Conservation Framing - Preserving Investments
Providing conservation framing using methods, materials and techniques to ensure protection into the future. Our museum grade conservation picture frames are helping to display and protect artwork in museums and galleries across the globe.
Description
Conservation is Woven into Everything at Harten.
Why Conservation Framing Matters
Standard framing materials contain acids and lignin that migrate into artwork over time. Within five to ten years, unprotected works on paper develop foxing, tide lines, and irreversible yellowing as acids leach from mount board and backing into the fibres. UV radiation accelerates this process, fading pigments and breaking down cellulose at the molecular level. Humidity fluctuations cause paper to expand and contract, leading to cockling, buckling, and eventual tearing at attachment points.
Conservation framing eliminates these threats. Every material in contact with the artwork is chemically inert, acid-free, and lignin-free. Glazing blocks up to 99% of UV radiation. Attachment methods allow natural movement without placing stress on the work. The result is a sealed microclimate that protects against environmental degradation for generations, not just years.
Who Needs Conservation Framing
Museums and public galleries specify conservation framing as standard for their permanent collections. Private galleries and auction houses require it to maintain provenance and resale value. Collectors framing signed limited editions, original prints, or vintage posters need conservation methods to protect their investment. Individuals with family heirlooms -- watercolours passed through generations, wartime documents, antique maps, hand-written letters -- need the same level of protection that institutions demand. Artists producing archival-quality work expect their framer to match that commitment. If the piece cannot be replaced, conservation framing is not optional.
We provide conservation framing for galleries protecting collection pieces and individuals preserving family heirlooms.
Conservation Standards We Follow
Our conservation framing follows Fine Art Trade Guild (FATG) standards for materials and methods. Every mount board, backing board, hinge, and adhesive is acid-free and tested for long-term chemical stability. We apply the principle of reversibility throughout: every attachment can be undone without leaving residue or causing damage to the artwork. Glazing meets museum-grade specifications for UV filtration. These are not marketing labels -- they are measurable standards that define the difference between framing that preserves and framing that slowly destroys.
Materials and Techniques
We use Bainbridge Artcare mount board with MicroChamber technology, which actively neutralises atmospheric pollutants within the frame. Backing boards are acid-free and buffered to resist acid migration from the wall or environment. Hinges are cut from Japanese kozo tissue -- a long-fibre mulberry paper with exceptional tensile strength that tears before the artwork does. These hinges are attached with wheat starch paste, a reversible adhesive used in paper conservation for centuries. For heavier works, we use acid-free linen tape with starch adhesive. No pressure-sensitive tapes, no synthetic adhesives, no self-adhesive boards.
UV Protection
TruVue Museum Glass blocks 99% of UV radiation while transmitting 97% of visible light, producing virtually invisible glazing with less than 1% reflectance. For large works or pieces that will be transported, TruVue Optium Museum Acrylic provides the same UV filtration at roughly half the weight, with shatter resistance that glass cannot match. Both options carry anti-reflective coatings that eliminate surface glare without compromising colour accuracy. Standard conservation glass offers 99% UV protection at a lower price point where anti-reflective performance is less critical. We advise on the right option based on the work, its location, and how it will be viewed.
Reversibility
Every attachment method we use can be undone without damage. Japanese kozo tissue hinges release cleanly with controlled moisture application. Wheat starch paste dissolves in water. Photo corners and polyester strips hold without any adhesive contact to the artwork surface. This matters beyond the immediate framing: insurance valuations require that artwork has not been permanently altered. Future conservators need the ability to remove works for treatment, re-mounting, or loan. A frame that cannot be opened without damaging the contents is not conservation framing -- it is a sealed box with the same problems as no frame at all.
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Tell us about your artwork and we will provide a free, no-obligation quote. Most projects are completed within 2-4 weeks.
5 Year Guarantee · Museum Grade Quality · Free Consultation
Craftsmanship
What is Conservation Framing?
Conservation framing is a term used to describe the materials, techniques and expertise used to provide protection to artwork from damage. Conservation framing needs to take into account the location it will be displayed - providing protection against wear, accidents, UV damage and humidity.
Over 50 Years of Experience
Five decades of picture framing and display work, across every technique from conservation mounting to welded steel fabrication.
Completely Bespoke
Every frame is made to measure, with varying levels of protection available depending on where the work will be displayed.
“I started using Harten Frameworks six years ago. These guys are the best framers in the UK, they focus on my needs and always deliver. ”
Lincoln TownleyArtist
Construction
How We Construct Conservation Picture Frames
Conservation framing begins with the moulding. We select from kiln-dried, seasoned hardwoods sourced from managed plantations -- predominantly obeche, tulipwood, and American white ash. Each moulding is checked for moisture content (below 10%) and structural stability before entering our workshop. For profiles requiring gilding, we apply traditional gesso ground followed by water gilding with 23.5-carat gold leaf, burnished by hand. Oil-based finishes are excluded from conservation work entirely; we use water-based lacquers and wax finishes that do not off-gas volatile organic compounds into the sealed frame environment.
Mounting and Hinging
Mounting is the most critical stage of conservation framing. We cut Japanese kozo tissue hinges to the appropriate weight for each work -- lighter tissue for delicate papers, heavier grades for watercolour board or mounted photographs. Each hinge is attached using wheat starch paste cooked to the correct consistency for the paper type, applied in a controlled layer, and dried under weighted boards to ensure a flat, secure bond. T-hinges allow the work to hang freely within the mount opening, accommodating natural expansion and contraction with humidity changes. For oversized works or heavy media, pendant hinges distribute weight across multiple attachment points. We never use pressure-sensitive tapes, spray adhesives, or dry-mount tissue in conservation work.
