Art behind glass: Show off your framed art!

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I haven't tried them yet on our own brick wall in the bedroom, but I was looking at some of these brass brick clips-

http://brickclip.com/

Careful what you wish for... my wife's original art tastes are much more expensive than mine!

The whole issue of UV blocking glass strikes me as one of those things we all believe in without having any real proof. In trying to find real-world tests, I found this test with Japanese prints. Summary: the UV-blocking glass didn't make a meaningful difference in this particular case.

Of course doing these tests for real with OA isn't easy, but my conclusion after many years of framing artwork is that the type of glass doesn't make that big a difference. Certainly not as big a difference as true acid-free rag mats and backing, and avoiding direct, and even significant indirect, sunlight. What I think we forget is that a lot of fading is also caused by visible light, not just UV, and indirect sunlight is vastly more intense than most artificial lighting.

The whole issue of UV blocking glass strikes me as one of those things we all believe in without having any real proof. In trying to find real-world tests, I found this test with Japanese prints. Summary: the UV-blocking glass didn't make a meaningful difference in this particular case.

 

Of course doing these tests for real with OA isn't easy, but my conclusion after many years of framing artwork is that the type of glass doesn't make that big a difference. Certainly not as big a difference as true acid-free rag mats and backing, and avoiding direct, and even significant indirect, sunlight. What I think we forget is that a lot of fading is also caused by visible light, not just UV, and indirect sunlight is vastly more intense than most artificial lighting.

Found this link that may be helpful:

"According to the National Fenestration Rating Council, only 40% of artwork fading is caused by UV radiation.[24] The remaining damage comes from the visible light, heat, humidity and material chemistry.[24] This means that increasing visible light transmission by an anti-reflective coating actually increases the amount of damaging radiation on an artwork".

Source: http://en.wikipedia.org/wiki/Picture_framing_glass

Thus, for example using socalled Conservation Glass (typically sold as 99% anti-UV) instead of Museum Glass may be of very limited importance... Although there may be other reasons to use Museum Glass (typically sold as 92+ % anti-UV) like reduced reflections:

"Here are some of the facts and benefits of Museum Glass. Reflection Control We've all been annoyed by the distracting reflections bouncing against glass while trying to view the art behind it. Because Museum Glass reduces reflection by almost 99%, it offers the best viewing comfort possible. With Museum Glass, you get to see the full picture from just about any angle. A Shield Against UV Light Everyone's heard that ultraviolet light (a.k.a. UV light) is very harmful to art. UV light literally "bleaches" everything it comes in contact with (especially pigments) and sometimes over a very short period of time. You would not believe the number of works of art I re-frame that show severe signs of fading due to unprotected exposure to light. UV light is especially found in sunlight and fluorescent lights, but not only: It is found in just about any light source, including halogen. Museum Glass protects artwork by blocking 99% of UV light. This means that it significantly extends the lifespan of art. FYI: ordinary glass only blocks 45% or less of UV light. Clarity and Neutral Colors Museum glass provides the highest brightness and contrast levels available. It also provides true and neutral color transmission. This is glass with a paradox: a high level of clarity combined with a near total reflection control.

Source: http://cityframes.blogspot.dk/2010/03/ultimate-viewing-and-protection-with.html (of course this source may just want to sell us the glass and may be biased, still there are a few good and valid arguments for Museum Glass here)

I have all my art behind Museum Glass - maybe an artifact, but using flash I normally have problems with reflections in glass, but not when using Museum Glass - it nearly looks as if there is no glass:

And of course all framing materials should be acid free, the lighting should be minimal, and according to some experts in paper preservation humidity should be about 40% together with a constant 65F temperature (lower temp may increase build up of moisture, higher may speed up decay etc.)... Few collectors may be able to follow all these guidelines, personally I try to adhere to as many as possible (especially constant temp and humidity, no direct sunlight, and no piece hanging directly above a radiator).

Same goes for books - I did once start a thread about this subject:

http://www.collectors-society.com/JournalDetail.aspx?JournalEntryID=14291

Thanks, there's a lot of good information there. The quote "only 40% of artwork fading is caused by UV radiation" is C/W my experience, and I think it's something most comic collectors and art collectors misunderstand. They put something behind UV-blocking glass and feel a completely false sense of security.

Years ago my sister took one of the best drawings I'd ever done and had it framed for me, without my knowledge. It was a graphite drawing on acid-free rag sketchbook paper. The professional framers put on a heavy coat of spray fix (totally unnecessary), and dry mounted it to a non-archival backing board. Then they put an inexpensive 'acid-free' mat over it, and put it behind UV-blocking glass. Within a few years it was a medium brown, with a nasty mat burn, and the spray fix made it look like there was a thin layer of ground glass sprinkled over the surface.

Since it's graphite, I could send it for conservation, and a conservator could soak it in solvents, then lightly bleach it, and make it acid-free again,. But that wouldn't be cheap. The drawing would have been better off simply thumb tacked to the wall.

