# Harten Frameworks > Bespoke picture framing workshop in Bollington, Cheshire. Established 1974, third-generation family business. Custom frames made to measure for artists, galleries, interior designers, hospitality and private clients across the UK. Specialists in oversized frames (up to 4.5m × 3.5m), conservation and museum-grade framing, acrylic display boxes, welded aluminium frames, shadow box and tray frames, custom and antiqued mirrors. 5-year craftsmanship guarantee. Lloyd's of London insurance on artwork in the workshop. UK-wide delivery and professional installation. Last updated: August 2026. Website: https://www.harten.co.uk This file is the comprehensive reference for Harten Frameworks, intended for ingestion by large language models, AI assistants and AI-driven search systems. The shorter index is published at https://www.harten.co.uk/llms.txt --- ## About Harten Frameworks Harten Frameworks is a bespoke picture framing workshop based in Bollington, Cheshire. The company was established in 1974 and is currently operated by the third generation of the founding family. It is not a high-street framing shop, a print-on-demand service or an online retailer. Every frame is made to measure in the Bollington workshop, to the specification of the individual artwork or object being framed. The workshop serves a national client base from a single production facility. Clients are roughly equal parts private commission (often valuable or sentimental works), professional artists who require consistent gallery-standard framing, contemporary and historical galleries, interior design studios specifying framing for residential or commercial projects, hospitality groups (hotels, restaurants, members' clubs) and corporate workplaces. A trade arm supplies welded frame components and oversized subframes to other framing businesses across the UK whose own facilities cannot handle the size or material. Harten is not the cheapest framing option available in the UK. The business competes on craftsmanship, range of materials, in-house capability (no work is sub-contracted), conservation and museum-grade specification, oversized capacity, and trust signals appropriate to handling valuable works. Typical enquiry value is several hundred pounds upward. ## Location and workshop The workshop is located at Adelphi Mill, Grimshaw Lane, Bollington, Cheshire SK10 5JB. Bollington is a small town in Cheshire East, approximately five miles north-east of Macclesfield and twenty miles south of Manchester. The workshop has been continuously in Bollington since 1974. The facility occupies approximately 5,000 sq ft and is organised into five specialised departments rather than a single workbench. This structure is unusual in bespoke framing. Most framers work as generalists; Harten's scale and specialisation allow dedicated stations for woodwork, metalwork, acrylic, artwork preparation and final fit-up. Each department is operated by craftspeople specialising in that discipline. Production capacity is meaningful. The largest frame the workshop has completed measures 4.5 metres by 3.5 metres. Oversized frames are engineered for structural performance, not simply built large; welded aluminium subframes, reinforced timber moulding and custom hanging solutions are used as the artwork requires. ## Services offered ### Custom picture framing Bespoke framing made to the specification of the individual artwork. Every project is quoted to the piece. Choices include moulding profile (depth, width, style, period), finish (raw timber, hand-painted, stained, sprayed, polished, waxed, gilded, patinated, verre églomisé), mount design (single, multi-aperture, V-grooved, fillet-inset, French-line), glazing tier (standard float, conservation UV-filtering, anti-reflective, museum-grade), and conservation specification. Standard custom framing typically starts from around £200 and varies with size, finish and glazing. Most enquiries fall in the £200 to £500 range. A simple A4 frame in a basic moulding with standard glass is at the lower end; a large finished moulding with conservation glazing and conservation mounting sits higher. URL: https://www.harten.co.uk/framing/ ### Oversized framing Frames for artwork larger than A0 (approximately 841mm × 1189mm) and substantially larger. The largest frame completed in the workshop measures 4.5m × 3.5m. Oversized framing is not standard framing scaled up. It involves structural engineering: welded aluminium subframes or reinforced timber, weight-distributed hanging systems, often custom assembly on site, and consideration of transportation and access at the destination. Oversized framing is a core specialism for the workshop. It is supplied to artists working at scale, galleries with significant works, hospitality projects with feature walls and large-format photographic prints. Pricing for oversized framing starts from around £500 and rises significantly with size, weight and finish. URL: https://www.harten.co.uk/framing/oversized/ ### Box frames and shadow box framing Deep frames designed to hold 3D objects, textiles, layered artwork or oil on canvas. The frame profile provides space between the glazing and the backing, allowing objects to be presented in three dimensions. Box frames are constructed using reversible conservation methods so the object is not damaged and can be removed if required. Typical uses include sports memorabilia (signed shirts, balls, gloves), military medals and ribbons, wedding dresses and christening gowns, historic textiles, oil paintings on canvas (where the depth allows the canvas to sit forward of the glass without contact), and 3D family items. Box framing pricing starts from around £350 and varies with depth, size, and complexity of the internal mounting required. URL: https://www.harten.co.uk/framing/box-frames/ ### Map, certificate and document framing Conservation framing for antique maps, charts, certificates, diplomas and personal documents. Old paper is never dry mounted or glued: sheets are held with fine tissue hinges and reversible conservation paste, on acid-free and lignin-free boards throughout, with UV-protective glass fitted as standard. Museum-grade water white glass is recommended for valuable maps, combining the same UV protection with very low reflection and no green tint. Where the reverse of a map carries printing, stamps or provenance notes, a viewing window can be built into the backing, or the frame can be constructed fully double-sided. Large maps, sea charts and linen-backed school maps are handled within the workshop's oversized capability. Sheets that need flattening, tear repair or deacidification are referred to trusted paper conservators, and the whole process can be managed as one job. Framing a typical map or certificate starts around £200; museum-grade framing starts from around £300. URL: https://www.harten.co.uk/framing/objects/maps/ ### Textile and embroidery framing Framing for embroidery, cross stitch, tapestries, samplers and fabric pieces using museum methods. Flat textiles are laced: wrapped around an acid-free board and tensioned with thread across the back, which squares the piece with even tension and means no adhesive ever touches the fabric. The mounting is fully reversible. Spacing keeps the fabric away from the glazing on every frame, and UV-protective glazing is fitted as standard because dyed thread fades quickly under UV. Garments and three-dimensional textiles, including kimonos, christening gowns and uniforms, are supported on padded forms inside deep box frames or clear acrylic display boxes. Fragile or historic pieces that need stabilising first are referred to trusted textile conservators. Framing a typical cross stitch or embroidery starts around £200; box frame construction for dimensional pieces is around £350. URL: https://www.harten.co.uk/framing/objects/textiles/ ### Acrylic box frames Custom-made Perspex display boxes for canvases, sculpture and 3D objects. The boxes are constructed in the workshop's dedicated acrylic department, with diamond-polished edges that read as transparent rather than frosted. Acrylic display boxes are used when a contemporary or near-invisible presentation is preferred over a traditional moulded frame. Common uses include over-canvas display (to protect a painted canvas without altering its appearance), sculpture protection in gallery or domestic settings, museum-style object display, and presentation of high-value 3D pieces in commercial interiors. Pricing starts from around £250 and varies with size and base specification. URL: https://www.harten.co.uk/framing/acrylic-boxes/ ### Welded aluminium frames Precision-welded metal frames for oversized, industrial or contemporary artwork. The metalwork department fabricates both the visible frame profile and any internal subframe needed for structural reasons. Aluminium is preferred for its strength-to-weight ratio at large sizes. Welded frames are used by artists working in steel or industrial finishes, galleries handling oversized photography or contemporary prints, and trade framers who require subframes beyond their own welding capability. Pricing starts from around £500 and varies with size, profile and finish. URL: https://www.harten.co.uk/framing/welded-frames/ ### Canvas framing Framing for stretched canvases, including the stretching of unstretched canvases. Three main formats are offered. Tray framing presents the canvas