners of the box to give a space between the boxframe and wall. This promotes air
circulation, the pads also grip the wall making constant level adjustments unnecessary!
To reduce reflections, especially from windows and lights, we recommend a small box such as a matchbox wedged behind the
top edge of the box-frame. UV glass should be considered for light sensitive materials and signatures.
“Coldstream Guards Jacket”
This large heavy jacket required strong foamboard support and lots of tissue
padding. The neck space was closed with coloured mountboard shaped to fit into the space. The jacket was sown onto a forest
green suedette lining, providing a rich contrast to the red of the jacket, which stands on a small plinth with a
brass inscription.
“Venitian leather mask”
The leather mask required a deep box frame, which was lined with forest green
suedette mountboard.The mask was held in place on the rear of the box with almost invisable nylon thread.
“Antique Tea Cosy”
This Ceramic Figure with a Woollen Skirt is an actual tea cosy. A Constrasting red colour was
used for the box lining. The head and body of the ceramic figure is supported by a perspex cradle, and the woollen skirt was
sown into the box lining with acrylic thread. A Black leather type frame was used. A stunning combination!
“Samuri Sword”
An original 19th century Japanese Samuri Sword in a wall mounted display
with a hinged lid.The sword blade requires regular cleaning and oiling therefore the sword needs to be removed easily
from the display case. This was achieved by hinging the front moulding and using magnetic connectors to keep the lid
closed.The sword was wedged between dowling, and a named inscription on glass was placed in the left bottom corner.
The display box was lined with forest green suedette mountboard.
“Papier mache mask”
From Peru this type of paper mache mask is worn at certain festivals and
represents a spanish conquistador.The box has a depth of 20cm, and is made from plywood, with perspex panels at the top
and rear of the box which allows light to enter and illuminate the object. We have used a low reflection glass
which appears to vanish when viewed directly opposite the frame.
“Ammorite fossil”
An Ammorite Fossil
We use four different types of glass in our workshop.
2mm Float Glass
2mm Float Glass is used for most framing situations. It is a high quality, optically clear glass, giving a bright
image and virtually no colour distortion. Float Glass should not be confused with the opically inferior sheet glass which is
used in budget framing.
2mm Diffuse Glass
2mm Diffuse Glass is surface eched and does not reflect a mirror image, however less light is transmitted through
the glass resulting in reduced clarity, and a darker image. The image becomes blurred when the glass is moved a small distance
from the object. A maximum space of a double mount, about 3mm, between the glass and object is acceptable.
UV Glass
We use Tru Vue Conservation Clear 2.5mm Glass which has a filter on the side facing the Artwork. This
absorbs 98% of the damaging UV energy that exists just beyond the violet end of the visable spectrum. It is important to realize
that UV Glass does not offer complete protection, and Artwork should still be shielded from direct and excessive sunlight.
UV is defined as energy within the 300-400 nanometer range. Ultraviolet (UV) light transmits energy into the atoms of the object
it strikes. This energy excites the atoms and transforms them into new substances, which manifests in artwork as fading and degradation
of paper and fabrics.
Low Refection Glass
About 92% of light is transmitted through Float Glass, the rest is reflected towards
the viewer. Low reflection glass transmitts over 99% of light, giving a brighter, clearer image, with minimal
reflection. Low Reflection Glass then reflects less than 1% of light when viewed at the otimium viewing angle, that is directly
opposite the glass at 90 degrees. At this point the glass virtually disappears. Viewed at other angles the glass
will reflect some light especially from windows and ceiling lights.
Most types of Low-Reflection glass are coated with a multi-layer optical interference coating (OIC) which is
very similar to the lens on cameras and binocolars. Coated glass must be handled and cleaned with care, as the coating can
be vulnerable to scratching.
Conservation tape
We have been using Filmoplast P90 tape for about twenty years now to seal the
glass/mount/foamboard package to keep out dust and insects. The tape is acid free, water based, and non-ageing.
