We went to Birmingham today and visited the Birmingham Museum and Art Gallery. My third visit to the gallery, I always like looking at the Victorian and Pre-Raphaelite paintings and frames, many of which are artist designed and far superior to most Victorian frames. I especially like the frames on Joseph Edward Southall paintings, many are boldly carved, Italianate looking and were gilded by his wife, Anne Elizabeth Baker (Southall). They really stand out among the more mass produced Victorian compo frames.
As a picture framer, but also as a viewing member of the public, I am amazed at how many paintings in the gallery are framed with standard float glass and not anti-reflective 'museum' glass. There were only a handful framed with museum glass, and after pointing out the difference to my wife, she became aware of how standard glass really inhibits and spoils the viewing of the paintings. I am surprised that the transition to museum glass has not happened yet, in the public gallery of one of the largest cities in England.
This painting is glazed with anti-reflective museum glass, the shine at the top is from the paint varnish.
The Lost Child by Arthur Hughes
Another painting that is glazed with anti-reflective museum glass, again the shine at the top is from the paint surface and not the glass.
Another painting that is glazed with anti-reflective museum glass, again the shine at the top is from the paint surface and not the glass.
A very poor photo, but it clearly illustrates the reflections caused, you can see Mrs Framemaker and I, light sources, and everything else behind us.
The darker a painting is, the worse the reflections, and 'mirror effect'. This is glazed with standard glass and it is almost impossible to appreciate the painting.
