Museum Glass vs Standard Glass

I mentioned in the last couple of posts about the lack of museum glass (defined simply as a glass which has an anti-reflective coating and high UV filter level) on many of the paintings I saw recently in two public art galleries in Birmingham. 

You do still have some reflections with museum glass, but instead of bright white, the reflections have a purple/blue colour tint and are much less noticeable. In most normal conditions and settings museum glass is almost invisible, and offers high clarity while also having a high UV filter level, some are also laminated (to prevent damage to the artwork should the glass be broken). Another type of museum glazing is Tru Vue Optium, which is a very high quality acrylic glazing, which has the additional benefits of light weight and is virtually unbreakable, it is considered the best available.

The first image below was probably the worst example that we saw, the atmospheric painting depicts an industrial landscape, and whilst you can look at it from various angles to avoid the reflections, it does not make for a good viewing experience.

The example below was one of the few paintings with good quality glass, it is glazed with Tru Vue Museum, and while you can still see some reflections due to the strong light sources required in a gallery setting, the difference is clearly visible.

RBSA - The Story of the Royal Society of Artists

We also visited the RBSA yesterday, which has a small exhibition; 'A Place for Art: The Story of the Royal Society of Artists' that runs until the 15th November. The exhibition has some great paintings from the Birmingham school of artists. Again there was the same problem with standard glass, with only a few paintings (8 or 9) framed with museum glass, but there were also some good frames to be seen, a few photos below:

The Angel of the Annunciation by Mary Gwenllian Gibson

Corner detail of the frame on the painting above, a cushion profile with incised patterns, really lovely frame. Mrs Framemaker can be seen in the reflections...

The Keepsake by Kate Elizabeth Bunce 

Corner detail of the frame on the painting above, showing shell and dragon ornament, which appear to be stamped and gilded metal.

The Twelve Brothers by Arthur Joseph Gaskin

Ariadne in Naxos by Joseph Edward Soutall

Birmingham Museums and Art Gallery

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.

The Last Chapter by Robert Braithwaite Martineau

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.

Beata Beatrix by Dante Gabriel Rossetti

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 Wizard by Edward Burne-Jones

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.

 Self Portrait by William Holman Hunt

Portrait of Dante Gabriel Rossetti by William Holman Hunt 

 A Lady Holding a Rose by Emma Sandys

The Finding of the Saviour in the Temple by William Holman Hunt   

May Morning on Magdalen College Tower by William Holman Hunt 

The Wild Swans by Arthur Gaskin 

The Sleeping Beauty by Joseph Edward Southall 

Sigismonda Drinking the Poison by Jospeh Edward Southall 

Melody (Musica) by Kate Elizabeth Bunce

Sir Whitworth Wallis by Joseph Edward Southall

1829 sampler

This sampler from 1829 was in very poor condition when it was brought to me, crudely nailed to a wooden support with numerous areas missing around the edges and just generally very dirty and in need of immediate work to preserve it, for the future generations of the family of the relative who made it all those years ago. The sampler was sent to the Textile Conservation Ltd studio in Bristol for treatment, where it was cleaned, stabilised, conserved, and supported on a museum quality board. It was then framed in its original veneered frame, with a spacer, Correx backing, and glazed with museum glass.