One of the specialist services we offer is framing of textiles in their various forms.  In all cases the way we frame the item should do no harm to the piece we are framing.  Removal of stitching, mounts and supports should return the item to its original form.  Both Alec and Jo were tested on their abilities to work with textile art as part of their Guild Certified Framer examination so you can be reassured that you are leaving your work in safe hands.  In addition Jo has also taken the subject further and passed her Advanced Accreditation in Textile Framing from the Fine Art Trade Guild.  She is the 18th person worldwide to achieve this and the only framer in the South West to hold this qualification.


From simple athletic vests to large rugby shirts and even blazers, any kind of clothing memorabilia can be framed by us.  In most cases we support the item internally using board or foamboard of conservation quality and then it is carefully stitched in to place.  Other items of memorabilia can be included in the frame - such as medals, rosettes, photographs, captions etc.  Once supported, items are mounted onto mountboard and this can be chosen from any colour in stock using either conservation or museum quality board.  Box framing is needed to accommodate the depth of the shirt and to ensure that the glass does not come in to contact with the material.  Frames can be stained or waxed in a variety of finishes.


Textiles and needlework comes in a huge variety of forms - simple cross stitches, needlepoint, crewel work, samplers, feltwork, printing on silks or other materials, embroidery incoroporating beads, ribbons, silk etc etc.  So many different variations and often created on a variety of different materials such as silk, linen, aida and so on.  Different forms of needlework will require different types of framing.  In all cases the item needs to be supported so that it can then be put into a frame but it may also need squaring up.  The important thing is that we do not use adhesives on material - items are stitched, laced and supported using methods that can be removed without harming the original piece of work.

We can also discuss with you the options for glass - many people like the look of diffused glass on needlework framing, but this can blur your work.  More up to date options include reflection control glass where the glass become almost invisible.  This can be particularly effective when over a dark background because with normal glass it can become mirror like.  With older materials, such as old samplers, using UV protection glass can be very important to help with the conservation of the piece.  We can show you samples of the different materials we use to allow you to make the most informed choice for the piece being framed and the budget you wish to spend.

We always recommend that the glass should be held away from material in a frame to prevent build up of condensation inside the frame that can lead to the deterioration of the material unless this air space is allowed for.  In most cases a mount is the most suitable way to do this and with our computerized mountcutter we can cut aperture shapes to suit your work and with added decoration if required.  Mounts can be conservation boards, museum boards, suedette finishes and so on.  There are other ways to lift the glass clear and we can discuss the most suitable way with you once we have discussed how you would like the piece framed.

We are always happy to talk through the methods we use for textile framing so please feel free to ask plenty of questions.  When you have spent hours and hours working on your needlework or have spent money buying a piece, then of course you will want to make sure that it is going to be framed using the right methods to ensure the longevity of the finished article.  You can see some examples of Jo's own needlework on the walls in the gallery - including the pieces we presented for our GCF exams and that Jo presented for her Advanced Textile exam - all of which were stitched by Jo.

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