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UV rays are responsible for most of the irreversible damage to artwork, especially works on paper.  

Setting the standard in unparalleled quality, we are the only framing gallery in South Australia offering Tru Vue Conservation Series Glazing as standard in all our frames.  We do not use or recommend regular float glass. 

Tru Vue Conservation Clear® Glass blocks up to 99% of harmful UV rays.  Its proprietary coating is engineered for permanence and its premium 2.5mm thickness provides better strength and rigidity. 

Tru Vue Museum Glass®  is anti-reflection picture framing glass with Conservation Grade 99% UV Protection.  Along with its nearly invisible finish, it effectively blocks up to 99% of harmful indoor and outdoor UV light rays so framed pieces remain clearer and brighter for longer.


Tru Vue Optium Museum Acrylic®.  Trusted by the world’s most renowned museums, this state-of-the-art glazing boasts a virtually invisible anti-reflective coating allowing viewers to see the finest details in crystal clear colour neutrality, while its 99% UV-filtering, abrasion resistant acrylic, and anti-static coating offer uncompromising protection and preservation.

Non-reflective glass

Standard non-reflective glass is not suitable for use in picture frames.


If reflection on your framed art is of concern to you, standard non-reflective glass is NOT the answer. It is a wonderful product for use in the building trade, for example bathrooms, where light is welcome, but clarity is not, but for needlework and works on paper the effects can be disastrous. Yes, it does stop reflection because of it’s etched surface, but the etched surface also accelerates the damage from UV rays. The UV rays enter the framed piece, and “bounce around” inside the picture frame before escaping, therefore doing more damage than plain, clear glass. It also makes the framed artwork blurry, especially on 3D pieces.

Regular non-reflective glass is an unsuitable product for use in picture frames. It blurs the image, as shown here, and it accelerates the aging process. 

To glaze or not to glaze?


Jim Miller's ten good reasons to glaze a canvas painting:


1. Eliminates the need for cleaning
A. Eliminates degradation/damage to the painting from invasive cleaning processes


2. Eliminates the need for varnish as a protective coating


3. Eliminates minor accidental cuts, punctures


4. Eliminates abrasions from accidental touching and janitorial work


5. Eliminates damage from airborne contaminants
A. Chemical fumes, such as internal-combustion engine exhaust, furnace fuel exhaust, fabric dyes
B. Particulate debris, such as dust, fingerprints, dander, road grime, cooking oils, soot, flyspeck (insect faeces)


6. Reduces likelihood of insect damage or infestation
A. Closed frame package includes glazing and solid backing


7. Buffers harmful flexing of the canvas due to vibrations or impacts
A. Closed frame package includes glazing and solid backing


8. Slows the rate of temperature and humidity changes inside the frame 
A. Reduces severity of expansion/contraction cycles
B. Reduces delamination/flaking/peeling/cracking of the paint layers
C. Reduces stress on adhesion of layers


9. Improves durability of the painting
A. Slows the curing process, which is desirable to strengthen the paint layers


10. Reduces damage from radiation
A. Filters ultraviolet


Photographed here is an antique oil painting on canvas by Henry James Johnstone (1835-1907).  It has been glazed with Tru Vue Museum Glass for UV protection and complete clarity. 

This new oil painting on canvas by Matthew Armstrong was floated onto an L-shaped "tray frame" to show the edges of the canvas. It was then glazed with Tru Vue Museum Glass and finished with a square black Tasmanian oak outer frame.

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