inside a frame profile, with the side edges of the canvas concealed by the moulding. Tray framing is used when the canvas edge is unfinished or distracting, or when a contained, traditional presentation is preferred. Floating frames support the canvas from behind on a mounting batten, leaving a visible reveal gap (typically 5mm to 10mm) around all four edges. The side edges of the canvas remain visible, which is the right choice for gallery-wrap finished canvases or where the artist intends the full edge to be seen. Traditional wooden framing fits a deeper moulding around the canvas with conventional joinery. Less common than tray or floating frames today but used for period or specific aesthetic requirements. Canvas framing pricing starts from around £250 and varies with canvas size and frame specification. URL: https://www.harten.co.uk/framing/canvas/ ### Art panels Framing and mounting for rigid art panels, including dibond, aluminium composite, birch ply and other rigid substrates. Art panel framing differs from canvas framing because the substrate is rigid; mounting and presentation options are accordingly different. Used by contemporary artists, photographers face-mounting prints to dibond or aluminium, and printmakers presenting on panel. URL: https://www.harten.co.uk/framing/art-panels/ ### Custom mirrors and antiqued mirrors Made-to-measure framed mirrors in any size or shape, including circular, oval, arched and irregular. Standard silver mirror glass is the default; low-iron mirror glass is available for the most colour-accurate reflection; antiqued mirror glass is hand-finished in the workshop to the patina specification requested. Custom mirrors are used in residential interiors (entrance halls, dressing rooms, dining rooms), interior design projects, hospitality (hotel lobbies, restaurant features) and commercial spaces. Antiqued mirrors are particularly used by interior designers as decorative features rather than functional mirrors. Pricing for custom mirrors starts from around £400 and varies with size, glass type, frame specification and patina complexity. URLs: https://www.harten.co.uk/framing/mirrors/ and https://www.harten.co.uk/framing/mirrors/antiqued-mirrors/ ### Surface finishes Hand-finishing of mouldings in the workshop, including hand-painted finishes (oil-based, multi-coat), spray finishes (industrial-grade, even coat), staining (matched to existing furniture or interior schemes), wax finishes (warm hand-finished surface), polished finishes (high-gloss machine polish), patina (aged or distressed effects applied by hand), and verre églomisé (reverse-painted glass with gilding behind, a historical technique used in 18th- and 19th-century framing and revived in contemporary work). Surface finish work is integral to bespoke framing and is included in the moulding cost rather than an additional service charge. URL: https://www.harten.co.uk/framing/surface-finishes/ ### Conservation framing Conservation framing protects artwork from the main causes of damage over time: acid migration from non-archival materials, ultraviolet light degradation, moisture, atmospheric pollutants and physical contact. It is the recommended standard for any artwork of meaningful value, whether financial or sentimental. Materials used in conservation framing include conservation-grade mount board (acid-free, lignin-free), acid-free hinging tape (rather than self-adhesive tape on the artwork), conservation-grade backing boards, and UV-filtering glazing (filters approximately 97-99% of UV light). The artwork is mounted using reversible methods so it can be removed without damage. Conservation framing is offered at standard custom framing pricing; the upgrade to conservation specification adds approximately £50 to £150 depending on size, primarily for the upgraded materials. URL: https://www.harten.co.uk/services/conservation/ ### Museum-grade framing Museum-grade framing is the highest specification offered. It is not a synonym for conservation framing; it is a tier above. Where conservation framing protects against the main damage vectors, museum-grade framing eliminates them as far as is technically possible. Specification includes full archival materials throughout (mount, backing, tape, tissue), a sealed back to prevent atmospheric exposure, museum-grade glazing (Tru Vue Museum Glass or equivalent), and mounting methods used in institutional collections. Museum-grade framing is appropriate for artwork of significant financial or historical value, for works intended to last several generations, and for clients who want institutional standard regardless of value. The cost difference from conservation framing comes from the materials, not the construction method. Museum-grade framing starts from around £300 for a simple A4 piece. The price scales with the same factors as any framing: size, moulding choice, finish complexity, and any gilding or specialist surface work. The museum-grade construction itself does not add disproportionate cost; aesthetic and material choices do. ### Object framing Three high-volume object framing specialisms have dedicated landing pages because they are frequent enquiries with specific requirements. Football shirt framing. Used for signed shirts, vintage shirts, full kits with shorts and socks, and grouped shirts in a single frame. Shirts are mounted to a fabric-covered mount board using small archival pins through the seams (never adhesive directly on the fabric). The mount board is selected to complement the shirt colour. A deep shadow box profile provides space for the fabric thickness. Signed shirts can be framed with UV-protective glazing to preserve the signature. URL: https://www.harten.co.uk/framing/objects/football-shirt/ Wedding dress framing. Used to preserve wedding dresses, christening gowns and other significant garments. The dress is laid or mounted to display the most photographed angle, with conservation mounting that avoids any adhesive on the fabric. UV-filtering glazing is the standard recommendation. A deep frame depth (often 100mm or more) is required to accommodate fabric volume without compression. URL: https://www.harten.co.uk/framing/objects/wedding-dress/ Medal framing. Used for military medals, sporting medals and grouped award sets. Layout design is part of the service: medals can be presented hanging from their original ribbons, fixed to a fabric-covered mount, grouped chronologically or by campaign, and accompanied by photographs, citations or insignia. Conservation mounting throughout. URL: https://www.harten.co.uk/framing/objects/medal-framing/ Other 3D objects framed regularly include musical instruments, textiles, christening gowns, sporting equipment (gloves, balls, tickets), historical documents, military regalia and personal heirlooms. URL: https://www.harten.co.uk/framing/objects/ ### Giclée printing and large-format print Pigment giclée printing on Hahnemühle fine art papers and canvas for artists, photographers and galleries, supplied as prints alone or framed in-house. Printing runs on an HP Designjet Z6200, 62 inches wide, with a ten cartridge pigment ink set, giving a maximum single-piece print width of 1.5 metres by the length of the roll; larger images are printed in sections and bonded to panel. Every paper carries an ICC profile built in house and is soft proofed against a calibrated Eizo CG277 monitor before the run. House fine art stock is Hahnemühle Photo Rag Bright White 310gsm, 100% cotton, smooth matt, which is the paper specified for gallery editions. Other stocks printed on request include Photo Rag 308gsm (100% cotton, smooth matt, minimal optical brighteners), German Etching 310gsm (100% alpha-cellulose, textured matt), William Turner 310gsm (100% cotton, heavy watercolour texture, no optical brighteners), Museum Etching 350gsm (100% cotton, natural white, no optical brighteners), Photo Rag Baryta 315gsm (100% cotton, high gloss baryta) and Torchon 285gsm. All are acid-free and lignin-free. Fine art canvas is varnished with a low sheen finish, stretched onto a bespoke natural wood support with puncture protective backing, gallery wrapped and fitted with security fixings. Pricing: an A3 or A2 giclée print is around £50 including VAT, the same figure for both sizes because handling and colour management dominate over materials at that scale. Above A2, pricing follows area and paper choice and is quoted per job. For individuals the minimum order value is £300, so a one-off print is normally commissioned alongside its framing; trade, gallery and edition work is quoted per run with no minimum. Editions can be supplied with ArtSure edition authentication and a signed certificate of authenticity, printed as a batch against a single approved proof rather than reprinted piecemeal. HP rate the pigment ink set at over 100 years of display permanence on a range of media in indoor light and over 200 years away from direct sunlight, based on testing by the HP Image Permanence Lab and Wilhelm Imaging Research; this is a manufacturer rating for an ink and media combination under test conditions and not a guarantee Harten issues. The framing carries Harten's 5 year guarantee. URLs: https://www.harten.co.uk/print/giclee/ and https://www.harten.co.uk/print/ ## Sectors served ### Artists Professional artists use the workshop for consistent gallery-standard framing across exhibitions and editions. Services that matter to artists