Answers on Framing, Conservation & Studio Services

Every project begins with a consultation — either in person at our Houston studio or via high-resolution digital review. We start by discussing the artwork's history, your preservation goals, and the intended environment for the piece. From there, we propose a selection of hardwood profiles and finishes tailored specifically to that work.

Our signature is a balance of museum-grade discipline and artisanal elegance. We believe a frame should be a quiet extension of the artwork, providing structural protection and visual “breathing room” without competing for attention. Our focus on hand-finished, closed-corner hardwood is what sets our work apart from standard commercial framing.

To ensure each client receives our full attention and expert consultation, we recommend scheduling an appointment. This allows our team to prepare the necessary samples and dedicate time to discussing the technical and aesthetic nuances of your collection.

Conservation picture framing is a specialized method of housing artwork using only chemically stable, archival-grade materials. The primary goal is to protect the art from environmental damage — such as UV light, humidity, and acid migration — ensuring the work remains in its original condition for generations.

Beyond aesthetics, professional framing acts as a protective micro-environment. It prevents physical deterioration by using spacers to keep the art from touching the glass, acid-free mats to prevent “mat burn,” and UV-filtering glazing to stop irreversible pigment fading caused by light exposure.

Custom framing typically involves assembling pre-finished moulding from a catalog to fit a specific size. Bespoke framing is a comprehensive, artisanal process where every element — from the wood profile to the hand-applied finish — is designed and fabricated from scratch to complement a specific artwork.

A closed-corner frame is finished after the frame is joined. This eliminates visible miter seams, creating a seamless, monolithic appearance. It is a hallmark of high-end craftsmanship, as it requires the entire frame to be sanded and finished as a single unit.

A “chop” refers to pre-finished moulding that is cut (chopped) to size and joined. Because the wood is finished before it is cut, the corners show a visible seam. While we usually favor finished-corner frames for their sculptural integrity, we carry a selection of high-quality chops to accommodate various project needs.

We primarily work with dense, stable hardwoods such as Walnut, White Oak, Maple, and Cherry, selected for their structural integrity and ability to take fine hand-applied finishes. For specialized projects, we also work with exotic woods, including Bird's Eye Maple, Padouk, and Ebony, which offer unique grain patterns and natural durability.

We offer a spectrum of finishes designed to highlight the natural beauty of the grain: hand-rubbed oils and waxes for a matte, organic feel, as well as sophisticated closed-corner painted finishes. We often incorporate splined corners for added structural strength and can add hand-carved elements for more traditional designs.

A spline is a thin strip of wood inserted into a precision-cut slot across the mitered corner of a frame. This is a critical structural feature for hardwood frames; it creates a much larger glue surface and mechanically locks the joint together, preventing the corners from opening over time.

A genuine gold frame is finished with real gold leaf rather than metallic paint or “gold-tone” finishes. Using real gold ensures a depth of color and a luminous quality that does not tarnish over time.

Water gilding is an ancient, multi-step technique where gold leaf — ranging from 12K to 22K — is applied to a prepared surface of rabbit-skin glue and “bole” (fine clay). Once dry, the gold is burnished with an agate stone to a brilliant luster that cannot be replicated by modern paints.

A float mount is a technique where the artwork is secured on top of a mat board rather than being overlapped. This reveals the entire sheet of paper, including deckled (raw) edges, and creates a sense of depth.

A window mount (or “overmat”) is a traditional technique where a mat board is cut with a central opening that rests over the edges of the artwork. This provides a clean border, secures the art flat, and creates a necessary air gap between the art surface and the glazing.

Museum-quality framing adheres to the highest standards set by the American Institute for Conservation (AIC). This includes the use of reversible mounting (no permanent adhesives), 99% UV-protective glazing, and 100% cotton rag mats that are naturally pH-neutral and lignin-free.

The choice depends on the environment. Acrylic (like Optium Museum Acrylic®) is shatter-resistant and anti-static, making it ideal for large works. Glass is scratch-resistant and remains a traditional choice for smaller, delicate works where static is a concern.

UV-filtering glazing contains a specialized coating that blocks up to 99% of harmful ultraviolet rays. While it cannot stop fading entirely, it significantly slows the photochemical degradation that causes colors to shift.

Over time, acidic materials release gases that cause “foxing” — the brown spotting and yellowing seen on old art. pH-neutral materials are buffered to remain stable, preventing these chemical reactions.

We serve as a technical and aesthetic resource for designers, helping to bridge the gap between the art and the architectural space. We ensure framing choices honor the artwork's integrity while complementing the designer's vision for color, scale, and lighting.

Yes. We frequently collaborate with independent specialists, including painting, paper, textile, and object conservators. If an artwork requires cleaning or stabilization before framing, we work in tandem with these professionals to support their conservation goals.

We partner with artists and galleries to create cohesive framing solutions for exhibitions and private sales. We understand the importance of a frame that enhances the artist's voice without overwhelming the work.

Yes. We provide consultation and framing services for corporate collections, law firms, and public institutions, focusing on durability and long-term preservation.

Yes. Framing textiles requires specialized “stitch-mounting” to archival supports, ensuring the fabric is not stressed or glued. 3D objects are housed in shadowbox frames, which use custom-built internal depths to protect the item.

Different papers require specific mounting tensions and adhesives. We use traditional techniques like Japanese paper hinges and wheat starch paste, which are fully reversible and respect the unique expansion and contraction properties of the paper.

Choosing a period-appropriate frame involves analyzing the artist's intent and historical context. For example, a French Impressionist painting may pair with a Louis XV-style carved frame, while a minimalist contemporary work often requires a sleek hardwood “floater” frame.

While we do not provide these services directly, we work with a vetted network of excellent, third-party professional art handlers. We coordinate with them to ensure your framed pieces are transported and installed with white-glove care.

Because our frames are hand-fabricated from raw hardwoods and often involve multi-step gilding, timelines typically range from 4 to 6 weeks for hardwood and metal frames and 8 to 10 weeks for gilded or complex custom projects. We provide project-specific estimates and can accommodate “rush” requests when possible.

We recommend professional art handlers for transport. If you are shipping to us, we provide specific crating guidelines — please contact us before anything ships so intake is scheduled. For local Houston clients, we can facilitate secure pick-up through our partners.

Use a soft, dry microfiber cloth to dust the frame. For the glazing, use a dedicated cleaner applied directly to a cloth — never spray the frame itself. Avoid hanging art in areas with direct sunlight or high humidity.