The Framers Forum

Hi all,

Have had a frame dropped in for glass to be replaced, it is a fabric work and the frame is a deep narrow one but there is no rebate at all, and no sign of glue having been used previously to fix glass in... wondering if anyone has suggestions as to how to replace the glass as neatly as possible ....

Can you post a photo of it

Yes, here are a couple of images

I've seen this done before. There's a rebate at the back to accommodate the mount, the glass, the backing board and some thin foam, which keeps the artwork pressed against the glass. Now that the glass is no longer there the foam pushes the mount forwards, hiding the gap where the glass would have been.

Very often the backing board is invisibly fixed with glue. I only seen a couple like this in the last 15 to 20 years. I think that the backing board is glued on the the back of the frame a weighted down whilt glue sets. Looked incredibly neat, but removeing the backing board to fit a new piece of glass, was really difficult. The presentation looked great!

I've no idea who does framing like this, but the last time I saw something like this, was think about doing something similar with letting the artwork touching the glass. I have long since forgotten and failed to do anything about it. Perhaps I need to look at this again as I think that this presentation is likely to be popular with some customers and any edge we can get in securing customers during these times could be very helpful.

Sounds like a problematical piece to repair. Wonder why glass broke in the first place? Perhaps too much tension? Frame looks in pristine condition.
For almost thirty years, all my work was labelled whereas untraceable framers mean to stay that way! Yuk, can't see the size but a tenner for new glass won't apply this time, Ma'am.

If you have a Rose and Hollis catalogue and look up moulding number A259 which availlible in Ash, it has a wide enough rebate to accomodate the glass, artwok, mount board and backing board, when joined on it's side to create a deep sided frame with the glass at the back of the frame. Add a soft thin layer of foam with plenty of give behind the mount board to avoid unnecesary pressure on the glass, but just enough the keep the dges of the artwork from getting raised by not being in contact with the glass and there you have it.

Needless, to say I don't like the artwork touching the glass, so I would do something like that a little differently. I am assuming that the frames in the picture would be painted Ash, but it may also the a moulding embossed the look like Oak. It's an interesting presentation, which to me, looks like something which could be potentially quite popular with the customers. Joining the moulding in this configuration, won't be possible with just an under pinner and problably would be helpful to cross pin with a headless pinner at the front cormers.

Ash can be fairly hard wood and might not be the idea wood for using a headless pinner! With that thought I mind, perhaps a softer moulding with a Ash veneer might be a better choice and better suited for the use of a headless pinner. It might be an idea worth copying, if someone fancies giving it a try!

The other day, I finally took the frame apart from the back, no space for glass at all, but thankfully there was a label with the artist details, so I emailed them to ask if there ever had been glass in the frame - there hadn't! So now back to the client to see if they would like a new frame that can accommodate glazing or leave it as is!

Framing, always something new to learn!