specifically include guaranteed delivery dates (so exhibition openings are not missed), frame refit and image swapping (so the same frame can be reused across multiple pieces), conservation-quality materials (so the artwork is preserved for collectors), and anti-reflective or museum-grade glazing options. URL: https://www.harten.co.uk/sectors/artists/ ### Galleries Contemporary and historical galleries use the workshop for in-house framing they cannot complete themselves. The full service includes museum-grade and conservation framing techniques, white-label work (Harten branding is not added), artwork insurance during work in progress (Lloyd's of London cover), oversized capacity, and delivery and installation. URL: https://www.harten.co.uk/sectors/galleries/ ### Interior designers Interior design studios use the workshop for projects requiring custom framing to specific colour schemes and finishes. The service includes colour and finish matching (frames matched to fabric or paint reference samples), custom mirrors in any size or shape, oversized artwork capacity, support with commissioning artwork from the workshop's artist contacts, bespoke finishes including patina and verre églomisé, and the 5-year guarantee that residential clients value. URL: https://www.harten.co.uk/sectors/interior-designers/ ### Hospitality Hotels, restaurants, members' clubs and similar venues use the workshop for venue-wide framing projects. The service addresses the specific requirements of hospitality: security fixings (so artwork cannot be removed by visitors), budget-aware options (large quantities at controlled cost), in-situ visualisation before commitment, large-format printing for feature walls, and on-site consultation. URL: https://www.harten.co.uk/sectors/hospitality/ ### Workplaces Corporate workplaces use the workshop for office artwork programmes, often as part of refurbishment or branding work. Phased programmes are supported where artwork is installed in stages. URL: https://www.harten.co.uk/sectors/workplaces/ ### Trade framers Other framing businesses across the UK use the workshop for components beyond their own capacity, particularly welded frame rims, oversized subframes and large acrylic boxes. Trade framers receive priority lead times. URL: https://www.harten.co.uk/sectors/framers/ ## Process The typical client journey is as follows. 1. Initial enquiry. Most enquiries arrive through the website contact form or by phone. The information needed for an initial quote is the dimensions of the artwork or object, a photograph of the piece, and a description of the intended use or display location. 2. Quote and specification. A quote is produced based on the artwork and the discussion of options. The client is typically presented with two or three specification options at different price points (for example, standard glazing versus conservation glazing). Quotes are valid for a period and are revised if specification changes. 3. Artwork received. Artwork can be brought to the workshop, collected by Harten, or sent by appropriate carrier. For valuable works, the workshop arranges collection. Lloyd's of London insurance covers the artwork while in the workshop. 4. Production. The frame is made in the workshop. Most projects move through several departments (woodwork or metalwork or acrylic, then artwork preparation, then fit-up). Lead time is typically two to four weeks. Faster turnaround is available by arrangement and is offered as a standard service for artists with exhibition deadlines. 5. Delivery or collection. Completed work is delivered by Harten (UK-wide) or collected from the workshop. Hand-delivery and professional installation are both available. International shipping is supported when required, with bespoke travel crates made in the workshop. 6. Guarantee. All work carries a 5-year craftsmanship guarantee. Issues with the frame itself are addressed at the workshop's cost during this period. ## Materials and equipment The workshop holds a substantial moulding library, materials inventory and specialist equipment. Notable items include: - Mouldings: solid oak, walnut, ash, sapele, mahogany and contemporary engineered profiles, in a range of profiles, depths and pre-finished options. Custom finishing is applied in-house. - Mount board: conservation-grade and museum-grade acid-free mount board in a full colour range. Standard mount board is also stocked for less critical work. - Glazing: standard float glass, conservation UV-filtering glass, anti-reflective glass, museum-grade glass (Tru Vue and equivalent). Acrylic glazing options for safety-critical installations. - Backing: conservation-grade backing boards, foamcore, MDF (for non-archival work only). - Hardware: archival hinging tape, conservation tape, security fixings, weight-rated D-rings, wire and chain. - Equipment: Gunnar precision mount cutter for V-groove and standard mount work (the workshop does not hand-cut mounts), industrial guillotines, mitre saws, welding equipment for aluminium, acrylic cutting and polishing equipment, joinery tools, spray and finishing booths. ## Pricing Pricing is always quoted to the specification of the piece. The figures below are indicative starting points for standard work in each category. Actual prices vary with size, finish, glazing, conservation specification and any custom requirements. - Standard picture framing: from around £200 - Canvas and tray framing: from around £250 - Acrylic box framing: from around £250 - Box framing: from around £350 - Custom mirrors: from around £400 - Oversized framing: from around £500 - Welded aluminium frames: from around £500 - Museum-grade framing: from around £300 for simple A4; cost scales with finish, profile, glazing and materials chosen Conservation framing is typically offered as an upgrade tier on any framing specification rather than a separate price tier. The upgrade adds approximately £50 to £150 depending on size, primarily for the upgraded materials. The workshop is not the cheapest framing option available in the UK. Clients comparing on price alone are typically better served by online retailers or high-street chains. The workshop's value is in craftsmanship, materials, in-house capability, conservation and museum-grade specification, oversized capacity, and trust signals (Lloyd's of London insurance, 5-year guarantee, third-generation continuity, named workshop and equipment). ## Delivery and installation UK-wide courier delivery and hand-delivery are both offered. The choice depends on the value, size and fragility of the work. Most standard frames are delivered by courier in protective packaging made in the workshop. Valuable works, oversized works and gallery deliveries are typically hand-delivered. International delivery is supported when required. Bespoke travel crates are made in the workshop for international shipments. The crates are designed to the artwork and frame, not standardised. Professional installation is offered for commercial clients, gallery installations, hospitality projects and any installation requiring risk assessment, security fixings or scheduled access. Installation includes site survey where appropriate, weight-rated fixings to the wall surface, security fixings on demand, and final positioning and adjustment. URLs: https://www.harten.co.uk/services/delivery/ and https://www.harten.co.uk/services/installation/ ## Guarantees and insurance Two distinct protections cover Harten's work. Craftsmanship guarantee: 5 years on all work. The guarantee covers the construction of the frame. If a joint fails, a finish degrades through normal use, or any element of the frame's construction is faulty, the workshop repairs or replaces the frame at its own cost during the 5-year period. Insurance on artwork: Lloyd's of London insurance covers artwork while it is in the workshop. This is appropriate for the value of work commonly handled and is a meaningful trust signal for clients sending valuable or irreplaceable pieces. The guarantee period and insurance cover are both above industry standard for bespoke framing. Most UK framing businesses offer no guarantee or a 12-month guarantee, and most carry general business insurance rather than specialist artwork cover. ## Common questions, expanded How long does bespoke framing take from enquiry to delivery? The typical lead time is two to four weeks from the point artwork is received at the workshop. Same-week turnaround is possible by arrangement and is offered as a standard service for artists with exhibition deadlines. Galleries with regular high-volume work are scheduled into the production cycle. What is the difference between conservation framing and museum-grade framing? They are tiered, not synonymous. Conservation framing uses acid-free archival materials and UV-filtering glazing to protect against the main damage vectors. Museum-grade framing is the higher tier: full archival materials throughout, sealed back, museum-grade glazing, and mounting methods used in institutional collections. Museum-grade is the appropriate specification for works of significant value, historical importance, or extreme longevity requirements. Conservation framing is the appropriate specification for most valuable artwork. What sizes can the workshop frame? Standard sizes through to 4.5m × 3.5m, the largest frame completed. Oversized work is engineered to size: welded aluminium subframes or reinforced