Glazing Selection and Fitting
Glazing is cut to size in our dedicated clean area to minimise dust inclusion. TruVue Museum Glass and Optium Museum Acrylic are handled with cotton gloves to prevent surface contamination. Glass is seated into the frame rebate with sufficient clearance for thermal expansion, separated from the artwork by the mount board or, where a float mount is specified, by acid-free spacer strips. We inspect every sheet under raking light for surface defects, scratches, or coating irregularities before assembly. Edge sealing with conservation-grade tape prevents moisture ingress between the glazing and the frame rebate.
Backing and Sealing
The backing board forms the environmental seal at the rear of the frame. We use acid-free, buffered conservation board -- typically 2mm or 3mm thickness depending on frame size. For larger works, we laminate a corrugated acid-free board behind the primary backing for additional rigidity without adding significant weight. The backing is secured with stainless steel glazier points or brass turn buttons, both of which allow removal for future inspection without damaging the frame or contents. The joint between backing and frame is sealed with self-adhesive conservation tape to create a dust-proof enclosure.
Frame Assembly
Frame corners are joined using a combination of PVA adhesive and v-nails, with mitre accuracy held to within 0.2mm using our Morso guillotine and Cassese underpinners. For conservation work, we verify that all adhesives are pH-neutral and that no acidic residue from the joining process can migrate to the frame interior. Large frames receive cross-bracing with aluminium or hardwood bars fixed to the rear to distribute hanging load and prevent torsional flex. Hanging hardware is stainless steel throughout -- D-rings, mirror plates, or split battens depending on weight and wall type.
Quality Control
Every conservation frame passes through a final inspection before leaving our workshop. We check mitre joints under magnification, verify glazing is free from dust or fingerprints using oblique lighting, confirm the backing seal is continuous and airtight, and ensure hanging hardware is rated for a minimum of three times the frame weight. The completed frame is wrapped in acid-free tissue, then packed in custom-cut foam for transport. We document materials used, methods applied, and the date of framing -- a record that accompanies the work and supports future conservation decisions.
The framing of my piece has really made a statement in our new home, for a price that was unrivalled by any local competitors.
FAQ
Frequently Asked Questions
Common questions about conservation framing
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Standard framing uses materials chosen primarily for appearance and cost. Mount boards may contain acid and lignin, adhesives are often pressure-sensitive tapes that bond permanently, and glazing may offer little or no UV protection. Conservation framing specifies acid-free, lignin-free materials throughout, uses only reversible attachment methods such as Japanese kozo tissue hinges and wheat starch paste, and incorporates museum-grade UV-filtering glazing. The difference is measurable: standard framing can cause visible degradation within five to ten years, while conservation framing preserves artwork for generations.
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With correctly specified materials and proper environmental conditions, conservation framing provides protection measured in decades, not years. Acid-free mount board remains chemically stable for 50 years or more. Museum-grade glazing does not degrade under normal display conditions. The principal variables are the display environment -- excessive heat, direct sunlight, or high humidity will accelerate deterioration regardless of framing quality. We advise on optimal placement when delivering finished work.
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We offer three conservation-grade glazing options. TruVue Museum Glass provides 99% UV protection with anti-reflective coating and less than 1% reflectance -- the highest optical clarity available. TruVue Optium Museum Acrylic matches the UV and anti-reflective performance at roughly half the weight, making it the preferred choice for large works or frames that will be transported. Standard conservation glass provides 99% UV protection without anti-reflective coating, at a lower price point. All three meet museum standards for UV filtration.
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In many cases, yes. We can retrofit conservation-grade mount board, acid-free backing, and museum glazing into an existing frame, provided the frame itself is structurally sound and the rebate depth accommodates the required materials. If the existing mount board has been in contact with artwork for an extended period, we assess whether acid migration has occurred and advise on any remedial treatment before re-framing. The original frame finish does not affect conservation performance -- the critical factors are the materials in direct contact with the artwork and the glazing specification.
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Conservation framing typically costs 30-50% more than standard framing for the same size and profile, with the difference driven primarily by glazing and mount board specification. Museum Glass is the single largest cost factor. For works of significant financial or personal value, this premium is modest relative to the protection it provides and the cost of restoration if damage occurs. We provide detailed quotes with options at different specification levels, so you can make an informed decision based on the value and vulnerability of your artwork.
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Yes. For every conservation framing project, we document the materials used, attachment methods, glazing specification, and the date of framing. For high-value or institutional work, we provide a detailed condition report noting any pre-existing damage, staining, or deterioration observed during the framing process. This documentation supports insurance valuation, loan agreements, and future conservation decisions. It travels with the artwork as a permanent record.
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Our museum grade specialists will help you choose the right materials, finishes and construction for your artwork. Over 50 years of combined experience.
5 Year Guarantee · Museum Grade Quality · Free Consultation
Related Pages
Installation
We can install & hang your frames for you if required with our art installation service - Insured, Reliable, Guaranteed..
Delivery
Either a courier can be arranged, or we can hand-deliver your frames with the greatest care.
Conservation Framing
Conservation framing specialists with 50+ years experience. Museum-grade glazing, acid-free materials, reversible methods. Protecting artwork for generations.