David Hockney Prints: use a white mat
Should a David Jones Print Have a White Mat — How to Frame it Correctly
A David Jones print should use an acid-free white or off-white mat, 5–8 cm (2–3 in) in width, consistent with mid-century modernism conventions and to protect the paper from direct contact with glass.
The Function of the Mat in a Framed David Jones Print
A mat serves three functions: it creates visual separation between the artwork and the frame, prevents the print from adhering to the glass over time, and filters ambient light to reduce UV exposure. For works like Jones’s White Painting (three panel) or his textured abstractions, a mat also enhances the negative space in the composition — a principle the Fine Art Trade Guild considers essential for balancing high-contrast prints.
Standard mat widths for 50x70 cm (20x28 in) to 70x100 cm (28x40 in) prints are 5–8 cm (2–3 in). Narrower mats risk suffocating the image; wider mats (10 cm/4 in or more) shift focus to the framing itself, competing with Jones’s clean geometries. Acid-free cotton mats (4-ply, ~1.5mm thick) are mandatory for archival stability.
White or Off-White: Matching Paper and Era
David Jones’s prints — like those by David Hockney or Hiroshi Nagai — were primarily issued on bright white or warm white cotton papers (250–310 gsm). A pure white mat (e.g., Museum White or Bright White) preserves the print’s original contrast, while an off-white (e.g., Warm White or Natural) softens the transition for vintage or toned papers. The American Institute for Conservation notes that even slight warm hues in the mat can reduce visual fatigue from high-brilliance white surfaces under LED lighting.
For reference, works issued by the Jones estate (e.g., Study for ‘The Garden Enclosed’) often used neutral white mats to avoid color casts. If you are framing a later reproduction, request a paper sample from your framer to compare against the print’s whiteness under daylight (5000K–6500K) conditions.
Glazing and UV Protection: Non-Negotiable Specifications
The protective role of the mat is secondary to that of the glazing. Pigment-based prints (giclée or lithograph) require UV-filtering glass or acrylic to prevent yellowing. Standard options:
- UV-filtering glass (e.g., 99% UV block, 2mm thick): Optically clear, with ~10% light reflection. Recommended for editions under $1,500 USD.
- Museum acrylic (e.g., Plexiglas UV75, 3mm thick): Shatter-resistant, blocks 75% UV, ~4% reflection. Adds ~200–400 USD to framing costs but is mandatory for prints over $2,500 USD or in high-humidity climates.
- Anti-reflective coatings: Reduce reflections to <1%, but increase glazing costs by approximately 30%. Superfluous for matte-finish prints (e.g., Jones’s Inscriptions series).
MoMA’s conservation guidelines specify that glazing should never make direct contact with the print — hence the mat’s spacing role. For a 50x70 cm (20x28 in) David Jones print, expect glazing to add $150–$350 USD to the overall frame cost, depending on material.
Resolving Complexity: A Step-by-Step Framing Sequence
The underlying concern — framing as an error-prone process — is resolved by following a fixed sequence:
- Print Condition: Verify the paper is flat and free of foxing. If not, consult a conservator before framing (cost: $100–$300 for minor repairs).
- Mat Selection: Choose width first (5–8 cm for most Jones prints), then color (white for bright papers, off-white for aged or toned papers).
- Glazing: Match the level of UV protection to the print’s value (99% for editions over $1,000 USD; 70% for reproductions under $500 USD).
- Frame Profile: Thin metal (1–2 cm face) for modernist prints; wider wood (3–5 cm) for textured works like Jones’s Vexilla Regis. Standard depths accommodate a 1.5 cm mat + glazing.
- Hanging: Center the frame’s midpoint 145–150 cm (57–60 in) from the floor, or apply the two-thirds rule above furniture (e.g., 20–25 cm above a console).
“The mat’s primary role is to act as a sacrificial barrier — absorbing environmental contaminants before they reach the print.”
The Metropolitan Museum of Art, Caring for Works on PaperBudgeting for a Framed David Jones Print
Prices vary by print size and materials, but typical ranges for a 50x70 cm (20x28 in) work are:
- Basic: Acid-free mat, standard UV glass, thin metal frame — $300–$500 USD.
- Conservation: Cotton rag mat, museum acrylic, wood frame with sealed backing — $600–$900 USD.
- Museum Quality/Estate Grade: Archival mounting, anti-reflective glazing, bespoke profile — $1,200–$2,000 USD and up.
Hiroshi Nagai prints, often framed similarly, follow the same pricing structure. Beware of framers offering “full packages” for under $250 USD — these typically use non-archival materials (e.g., lignin-rich mat boards or standard glass).
Frequently Asked Questions
Does a mat affect the resale value of a David Jones print?
A correctly cut, acid-free mat preserves the print’s condition — a crucial factor for limited editions. Poor-quality mats (e.g., pulp-based) cause yellowing and reduce value by 20–40%. Always retain the original mat if reselling through auction houses like Sotheby’s or Christie’s.
Can I use a black mat for a David Jones print?
Black mats are rare for Jones’s works, as they overwhelm his subtle linework. Exceptions: large prints (e.g., 80x120 cm) where a 10 cm black mat anchors the composition. Test with a digital mock-up first — black mats amplify any paper discoloration.
How often should I replace the mat on a framed David Jones print?
Acid-free mats last 20–30 years under stable conditions (20–22°C, 40–50% humidity). Replace immediately if discoloration appears on the mat’s bevel. The Fine Art Trade Guild recommends annual mat inspections for signs of degradation in high-UV exposure environments.
Sources and Further Reading
Framed Art Prints, Made to Last
Archival cotton rag paper, pigment inks, custom framing.
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