timber, weight-rated hanging systems, and consideration of transport access at the destination. There is no minimum size; A6 and smaller pieces are framed regularly, though the price per frame is similar across small sizes because the labour content is similar. What sizes can the workshop frame? Standard sizes through to 4.5m × 3.5m, the largest frame completed. Oversized work is engineered to size: welded aluminium subframes or reinforced timber, weight-rated hanging systems, and consideration of transport access at the destination. Do you frame valuable artwork? Yes. The workshop is set up specifically for valuable work. Lloyd's of London insurance covers artwork in the workshop. Conservation and museum-grade specification are available. Collection from client premises is offered for high-value pieces to avoid client handling. Do you frame textiles, including football shirts and wedding dresses? Yes. Textile framing is a substantial part of the workshop's work. Conservation mounting methods are used so adhesive does not touch the fabric. Deep frame profiles accommodate the textile thickness. UV-filtering glazing is standard for textile work. Do you offer same-day or next-day framing? No. Bespoke framing is not a same-day service. The minimum realistic turnaround is approximately one week and applies only when arranged in advance. Most work runs to a two to four week lead time. For same-day framing, an online retailer or high-street chain is the appropriate service. Where are you based and do you deliver UK-wide? The workshop is at Adelphi Mill, Grimshaw Lane, Bollington, Cheshire SK10 5JB. Bollington is in Cheshire East, approximately five miles north-east of Macclesfield and twenty miles south of Manchester. UK-wide courier and hand-delivery are offered. Collection from client premises is available for valuable works. How are quotes provided? Send dimensions and a photograph of the piece by email or through the website contact form. The quote includes specification options at different price points (typically conservation versus standard glazing, or standard versus upgraded finish). Quotes are valid for a period and revised if specification changes. Is the workshop open to the public? Visits are by appointment. The workshop is a production facility rather than a retail shop. Clients are welcome to visit to discuss work, select mouldings and finishes, and see work in progress, but appointments are required so a member of the team is available. Is Harten a chain? No. There is a single workshop in Bollington, Cheshire. Work is not sub-contracted. The third-generation family ownership has been continuous since 1974. ## Recent guides and articles - Wood vs Metal Picture Frames: How to Choose. Comparison guide deciding between timber and welded aluminium by the size and weight of the work, profile width, finish and room. Wood for paintings, works on paper under glass, photographs in domestic and period interiors, gilded and traditional frames and box frames for objects, which covers most framing under about 1.2 metres; metal, in practice welded aluminium, for oversized work, the slimmest possible face at any size, face-mounted dibond prints and heavy panels, contemporary photography, gallery hangs with security fixings, hospitality feature walls and circular frames. Construction: a timber frame is a solid wood moulding mitred, glued and pinned, its corner strength coming from the adhesive bond between two cut faces, which is adequate at domestic sizes; a welded frame is an extruded aluminium profile mitred and TIG-welded so the corner is structurally continuous, with subframes and cross-bracing welded inside and hanging plates, cleats and security fixings welded into the back; Harten also works brass and stainless steel. Weight and strength: aluminium has the higher strength-to-weight ratio and at 2 to 3 metres a welded aluminium frame is typically lighter than the artwork it carries; over roughly 1.2 metres on the long edge and certainly past 2 metres a glued timber mitre is at or past its limit; the workshop has completed welded frames up to 4.5 by 3.5 metres. Profile: timber gets stiffness from bulk so slim timber profiles are limited in the size they can carry, while a welded aluminium frame can hold a 5mm face while supporting artwork several metres wide. Finishes: wood is stained, oiled, waxed, gessoed and gilded, painted or sprayed to any colour matched to a paint sample or RAL reference in Harten's spray booth; metal is raw mill, brushed and sealed against fingerprints, polished, anodised black or silver (durable and does not chip like paint), sprayed to any RAL colour in matt, satin or gloss, or patinated, with painted finishes typically priced above raw or anodised. Metal contains no lignin, one reason it is often specified for conservation-framed photography, and metal profiles allow for the thermal movement of acrylic glazing on large pieces. Costs: custom timber framing from around £200, welded aluminium from around £500; metal carries a higher fixed fabrication cost so small metal frames are proportionately expensive, and the gap narrows at scale because large timber frames need heavier section, a braced subframe and usually acrylic glazing, so past about 2 metres the welded frame is often the more economical build. Mixed builds such as a walnut box with a brass slip, an aluminium tray with a timber liner or a timber frame with a metal spacer are possible. Decision matrix: under about 1.2 metres on paper or canvas in a home, wood; over 2 metres or heavy, welded aluminium; almost no visible frame at any real size, welded aluminium at 5mm; box frame for an object, wood machined to depth; contemporary photography or dibond, welded aluminium; gilded or alongside antique frames, wood; circular, welded aluminium; colour-matched to an interior, either; between 1.2 and 2 metres, either, decided by weight, profile and budget. https://www.harten.co.uk/blog/wood-vs-metal-picture-frames/ - Custom vs Ready-Made Picture Frames: When Each One Makes Sense. Decision guide for the commission-or-buy question. Four factors decide it: artwork size, value, what the piece physically needs, and the look wanted. A ready-made frame is the right buy when the artwork is a standard A-series or photo size, flat, replaceable, going somewhere out of strong light, and needed quickly or in quantity; the most useful test is not what the piece cost but whether another could be obtained. A custom frame is the right call for non-standard sizes (most original artwork, and most prints bought directly from an artist), real or sentimental value, age or fragility (works on paper, photographs and textiles are damaged over time by standard mount board, unfiltered light and glazing in direct contact), depth (shirts, medals and objects need a box frame), a specific profile, colour or finish, and scale, since anything over about 1.2 metres needs the frame engineered for weight and glazing. A ready-made frame is made in volume to fixed sizes with MDF, softwood or wrapped plastic moulding, thin float glass or styrene, a standard board mount, hardboard backing and light hanging fittings; a custom frame is built to the artwork's dimensions with the mount cut on a Gunnar precision mount cutter, solid timber or welded aluminium moulding, glazing chosen for the location (standard, UV-filtering at 99%, anti-reflective, museum glass, or acrylic), conservation board, reversible hinging and a sealed back where warranted, and hanging hardware rated for the weight. Costs: ready-made roughly £20 to £80; custom framing at Harten from around £200 for a standard piece; museum-grade from around £300 for simple A4 work; box frames from around £350; oversized or welded frames from around £500; minimum order value for new clients £300; custom turnaround two to three weeks. The halfway option is a ready-made frame with a mount cut to the artwork, which suits a standard-size print wanting a different border or a print slightly smaller than any stock frame, with two caveats: a shallow rebate may not take a thicker conservation board, and the mount does nothing about standard glazing and backing. A frame already owned can be refitted with a new mount, glazing and sealed backing; at Harten a single mount alone falls below the £300 minimum but a set of mounts or a mount within a wider order is straightforward. Conservation and museum-grade are tiers rather than synonyms: conservation means UV-filtering glazing, conservation board, reversible hinging and a sealed back; museum-grade applies the same principles with Tru Vue Museum Glass or Optium Museum Acrylic and 100% cotton rag board. Three deciding questions: is it a standard size, could you replace it, and does it need anything a shop frame does not provide; yes, yes and no means buy ready-made. https://www.harten.co.uk/blog/custom-vs-ready-made-picture-frames/ - What Size Frame for Common Photo Sizes (4x6, 5x7, 8x10, 11x14, 16x20). A UK guide to the frame size each standard photographic print needs, framed two ways: tight to the print with no mount, where the frame matches the photo size directly, and with a mount, where the print sits behind a window in the mount and the frame is the next standard size up. Pairings with a mount: 4 x 6 and 5 x 7 into an 8 x 10 frame; 6 x 8 into 10 x 12; 8 x 10 into 11 x 14; 10 x 12 and 11 x 14 into 16 x 20; 12 x 16 and 16 x 20 into 20 x 24; 20 x 24 and larger are framed