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 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. Mounting Standards for Flat Media

Our works are provided on flat, non-cradled supports (hardwood panels or museum-grade cotton rag) to offer the collector maximum versatility in framing.

  • For Original Studies (Panels): Ensure your framer uses offset clips or Z-brackets. These secure the panel to the frame without the use of permanent adhesives or damaging the edges of the wood.

  • For Signature and Atmospheric Editions (Paper): We recommend hinge-mounting using acid-free linen tape. Avoid "dry mounting," as it is a permanent process that can affect the long-term value of a fine art edition.

II. 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.

III. 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.

IV. 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).

Technical Consultation

Should your professional framer require specific details regarding the pH-neutral polymers used to seal our panels or the oxidation rates of our oil media, please have them contact the studio directly at lucy@mooreartbylucy.com.

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.