Frequently asked questions

Most custom framing is ready in one to two weeks, depending on materials and how busy the bench is. Stock-size work can be quicker; restoration and oversized pieces take longer. We give you a realistic date when you drop the piece off.

For most pieces you can drop by during opening hours and we will measure and talk options on the spot. For large work, a series, or restoration, it helps to arrange a time so we can set aside the bench.

It means every material touching the artwork is acid-free and reversible — the mat, the backing, and the hinges. Nothing is trimmed or glued to the piece itself, so it can be taken out of the frame later with no damage. It is the standard we use for anything with value, sentimental or otherwise.

Done properly, no. We hinge works on paper with reversible materials, never dry-mount anything original, and keep the surface off the glazing with a mat or spacer. If a piece needs special handling we will talk it through before starting.

Glass is clearer and more scratch-resistant; acrylic is lighter and shatterproof, which suits large frames and pieces that travel. Both come in UV-filtering and anti-reflective grades. We will recommend based on the size, where it will hang, and how much light it gets.

Yes. Medals, textiles, jerseys, pressed flowers, ceramics, and keepsakes all work in a shadow or object box. We mount them so they sit securely without adhesive on the object itself.

We do — corner rejoining, gilding touch-up, refinishing, and new glazing. Sometimes the right answer is to keep the original moulding and just replace the mount and glass; we will tell you honestly which is worth doing.

Hang it out of direct sunlight, avoid damp walls and radiators, and clean the glazing with a soft dry cloth rather than spray. There is more on this in our journal.