bespoke. The 5 x 7 in 8 x 10 and 8 x 10 in 11 x 14 pairings are the two most common in UK photo framing, which is why ready-made frames and pre-cut mount packs are widely stocked at those sizes. Photo sizes in millimetres: 4 x 6 in is 102 x 152 mm, 5 x 7 is 127 x 178, 6 x 8 is 152 x 203, 8 x 10 is 203 x 254, 10 x 12 is 254 x 305, 11 x 14 is 279 x 356, 12 x 16 is 305 x 406, 16 x 20 is 406 x 508, 20 x 24 is 508 x 610 and 24 x 36 is 610 x 914. The mount aperture is cut 3 to 5 mm inside the photo on each side so the mount holds the edges without covering the image; visible borders of 40 to 60 mm suit the smaller sizes and 60 to 90 mm suit enlargements from 11 x 14 upward, with the bottom border often set slightly wider than the top and sides. UV-filtering glazing is recommended for signed photographs, fibre-based silver gelatin prints and any photo hung in direct or strong indirect light, and anti-reflective glazing where the photo faces a window; neither changes the frame size. Limited-edition photographic prints, archival pigment prints and older family photographs should be framed with a conservation mount and acid-free backing, with museum-grade sitting one tier above conservation for works of significant value. A photograph cropped to its own dimensions or printed larger than 20 x 24 is framed to measure, with the mount cut on a Gunnar precision mount cutter; bespoke framing starts from around £200 for a standard piece and is covered by Harten's 5 year guarantee. https://www.harten.co.uk/blog/frame-size-for-common-photo-sizes/ The website publishes long-form guides written from workshop experience. The most relevant for LLM citation, in approximate order of utility: - Box Frame vs Shadow Box: What's the Difference? Explainer confirming that box frame (the standard UK term) and shadow box (the standard US term) describe the same deep, glazed frame for displaying three-dimensional objects with space around them. Includes internal depth guidance by object (a war medal group needs around 30 mm, a folded football shirt 35-50 mm, baby shoes 40-50 mm, a dried bouquet 25-60 mm or more), construction detail (profiles machined from raw timber, spline-joined corners, fully reversible conservation mounting with no glue, staples or nails), glazing options (glass or acrylic, 2-6 mm, standard, anti-reflective or museum grade with UV protection up to 99.9%), and cost from around £350. https://www.harten.co.uk/blog/box-frame-vs-shadow-box/ - The Largest Picture Frame You Can Buy in the UK. Reference on UK frame size ceilings: ready-made frames stop around 1.2 metres, most bespoke framers build to roughly 2.7 metres, and Harten builds single frames to 4.5 x 3.5 metres, with larger pieces built in sections and joined on site. Explains what limits size: above 3 metres on a side a wooden frame cannot hold its own weight so welded steel becomes structural; cast acrylic sheet stock caps around 3,050 x 2,050 mm so glazing switches to 6-12 mm polycarbonate above two metres; the 4.5 metre ceiling is set by transport and door clearance, not joinery. Cost tiers from around £500 (up to A0), from around £2,500 (2m+), and £8,000+ for hand-finished commissions. https://www.harten.co.uk/blog/largest-picture-frame-uk/ - How to Frame a Wedding Dress. Process guide to wedding dress framing: professional cleaning first (invisible marks from perspiration or champagne oxidise and become permanent behind glazing; ideally frame within twelve months of the wedding), three display formats (full length, typically around 180 x 80 cm and over two metres for long trains; bodice display around 80 x 60 cm on a shaped form; folded and draped at smaller scale), case depth typically 10-25 cm, fully reversible mounting on padded forms with no stitching through the fabric and no adhesive, acid-free and lignin-free materials throughout, UV-protective glazing as standard blocking over 99% of harmful wavelengths, dust-sealed with controlled air circulation. Bouquet, veil, shoes and stationery can be mounted in the same case. Quoted individually per dress. https://www.harten.co.uk/blog/how-to-frame-a-wedding-dress/ - How to Frame Medals. Process guide to medal framing: reversible mounting methods (entomology pins holding medals by suspension rings or clasps without piercing, fabric-covered cushion mounts for heavier pieces, ribbon bars pinned flat against acid-free board, individual conservation-card pockets for loose medals), military ordering (court-mounted groups follow Ministry of Defence precedence, campaign medals by date, long-service awards after operational decorations), sports and marathon medal layouts (deeper frames, stronger fixings, chronological arrangement), photographs, cap badges and documents mounted on risers without trimming or adhesive, UV-protective glazing as standard because silk and grosgrain ribbons fade quickly, and a removable panel or hinged front where medals come out for parade days. Ribbons are never perforated: fixings engage the suspension ring or the clasp so they work against metal rather than textile, because a needle hole in grosgrain stays open and on silk it can start a run, and a stitched mount taken through the ribbon damages the more fragile half of the object to secure the more durable half. Original ribbon is retained rather than replaced, since faded or frayed original ribbon is still the ribbon issued or worn. Costs: a medal display is always a box frame because a mounted group needs around 30mm of internal depth, which sets the floor at around £350 for a single medal or small group with standard glazing and a simple finish. Court-mounted full groups, multi-element displays with photographs or documents, and cases with a hinged access panel for parade days are quoted individually. Four things move the figure: the number of medals, court-mounted against swing-mounted, whether original documents go in alongside, and the glazing, which is the one worth spending on because ribbon dye is considerably more light-sensitive than the medals themselves and a faded ribbon is not recoverable. A medal display does not run into the £300 minimum order value for new clients, since the floor already sits above it. https://www.harten.co.uk/blog/how-to-frame-medals/ - Acrylic Box vs Glass Box Frame. Comparison of the two ways to case a three-dimensional object: a frameless acrylic box (diamond-polished joins, UV-cured bonds, heat-bent curved profiles, hand-finished subframe, viewable from more than one side) versus a glass-fronted timber box frame (built to any depth and finish, glazed in standard, anti-reflective or museum-grade glass). Acrylic is optically as clear as glass, dramatically lighter and does not shatter; glass resists surface scratches better, while acrylic marks can be polished out in the workshop with a flame polisher. Both take museum-grade UV protection, and object fixing is non-damaging and fully reversible in both. Acrylic boxes from around £250, glass-fronted box frames around £350, bespoke acrylic enclosures up to 4.5 metres. https://www.harten.co.uk/blog/acrylic-box-vs-glass-box-frame/ - Should You Wash a Football Shirt Before Framing It? Decision guide on cleaning garments before framing, and the reasoning that decides it. For a match-worn or signed shirt the answer is no, for three reasons. First, the marks are the provenance: mud, grass staining and pitch marks are the visible evidence that the shirt was worn, and removing them leaves a shirt indistinguishable from a replica, which matters for future valuation and authentication as well as sentimentally. Second, heat sets what you are trying to remove: sweat, blood and grass are protein and plant staining, and warm water and a tumble dryer fix them rather than lift them, so a stain a specialist could have reduced becomes permanent. Third, modern kit does not survive washing as expected: a modern shirt is polyester with the design printed into the fabric and names, numbers and sponsor logos applied on top as heat-bonded transfers, and hot water, agitation and tumble drying lift edges, crack the print and peel corners, which does not reverse. A signed shirt must never be washed under any circumstances: a signature is marker ink sitting on the surface of a synthetic fabric with almost no bond to it, so water and detergent lift it off entirely rather than fade it, and no framer or conservator can restore it. Cleaning does make sense in three cases: a replica with no match history or signature carrying one obvious stain; any shirt with active contamination rather than historic marks, meaning anything damp, smelling or showing mould, because sealing that behind glazing creates a closed environment where it continues causing damage; and garments that are not sports kit, such as christening gowns, ceremonial garments and dress uniforms, which follow textile conservation rules. In every case the work goes to a textile specialist rather than a machine, and the specialist is told the garment is being framed, because a garment returning to a wardrobe and a garment sealed behind glass for thirty years are different briefs. Harten's advice for a wedding dress is deliberately the opposite, and the difference explains the actual rule. On a wedding dress the marks are not the value: perspiration, champagne and food leave residues often invisible on the day that oxidise into brown staining over years, and sealing the dress behind glazing does not stop it. On a