Popular mouldings and finishes

All of our frames are joined by hand using museum quality techniques. We work with raw wood mouldings, sanding, staining and waxing to produce our own individual finishes. We are always conscious that we are working with a natural material and strive to let the quality of this material to show through.

We specialise in creating spline joints. Corner joints , as well as being the strength of the frame, can also add striking decorative detail. Spine corners consist of small slots cut into the side of the frame which are then in-filled with another wood or the same variety of wood. This type of join is exceptionally strong and elegant.

 

Other joints such as lap joints can add a unique appeal to the frame. Larger, heavier frames can also be joined with wooden dowels or bespoke metal brackets for extra security.

Every wooden frame that we produce is sanded by hand to a smooth, velvet finish, removing any major imperfections from the surface of the wood and resulting in a beautiful consistency which is soft to the touch. Our frame sanding and joining artificers take great pride in their work and check for quality at every stage in the process. 

Cheaper frames are often joined using underpinners which can push the face edge of the frame apart. This, combined with poor quality adhesives, puts the corners at risk of cracking and splitting over time, ruining the appearance of your frame and hindering the presentation of the artwork not to mention the potential to damage the artwork. 

Construction methods can be found here and framing terminology can be found here

Below are just a few of our popular frame styles and finishes. We are delighted to work with our clients in developing new, unique moulding profiles and finishes. 

Canvas tray frame in ash

Canvas tray frame

Limed ash

Specially designed to accommodate premium quality stretchers with a profile size of 32mm and 44mm.

The corners are joined using dowels of the same wood as the moulding profile matching the grain of the wood.

Overall profile depth - 57 mm

Face width - 7 mm

B1a.jpg

Square section 4416

Dark Stain wax finish

Black stain, dark jacobean wax with spline corner joints. This moulding has a robust feel and is suitable for large prints, photographs and drawings. The large profile allows for the artwork to be set back further from the glazing than some other mouldings.

Overall profile depth - 44 mm

Face width - 16 mm

A1a.jpg

Square section 4410

Bleach white with Liming wax

This square section is a more slender version of the 4416. This sample is bleached ash with a white dye and a liming wax finish. The profile allows for a deep set artwork or float. It has an elegant appearance and can be used at all sizes up to 150 cm.

Overall profile depth - 44 mm

Face width - 10 mm

GB2a.jpg

Square section 3812

Grey distressed frame

Popular for medium to small sized artwork, this moulding is compact with a narrow face which does not compete with the artwork. This sample shows a grey which has been stained and sanded back twice and a liming wax finish.

Overall profile depth - 38 mm

Face width - 12 mm

R1a.jpg

Bevel section 3810

Maple natural clear wax

We always like to let the wood shine through if it is sympathetic to the artwork . That is why we don't spray finish. The sample shown is a maple with black walnut splines.

A delicate moulding with a bevel face which leads the eye into the image.

A great profile for photographic images, drawings or delicate watercolour paintings. Because of the narrow face we recommend this for work under 70 cm.

Overall profile depth - 38 mm

Face width - 10 mm

C1.jpg
B1.jpg
A1.jpg
GB2.jpg
R1.jpg
multiple 001.jpg
 
 

Examples of our most common construction methods

C1.jpg

Tray frame

Canvas artwork is attached directly to the frame. The image takes the appearance of floating 10mm away from the edge of the frame.

Used for canvases and ridged substrates. The face of the artwork is unprotected so that there is no barrier between the viewer and the image. Best used in areas where there is no risk of scrapes or splashes of liquid.

PF1.jpg

Polyfloat

A similar method to the aluminium floa). Artwork can be dry mounted or tabbed/hinged to the acid free foam board (Kapa). This leaves the paper free to move and emphasises the true nature of the medium. 

The foam board can be built up to bring the artwork off the presentation backboard. Used when the nature/type of the artwork prohibits dry mounting. Good for collage, digital prints, original works on paper.

AF2.jpg

Aluminium float drymount with subframe

Image dry mounted to 1.5mm aluminium with overhanging deckle edge. Floated on internal sub frame with acid free Heritage conservation board backing.

Best for digital photographs or images printed onto watercolour paper. Museum approved using Gunny adhesive. Printed work keeps the appearance of a traditional print while holding the medium ridged. The float can be adjusted to any distance from the edge of the frame.

PW1.jpg

Paper wrap onto subframe

Paper print or plain paper dry mounted and wrapped around edge of internal subframe.

Best for digital print that need to be mounted to the edge AND needs depth within the frame. Can also be used to wrap blank watercolour/heavy paper so that an artwork to be floated on top. Gives the effect of a plinth within the frame.

BM1.jpg

Double book mount 

Artwork is sandwiched between a window mount and a rigid backing. Both are made using acid free Heritage conservation board. 

Can be used to present photographs, prints, drawings or watercolours. There is a limit to the size of artwork that can be mounted. Best considered for work up to A1size.

frame components.jpg