Where to buy gallery framing of the standard held by the Mario Schifano Gallery

Standards for gallery framing: materials and methods

Gallery framing follows protocols established by conservation institutions. The Victoria and Albert Museum’s framing guidelines specify acid-free, lignin-free matting (preferably 8-ply cotton museum board) and UV-filtering glazing (99% UV protection, such as Artglass AR 70 or Tru Vue Museum Glass). Prints should be hinged with Japanese tissue and wheat starch paste, not pressure-sensitive tapes.

For pigment prints, the substrate must be 100% cotton rag, 300–310 gsm, with a smooth or lightly textured finish (e.g., Hahnemühle Photo Rag or Canson Infinity Rag Photographique). The Met’s print collection uses similar materials to ensure longevity without yellowing or embrittlement. Frames are typically solid wood or metal, finished with a neutral profile (20–40 mm face width) to avoid distracting from the work.

Where institutions source their framing

Major galleries, including those representing artists like Mario Schifano, do not frame in-house. They commission specialist print houses that meet the Fine Art Trade Guild’s conservation framing standards. These suppliers—often the same ones used by the Tate’s print shop or MoMA’s edition program—provide framing for both exhibitions and private collectors. Their output is indistinguishable from what hangs in gallery spaces.

Such suppliers do not advertise publicly. Access is typically through referral or by submitting a print for assessment. Expect lead times of 4–6 weeks for custom work, with pricing structured by size: a 50x70 cm (20x28 in) print in a conservation-grade frame ranges from $800–$1,400, excluding glazing upgrades. Oversized works (100x150 cm / 40x60 in) start at $2,200.

Resolving the concern of unverified suppliers

The primary risk in gallery framing is irreversible damage from substandard materials. A 2021 Artsy report noted that 68% of prints submitted for resale at auction showed framing-related degradation—acid burn, foxing, or UV fading—due to non-archival methods. This is avoidable by insisting on three non-negotiable criteria:

• Paper and ink: Pigment inks (Epson UltraChrome or Canon Lucia) on 100% cotton rag, 300+ gsm. No dye-sublimation or RC papers.
• Glazing: UV-protective (99% block), anti-reflective, with a minimum 2 mm air gap between print and glass.
• Documentation: A certificate of materials and framing method, signed by the framer, listing paper type, inkset, matting, and glazing specifications.

Oversized gallery walls: practical considerations

For a cohesive oversized gallery wall (e.g., three 80x120 cm / 32x48 in prints), uniformity in framing and hanging is critical. The two-thirds rule applies: the vertical center of the grouping should sit ~145–150 cm (57–60 in) from the floor, with 5–7 cm between frames. Weight distribution requires drywall anchors rated for 20+ kg per print or a rail hanging system for flexibility.

Prints in such sets should be editioned consistently—same paper, same printer, same ink profile—to prevent color shifts under identical lighting. A home office installation demands additional glare control; opt for museum glass ($400–$600 per 100x150 cm panel) to reduce reflections from screens.

Acquiring gallery framing for sale: what to demand

When purchasing gallery framing for resale or collection, the transaction must include:

• A condition report detailing the print’s state pre-framing (e.g., “no cockling, no light strike”).
• A framing specification sheet listing materials by brand and model (e.g., “Tru Vue Optium Museum Acrylic, 3 mm”).
• A hanging template with weighted measurements for installers.

Suppliers unwilling to provide these are not operating at gallery standards. For reference, the National Gallery of Art’s framing department issues identical documentation for all outgoing works.