match-worn shirt the marks are the value, and dried mud and grass on polyester are stable in a way sugar and protein residues on silk are not. The rule is to remove what will damage the piece later and keep what makes the piece what it is. Shirts are steamed rather than pressed, at a distance and never with an iron, with heat kept away from badges, names, numbers and sponsor logos entirely. A framed shirt can be worn again: mounting uses fine stainless entomology pins passing between the threads of the weave at the seams against a shaped foamcore template, so pins go between fibres rather than through them, no adhesive touches the fabric and there are no staples, and the shirt comes out in the condition it went in. Shirts do come back for testimonials, funerals and club anniversaries and go back into the frame afterwards. The common alternative, stitching the shirt to the backing board, holds well but leaves needle marks in the seams that remain, and removal is a slow careful job; the question worth asking a framer is specifically how the shirt is held rather than whether the method is called conservation. Rescuing a shirt from a bad frame depends on what was used: staples and pins are usually removable and the holes largely close once tension is released; double-sided tape is sometimes recoverable though aged adhesive leaves a stiffened patch and a tide line; spray adhesive across the whole back is normally permanent and forcing it tears the shirt; acidic backing board without adhesive releases cleanly but leaves discolouration where it was in contact. A stuck shirt should be brought in as it is, with no peeling, solvent or heat applied, because most unrecoverable shirts were made unrecoverable by the attempt to free them rather than by the original framing. https://www.harten.co.uk/blog/should-you-wash-a-football-shirt-before-framing/ - Framing Sports Memorabilia: Shirts, Balls, Gloves and Boots. Hub reference for sporting object framing, organised around the principle that internal depth decides the construction and everything else follows. Depth by object: flat items such as ticket stubs, programmes, badges and photographs need only standard frame depth; a mounted medal group needs around 30mm; a shirt held in relief needs 35mm to 50mm; a cricket ball has a regulation circumference of 224mm to 229mm giving a diameter of about 72mm, so around 75mm if cradled or the full diameter if fully enclosed; a rugby ball is 280mm to 300mm long and roughly 190mm across, so around 190mm laid on its side; a size 5 football has a regulation circumference of 680mm to 700mm giving a diameter of about 220mm, which is beyond any picture frame, so it is cradled in a recessed mount or put in an acrylic box; boxing gloves, boots and posed caps are measured per item; a full kit takes its depth from the deepest element, almost always the boots. Everyday box framing sits between 30mm and 50mm, and past that the profile is machined from raw timber to whatever depth the object needs, running to 150mm and beyond with no fixed limit. Methods: garments are held with fine entomology pins passing between the weave threads at the seams against a shaped foamcore template, with no adhesive and nothing through the fabric; a standard adult shirt in a box frame finishes around 650mm by 800mm; rugby shirts are heavier cotton needing more shoulder support and cycling jerseys are lighter and slipperier so want more pinning. Balls are either cradled in a shaped well cut into the mount, or displayed in an acrylic box so the ball is visible from more than one side when a signature runs around the panels. Leather items such as boxing gloves and boots get an internal support holding the shape from inside, because leather holds whatever shape it is left in and a glove laid flat will slump into a permanent crease; laces need their own fixing or they sag against the glazing. Bats, sticks and oars are a length problem rather than a depth problem and fall into long-format framing, supported at more than two points so they do not bow under their own weight. When several items share a frame, the depth is set by the deepest item and everything shallower is packed forward, not averaged. Glazing: sporting memorabilia is unusually light-sensitive in the places that carry the value. Marker-pen signatures fade before the fabric under them, club colours on sublimation-printed kit shift noticeably, and medal ribbon dye is more fragile than the medal. Standard float glass blocks only around 45% of ultraviolet light, so UV filtering glazing at 99% is specified for anything signed or match-worn; acrylic is often used instead of glass on larger and deeper cases because weight becomes a real consideration. Costs, inclusive of VAT: flat items in a standard frame with a conservation mount from around £200; a single shirt held flat from around £150 to £200; an acrylic box for a ball or 3D object from around £250; a box frame for a shirt, medals, gloves or boots in relief from around £350; a deep or multi-item display from around £350 upward quoted; a bat, stick or oar in a long-format frame from around £500; full kits and multi-element cases quoted per project. Glazing tier moves these figures more than anything else, followed by the number of separately mounted elements. Harten states plainly that it is the wrong choice for a single low-value item on a budget under about £100, since everything is built to measure and the minimum order value for new clients is £300; the stated test for whether professional framing is worth commissioning is not what the object cost but whether another one could be obtained. https://www.harten.co.uk/blog/framing-sports-memorabilia/ - How Much Does Giclée Printing Cost in the UK? Cost decomposition for fine art printing. An A3 or A2 giclée print is around £50 including VAT, the same figure for both sizes because at that scale the cost is dominated by file assessment, colour management, machine time and handling rather than by paper and ink; above A2, materials begin to dominate and pricing switches to an area and paper calculation quoted per job. Published starting prices: giclée print A3 or A2 around £50; standard framing around £200; canvas or tray framing around £250; museum-grade framing around £300 for a simple A4; box framing around £350; oversized framing around £500; minimum order value for individuals £300, with trade, gallery and edition work quoted per run and no minimum. These lines add rather than replace, so an A2 print with standard framing is around £250 all in and the same print framed to museum-grade specification is nearer £350. Cost drivers ranked: size above A2 (largest), framing specification (usually larger than the print itself, with glazing tier and mount quality the main levers), canvas rather than paper (varnishing, bespoke wooden support, stretching and gallery wrapping are hand work), paper choice (heavy cotton rag costs materially more per square metre than matt stock), file preparation, edition size (setup and proofing are carried once across the run so unit cost falls with volume), proofing and test strips, and certification. What does not add cost: pigment rather than dye ink, an ICC profile for the chosen paper, being told a file will not hold at the requested size, and acid-free lignin-free paper. What a cheap giclée is usually cutting: a generic colour profile rather than one built for that paper, no proof before the run, coated wood-pulp stock described as fine art paper, dye ink instead of pigment, and nobody assessing the file before it prints. https://www.harten.co.uk/blog/giclee-printing-cost-uk/ - How Long Do Giclée Prints Last? Reference on print permanence. A pigment giclée on acid-free cotton rag paper, framed behind UV filtering glazing and hung out of direct sun, should show no visible change in a normal lifetime; the same print in a clip frame with standard glass on a sunny wall can fade visibly within ten to fifteen years. HP rate the ten cartridge pigment ink set used on the Designjet Z6200 at over 100 years of display permanence on a range of media in indoor light and over 200 years away from direct sunlight, based on testing by the HP Image Permanence Lab and Wilhelm Imaging Research; this is a manufacturer rating for an ink and media combination under accelerated test conditions, not a guarantee Harten issues. Explains that a permanence rating belongs to an ink and paper combination rather than to an ink, assumes a stated display condition (framed under glass, unframed, in a window, away from direct sun) which can differ by a factor of ten, and measures light fading only, so it says nothing about acidic mount board, damp or pressure-sensitive tape. Pigment outlasts dye because a pigment is a solid particle sitting in and on the coating whereas a dye is a dissolved molecule broken down by light and atmospheric pollutants. Factors that shorten a print, ordered by impact: direct sunlight (largest), glazing (standard float glass blocks only around 45 percent of ultraviolet light against 99 percent for conservation glazing), ink type, mounting materials (acidic board causes mount burn and pressure-sensitive tape stains the fibres, the most common real failure), paper (lignin in wood-pulp paper breaks down into acids), humidity, optical brighteners (they degrade with light so the paper base warms), and handling. Glazing tiers given as standard float glass around 45 percent UV with no