The Exhibition & Framing Standards

A Guide to Archival Presentation

Investing in a work from Moore Art by Lucy is an investment in a legacy. Whether you have acquired a large scale Masterwork, a hand-prepared Original Study, a Signature Edition Print, or an Atmospheric Print, the manner in which it is displayed is the final step in preserving its structural integrity and visual depth.

Below are the studio-recommended standards for the professional framing and display of our archival media.

I. Unstretched Linen Masterworks (Studio-Rolled)

Our large-format masterworks (including the Botanical Chronicle series) are executed on archival, fine-weave Italian linen and dispatched unstretched inside a heavy-gauge archival transit cylinder. This museum-standard practice guarantees flawless transit across domestic and international borders while allowing you complete curatorial freedom in choosing a bespoke frame that complements your interior.

• Collector Handling & Acclimation:

  • Keep Sealed in Tube: We strongly advise keeping the artwork sealed inside its transit cylinder until delivered to your professional custom framer. If you must open it before your custom framer receives it, please follow the protocol below.

    • Thermal Acclimation: Allow the cylinder to rest at ambient room temperature for at least 24 hours prior to opening. This ensures the natural linen fibers, gesso ground, and oil paint films relax and regain suppleness before unrolling.

    • Unrolling Protocol: Unrolling should only take place on a broad, pristine, dry surface using clean cotton gloves, leaving the archival glassine interleaf in place until stretching begins.

• Technical Specifications for the Custom Framer:

  • Thermal Acclimation: Allow the cylinder to rest at ambient room temperature for at least 24 hours prior to opening. This ensures the natural linen fibers, gesso ground, and oil paint films relax and regain suppleness before unrolling.Live Boundary & Margins: The composition is designed around a dedicated live image area (e.g., 36”×48”) surrounded by an intentional 1.5” to 2” soft painted bleed, followed by generous unpainted selvage margins for mechanical gripping.

  • Stretcher Bar Chassis: For spans of 36”×48” or larger, we specify heavy-duty, kiln-dried keyed stretcher bars (minimum 1.5” to 2” gallery depth profile) equipped with internal cross-bracing to prevent diagonal torque and maintain uniform tension over time.

  • Tensioning: Standard canvas pliers should be used, securing the selvage with stainless steel staples on the reverse of the chassis.

Note: Subtle graphite alignment marks (center points, corners, and top orientation) are provided on the reverse of the linen to assist in centering the 36”×48” live composition on your stretcher bars.

• Curatorial Presentation & Glazing:

  • Floater Frames: A minimalist hardwood floater frame (in matte gallery black, oiled walnut, or muted antique gilt) with a 1/4” to 3/8” reveal is the studio’s recommended presentation. This allows the subtle painted edge to float within the perimeter moulding.

  • Glazing: Cured, archival oil paintings do not require glass or acrylic glazing. Eliminating glass allows the depth of the dark, light-absorbing atmospheric ground and the delicate refraction of the botanical subject to be experienced without glare.

III. Aesthetic Presentation: The "Heritage" Look

To maintain the "Quiet Luxury" aesthetic consistent with the studio's branding, we recommend the following three presentation styles:

1. The Floating Exhibition (Modern Professional) The artwork is set within a "Floater Frame" with a 1/4-inch "reveal" (the gap between the art and the frame).

• Ideal for: Statement pieces like Shadow and Silver.

• Frame Choice: A deep-profile frame in Satin Black or Natural Walnut.

  • Always use a linen liner

2. The Classical Inset (Traditional Prestige) The artwork is set deep into a traditional frame with a weighted bottom mat.

• Ideal for: Heritage Commissions and nature studies.

• Frame Choice: Dark Espresso wood with a gold-leaf inner lip and a 4-ply alpha-cellulose mat in "Warm White."

  • Important notes about matting Originals:

    • Use a "Spacer": Never let a paper mat rest directly on the oil paint.

    • Archival Materials Only: You must use 100% Cotton Rag or Alpha-Cellulose mats.

      • Cheap "acid-free" paper mats will eventually turn yellow and can actually "burn" the edges of your painting over time.

  • Important notes about matting Signature Editions or Atmospheric Editions:

    • Archival Materials Only: You must use 100% Cotton Rag or Alpha-Cellulose mats.

      • Cheap "acid-free" paper mats will eventually turn yellow and can actually "burn" the edges of your print over time.

3. The Scholar’s Portfolio (Biophilic/Scientific-Chic) For smaller works, a wide, oversized mat creates a scholarly, museum-artifact feel.

• Ideal for: 11x14 or 16x20 nature studies.

• Design Tip: Use a 4-inch wide mat around a small 8x10 work to give it immense visual gravity.

  • Important notes about matting Originals:

    • Always use a linen liner

    • Use a "Spacer": Never let a paper mat rest directly on the oil paint.

    • Archival Materials Only: You must use 100% Cotton Rag or Alpha-Cellulose mats.

      • Cheap "acid-free" paper mats will eventually turn yellow and can actually "burn" the edges of your painting over time.

  • Important notes about matting Signature Editions or Atmospheric Editions:

    • Archival Materials Only: You must use 100% Cotton Rag or Alpha-Cellulose mats.

      • Cheap "acid-free" paper mats will eventually turn yellow and can actually "burn" the edges of your print over time.

IV. Glazing and Protection

While our oil works are finished with a conservation-grade, breathable UV varnish (allowing for display without glass), the following standards apply if you prefer a glazed finish:

• Museum Glass: We exclusively recommend Tru Vue Museum Glass®. It provides 99% UV protection and is virtually invisible, ensuring the chiaroscuro details of the work are not lost to reflections.

  • This recommendation is the same for Signature Editions and Atmospheric Editions.

• Spacers: Glazing must never touch the surface of the original art.

  • Your framer should use archival spacers to create a pocket of air between the oil medium and the glass.

V. Environment & Placement

To ensure the longevity of the pigments and the stability of the support of all of the artworks:

• Avoid hanging works directly above a heat source (active fireplaces or radiators).

• Avoid placement in rooms with extreme humidity fluctuations (bathrooms or unconditioned sunrooms).

Note on International Transit

By shipping our largest works as unstretched rolled linen, we significantly reduce courier transit vibration, eliminate environmental stretcher warp, and lower international freight duties—delivering a pristine, museum-standard canvas directly into the care of your regional framer.

To aid you in protecting your acquired masterpiece, I have written a checklist to provide to your framer to ensure these requirements are followed, maintaining the archival quality of your piece ensuring it will last for generations to come. These are included in your bespoke shipment if you acquire an original or Signature Edition. If you have an Atmospheric Edition, or if you have misplaced your copy, a version of it is available online.