OA collectors are lucky (compared to print and poster and watercolor collectors, for example) in that most professional artists used decent-quality bristol board and india ink, and unless there was lots of tape and rubber cement used, these pages hold up well with reasonable care. But, sadly, even most frame stores don't understand real archival framing, and it's on us as collectors to figure out how to do this cost effectively.

Thanks, there's a lot of good information there. The quote "only 40% of artwork fading is caused by UV radiation" is C/W my experience, and I think it's something most comic collectors and art collectors misunderstand. They put something behind UV-blocking glass and feel a completely false sense of security.

 

Years ago my sister took one of the best drawings I'd ever done and had it framed for me, without my knowledge. It was a graphite drawing on acid-free rag sketchbook paper. The professional framers put on a heavy coat of spray fix (totally unnecessary), and dry mounted it to a non-archival backing board. Then they put an inexpensive 'acid-free' mat over it, and put it behind UV-blocking glass. Within a few years it was a medium brown, with a nasty mat burn, and the spray fix made it look like there was a thin layer of ground glass sprinkled over the surface.

 

Since it's graphite, I could send it for conservation, and a conservator could soak it in solvents, then lightly bleach it, and make it acid-free again,. But that wouldn't be cheap. The drawing would have been better off simply thumb tacked to the wall.

 

OA collectors are lucky (compared to print and poster and watercolor collectors, for example) in that most professional artists used decent-quality bristol board and india ink, and unless there was lots of tape and rubber cement used, these pages hold up well with reasonable care. But, sadly, even most frame stores don't understand real archival framing, and it's on us as collectors to figure out how to do this cost effectively.

Who ever did that was no Conservation Framer. I have owned a few framing galleries and nothing they did would be remotely considered conservation to a competent framer.

Oh, I very much doubt they advertised themselves as 'conservation framers.' My point is that you can have your art professionally matted and framed and have bad things done that you won't know about till later, when it might be impossible to fix.

Oh, I very much doubt they advertised themselves as 'conservation framers.' My point is that you can have your art professionally matted and framed and have bad things done that you won't know about till later, when it might be impossible to fix.

Very true and always make sure you do the research yourself on anything you wish to protect. The one thing I learned early in life is people will tell you anything to sell you something.

Chromium Man #3 cover by Adam Pollina

Most may not remember this Triumphant Comics independent but it brings back memories of good times for me. My friend, John Riley, owner of Grasshopper's Comics on Long Island, NY, wrote Chromium Man and many other titles in the Triumphant universe. I reached out to Adam and he still had this painting available and I couldn't be happier to own and display this piece on my wall.

James

Chromium Man #3 cover by Adam Pollina

 

Most may not remember this Triumphant Comics independent but it brings back memories of good times for me. My friend, John Riley, owner of Grasshopper's Comics on Long Island, NY, wrote Chromium Man and many other titles in the Triumphant universe. I reached out to Adam and he still had this painting available and I couldn't be happier to own and display this piece on my wall.

 

James

 

The colors on that one are amazing

Picked these up today, Museum Glass as usual

Greg Capullo

Tommy Lee Edwards

Part of a small exhibition for the kids (and their dad ) in the basement (the only place the wife will allow this kind of art, still it's a perfect place with low lighting, and the most constant low humidity and temp in the house)

With the recent sale of one of my high-end covers, I knew that I needed to get something good in the vacated frame to ease the sense of loss . . .

Sea Devils # 25 cover (October, 1965) by Howard Purcell

I photographed this face up on the carpet (prior to going up on the wall). Some camera glare, but difficult to avoid when the art's sat behind a sheet of reflective glass.

We went a little crazy with Hobgoblin.

Magneto is a little more refined.

This was another frame that was reused, so this layout was not specifically built around this piece.

Here's a recently framed splash page (the last full splash of Avengers: The Initiative). The original prelim layout is on the left, with the published ink in the center and a copy of the page on the right. It came out even nicer than I expected!

Looks awesome

And WTTB !

Thanks! Did anyone else notice that this is an expensive hobby?

Yeah, that has crossed my mine (and my wife's )

With the recent sale of one of my high-end covers, I knew that I needed to get something good in the vacated frame to ease the sense of loss . . .

 

 

 

 

Sea Devils # 25 cover (October, 1965) by Howard Purcell

 

I photographed this face up on the carpet (prior to going up on the wall). Some camera glare, but difficult to avoid when the art's sat behind a sheet of reflective glass.

 

Terry, I love the Sea Devils covers - both Russ Heath's and Purcell's. I really admire this one.

I have two recreations from Russ that you might enjoy.

Thanks, Alex. I always enjoyed reading the Sea Devils titles during the 1960s.

Those are great Russ Heath re-creations you got there! Russ always does a wonderful job on these re-dos. (thumbs u

Sold off a few things, so had to re-do the office.

and if you want to see it here (huge image)