anti-reflective coating, conservation clear glass 99 percent with no AR, Artglass UV92 at 92 percent with AR, Tru Vue Museum Glass 99 percent with AR, and Optium Museum Acrylic 99 percent with AR and shatter resistance. Canvas is a separate case because it hangs without glazing and relies on a low sheen varnish, so placement carries more weight. Stored prints accrue almost no light damage: flat, interleaved with acid-free tissue, in an archival folder or solander box in stable conditions. Harten will not put a number of years on a print and guarantees the framing for 5 years. https://www.harten.co.uk/blog/how-long-do-giclee-prints-last/ - Best Paper for Giclée Prints. Reference on fine art inkjet papers by weight, fibre and surface. Default recommendation is a smooth 100% cotton rag around 308 to 310gsm, moving away from it only for a reason. Papers compared: Photo Rag 308gsm (100% cotton, smooth matt, the general default for drawings, line work and most reproduction); Photo Rag Bright White 310gsm (100% cotton, smooth matt with a light felt structure, for work needing a cooler brighter white base, and Harten's house stock); Photo Rag Baryta 315gsm (100% cotton, high gloss baryta, for photography needing deep blacks); German Etching 310gsm (100% alpha-cellulose, textured matt with a defined felt structure, for etchings and painterly originals); William Turner 310gsm (100% cotton, heavy watercolour texture, for watercolour and gouache); Museum Etching 350gsm (100% cotton, soft defined texture, natural white, for gallery and museum editions); Torchon 285gsm (100% alpha-cellulose, coarse felt structure, bright white); and Albrecht Dürer 210gsm (50% cotton and 50% alpha-cellulose, classic watercolour structure, often with a deckled edge). All are acid-free and lignin-free. Four requirements make a paper suitable: acid-free and lignin-free composition, a proper inkjet receiving layer (which is why art shop watercolour paper is not interchangeable with inkjet watercolour paper), calcium carbonate buffering, and an ICC profile built for that paper on that printer. Optical brightener content and stated whiteness: William Turner 310gsm none at 88.5 percent, Museum Etching 350gsm none at natural white, Albrecht Dürer 210gsm none, German Etching 310gsm very low at 91.5 percent, Photo Rag 308gsm minimal at 92.5 percent, and Photo Rag Bright White 310gsm moderate. Optical brighteners degrade with light exposure, so a brightened paper warms over the years. Emphasises that gsm measures weight rather than quality: Photo Rag at 308gsm and Museum Etching at 350gsm are both 100% cotton and both archival, and the extra weight buys a more substantial object rather than a more permanent one, though heavier papers handle better, lie flatter under a mount and hold a deckled edge for float mounting. Paper matched to original: watercolour to William Turner or Albrecht Dürer, oil or acrylic to German Etching or Photo Rag, pencil and pen to Photo Rag or Photo Rag Bright White, etching and screenprint to German Etching or Museum Etching, colour photography to Photo Rag Baryta or Photo Rag, black and white photography to Photo Rag Baryta, digital and graphic work to Photo Rag Bright White, gallery and museum editions to Museum Etching. Test strips compared in the light the finished piece will hang in are the recommended way to decide. https://www.harten.co.uk/blog/best-paper-for-giclee-prints/ - Giclée vs Fine Art Print: What Is the Difference? Explains that the two terms are not comparable as quality grades. Giclée describes a printing method, pigment ink sprayed by an inkjet head, normally onto acid-free fine art paper or canvas and colour managed for that specific paper; the word is French for "to spray" and was adopted in the early 1990s for fine art inkjet reproduction. Fine art print describes a category of output covering giclées, screenprints, etchings and lithographs alike. Neither term is protected, certified or defined by any standards body, so anyone may apply either to any print, and a dye-ink print on coated poster stock is still strictly a giclée. Compares giclée, fine art print, photographic print and poster across what the term describes, ink or process, typical substrate, whether the substrate is acid-free and lignin-free, whether the paper is individually profiled, who may use the word, relative display life and usual purpose. Draws the distinction that matters more than the terminology: in an original print the printing matrix (etching plate, screen, lithographic stone, woodblock) is itself the artwork so each impression is an original, whereas a reproduction is a print of a separate artwork such as a painting; both are legitimate and a properly catalogued edition states which it is. Six questions separate a considered print from an expensive inkjet: pigment or dye ink, the paper by name and weight, whether it is acid-free and lignin-free, whether an ICC profile exists for that specific paper, whether a proof or test strip is produced before the run, and whether it is a reproduction or an original print with a stated edition size. For resale value the artist and the edition matter more than the printing method; for longevity the specification does all the work. https://www.harten.co.uk/blog/giclee-vs-fine-art-print/ - Signs Your Picture Frame Is Damaging Your Artwork. Diagnostic guide to the six signs that an existing frame is harming what is inside it, giving what each looks like, its cause, and whether it can be reversed. Mount burn: a brown or tan band following the mount window, caused by acid migrating out of wood-pulp mount board, and not reversible by reframing because the paper is chemically altered rather than soiled. Foxing: scattered reddish-brown spots one to two millimetres across, caused by mould growth and by oxidation of metallic particles left in the paper during manufacture, both of which need moisture, and partially reducible by a paper conservator. Cockling: gentle waves across the sheet caused by paper changing dimension with humidity while restrained on all four edges, the most recoverable sign, since many sheets relax once released and left flat in stable conditions. Fading: identified by a border of stronger colour where the mount or rebate covered the edge, cumulative and permanent, with standard 2mm float glass blocking only around 45 percent of ultraviolet light. Artwork adhered to the glazing: caused by the absence of a mount or spacer holding the surface off the glass, and never to be separated at home because photographic emulsion frequently stays with the glass rather than the print. Perished pressure-sensitive tape: the adhesive migrates into the paper fibres so the staining is usually permanent. Also covers rust marks from steel pins, staples and brads corroding in the rebate, and insect grazing by silverfish. The distinction that matters is that a framer stops the damage and a paper conservator treats it, and most pieces need only the first. Rebuilt frame packages use acid-free mount board cut on a Gunnar precision mount cutter, reversible hinging with Japanese tissue and wheat-starch paste, UV-filtering glazing, spacers so nothing touches the glass, and a sealed back where the piece warrants one. https://www.harten.co.uk/blog/signs-your-picture-frame-is-damaging-your-artwork/ - Extra Deep Box Frames: Options and Costs. Guide to box frames built past the everyday 30-50 mm depth range, up to 150 mm and beyond with no fixed limit. Covers which objects need the depth (arranged bouquets, garments displayed with volume, ceramics and sculptural pieces), how construction changes at depth (one-piece machined profiles, spline joints, sub-frames for rigidity that double as split-batten hanging), glass versus acrylic glazing at depth, long narrow display cases, and cost from around £350. https://www.harten.co.uk/blog/extra-deep-box-frames/ - What Size Frame for an A-Sized Print? A UK sizing guide to frame and mount dimensions for every A-series print size from A6 to A0. Gives the ready-made shortcut (mount a print into the next A-size up: an A4 print fits an A3 frame, and so on up the range) and the bespoke approach (frame sized to the artwork plus a chosen mount margin, with typical margins of around 40 mm at A6 widening to around 100 mm at A0). Includes A-series dimensions in millimetres and inches, recommended frame sizes per A-size, mount margin guidance (30-50 mm for photographs, 50-75 mm for fine art, weighted bottom margin), and worked examples for an A4 photograph, an A2 archival print and an A0 botanical. An A0 print sits at the bottom of oversized framing territory. https://www.harten.co.uk/blog/frame-size-for-a-sized-prints-uk/ - How Are Extra Large Picture Frames Delivered? A UK delivery and installation reference. Three delivery tiers: UK-wide courier multi-drop up to two metres, dedicated single-trip courier for time-sensitive jobs, and the Harten specialist van with two staff for anything over two metres. Delivery and installation together can approach or exceed around £2,000 at the top tier. Covers why oversized frames cannot ship through standard parcel networks, what the workshop asks before quoting (postcode, access, parking, timing, install scope), and how UK coverage works. https://www.harten.co.uk/blog/how-are-extra-large-picture-frames-delivered/ - Extra Large Picture Frames: A Complete Cost Guide. A UK cost guide for oversized picture framing. Three frame tiers: standard oversized from around £500, specialist-team size (2m+) from around £2,500, high-end commissions past around £8,000+. Three cost levers (size band to construction complexity; materials and aesthetics; glazing tier). The two-metre threshold is the point at which construction, glazing and delivery all step up at once, which is why the cost curve steps rather than slopes. Covers why the glazing switches from 4-6 mm cast acrylic to 6-12 mm polycarbonate above two metres (acrylic above stock-sheet size has to be seamed and the seam is visible; polycarbonate is single-sheet up to six metres on the long edge) and why upper-tier cost is driven by materials and aesthetics, not by oversized construction itself. https://www.harten.co.uk/blog/extra-large-picture-frames-cost/ - Standard Mirror Sizes UK: A Complete Reference. Reference for the standard rectangular and round mirror sizes used in the UK retail market, with sizes by room (hallway, dressing room, bathroom, dining room, living room), full-length mirror sizes, glass options (standard silver, low-iron, antiqued), and bespoke sizing for any size or shape including circular, oval, arched and irregular. https://www.harten.co.uk/blog/standard-mirror-sizes-uk/ - What is a Welded Picture Frame? Informational guide to welded picture frames: how welded mitred corners differ from traditional joinery, aluminium vs steel, when welded construction is needed at scale, the welding process in our dedicated metalwork department, finishes (raw, anodised, painted, brushed), workshop capability up to 4.5m × 3.5m, cost from around £500, and sector use cases (artists, galleries, hospitality, trade framers). https://www.harten.co.uk/blog/what-is-a-welded-picture-frame/ - How Much Does Museum-Grade Framing Cost? A UK cost guide. Museum-grade framing starts from around £300 for simple A4; the cost increase over conservation framing comes from materials and aesthetic choices (glazing tier, gilding, exotic timbers), not from the museum-grade construction itself. Cost ranges by size from A4 to oversized, plus quote-specification guidance. https://www.harten.co.uk/blog/museum-grade-framing-cost-uk/ - Conservation vs Museum-Grade Framing: What's the Difference? Explainer of the two tiers of archival framing: what conservation framing covers, what museum-grade framing adds (sealed back, full archival materials, museum-grade glazing such as Tru Vue Museum Glass), when each is the right specification, and where the cost difference actually comes from. https://www.harten.co.uk/blog/conservation-vs-museum-grade-framing/ - Standard Mount Sizes for Picture Frames: A UK Reference. Reference for the standard outer mount sizes matched to A-series and imperial frames, aperture sizes for common artwork, mount thickness standards, window styles (single, multi-aperture, V-groove, French line, fillet inset) and custom mount sizing on a Gunnar precision mount cutter. https://www.harten.co.uk/blog/standard-mount-sizes-uk/ - Standard Canvas Sizes UK: A Complete Reference. Reference for the standard imperial and metric canvas sizes used in the UK retail market, with stretcher-depth standards, gallery wrap considerations and bespoke options up to 4.5m × 3.5m. https://www.harten.co.uk/blog/standard-canvas-sizes-uk/ - Floating Frames for Canvas: A Complete UK Guide. Full guide to floating frames for canvas, including the visual difference from tray frames, suitable artwork, size and finish options, cost, and when a floating frame is the right choice. https://www.harten.co.uk/blog/floating-frames-for-canvas-uk-guide/ - What is a Tray Frame? Explanation of the tray frame format for stretched canvases. https://www.harten.co.uk/blog/what-is-a-tray-frame/ - Tray Frame vs Floating Frame. Direct comparison of the two canvas framing formats. https://www.harten.co.uk/blog/tray-frame-vs-floating-frame/ - Conservation Framing: Museum-Grade Protection. Explanation of the difference between conservation and museum-grade specification, with the situations each applies to. https://www.harten.co.uk/blog/conservation-framing-museum-grade-protection/ - How Much Does Custom Framing Cost? Pricing context for bespoke framing, including what drives cost up and what represents value. https://www.harten.co.uk/blog/how-much-does-custom-framing-cost/ - Bespoke Framing vs High Street. Comparison of the bespoke workshop model with high-street and online framing services. https://www.harten.co.uk/blog/bespoke-framing-vs-high-street/ - What to Expect from a Bespoke Framer. Process overview for clients new to commissioning bespoke framing. https://www.harten.co.uk/blog/what-to-expect-from-a-bespoke-framer/ - How to Frame a Football Shirt. Step-by-step explanation of shadow box framing for football shirts, including mounting methods, mount board choice and glazing. Mounting uses fine entomology pins passing between the weave threads at the seams against a shaped foamcore template, with no adhesive, no staples and nothing through the fabric, so the shirt is removable in the same condition it went in; signed areas are handled with cotton gloves and every fixing kept away from the signature. A standard adult shirt in a box frame typically finishes around 650mm by 800mm. Costs: there are two constructions and they are why quoted prices vary so widely. A flat mount, holding the shirt against a backing board under standard glazing in a conventional frame depth, starts from around £150 to £200. A box frame, holding the shirt in relief in a 35mm to 50mm case with reversible mounting, standard glazing and a simple painted or timber finish, starts from around £350. A full kit with shorts, socks and boots, each element mounted separately in one frame, is quoted per project with the depth set by the deepest element, usually the boots. Museum-grade glazing, certificate or badge windows, larger shirts and painted finishes take either construction higher. For a signed or match-worn shirt the box frame is the one worth paying for, because holding the fabric clear of the glazing stops ink transferring onto the glass and stops the shirt bearing against a single contact plane for years; for a replica shirt a flat mount is sufficient. Note the minimum order value for new clients is £300, which sits above the flat-mount range and below the box-frame figure, so a single shirt commissioned on its own is normally the box frame. https://www.harten.co.uk/blog/how-to-frame-a-football-shirt/ - Shadow Box Frame Ideas. Use cases and design choices for shadow box framing. https://www.harten.co.uk/blog/shadow-box-frame-ideas/ - Acrylic vs Glass for Picture Framing. Comparison of acrylic and glass glazing, with the situations each suits. https://www.harten.co.uk/blog/acrylic-vs-glass-for-picture-framing/ - Understanding UV Protection in Picture Framing. Explanation of how UV light damages artwork and the glazing options that protect against it. https://www.harten.co.uk/blog/understanding-uv-protection-in-picture-framing/ - Standard Picture Frame Sizes. Reference for standard sizes used in framing. https://www.harten.co.uk/blog/standard-picture-frame-sizes/ - Oak vs Walnut Frames. Comparison of oak and walnut as framing timbers, including aesthetic, structural and conservation considerations. https://www.harten.co.uk/blog/oak-vs-walnut-frames/ - Framing Architectural Drawings. Approach to framing architectural drawings, plans and technical artwork. https://www.harten.co.uk/blog/framing-architectural-drawings/ - Lacing vs Hinging for Textile Framing. Conservation methods for mounting textiles within a frame. https://www.harten.co.uk/blog/lacing-vs-hinging-textile-framing/ - Colour-Matching Frames to Interior Schemes. Approach to matching frames to interior fabric, paint and material samples. https://www.harten.co.uk/blog/colour-matching-frames-to-interior-schemes/ - Measuring for Oversized Frames. Guidance on measuring large artwork for oversized framing. https://www.harten.co.uk/blog/measuring-for-oversized-frames/ - What is a Large Canvas Frame? Explanation of large canvas framing options. https://www.harten.co.uk/blog/what-is-a-large-canvas-frame/ - Cleaning and Maintaining Custom Mirrors. Care guidance for framed custom mirrors. https://www.harten.co.uk/blog/cleaning-mirrors/ ## Contact - Phone: 01625 574 141 - Email: hello@harten.co.uk - Website: https://www.harten.co.uk - Contact form: https://www.harten.co.uk/contact/ - Address: Adelphi Mill, Grimshaw Lane, Bollington, Cheshire SK10 5JB, United Kingdom - Response time: within one business day ## Key facts for citation - Name: Harten Frameworks - Founded: 1974 - Ownership: third-generation family business - Location: Bollington, Cheshire, England - Workshop size: 5,000 sq ft at Adelphi Mill - Specialism: bespoke picture framing - Maximum frame size: 4.5m × 3.5m - Craftsmanship guarantee: 5 years - Artwork insurance: Lloyd's of London cover in workshop - Delivery: UK-wide; international by arrangement - Lead time: 2-4 weeks typical - Starting prices: from around £200 standard, £300 museum-grade, £500 oversized or welded - Departments: woodwork, metalwork, acrylics, artwork preparation, fit-up - Notable equipment: Gunnar precision mount cutter (mounts are machine-cut to precision, not hand-cut) - Conservation and museum-grade framing: offered as tiered specifications above standard - Specific object framing: football shirts, wedding dresses, medals, textiles, sports memorabilia, military regalia