Framing a Georges Lacombe Print So It Lasts Decades
The print itself matters less than what surrounds it. Acid-free board, UV glazing and a sealed backing decide whether Lacombe's blues hold or bleach out within a few years.
Use conservation-grade materials throughout. That means an acid-free, pH-neutral mount board, a sealed acid-free backing, and glazing that blocks at least 97% of UV light, either coated glass or acrylic. Keep the print out of direct sun and away from heat. Good materials cost roughly two to three times standard framing and are worth it.
Why Standard Framing Fails a Print
Most framing damage is invisible for the first year. Cheap mounts are made from wood pulp treated with lignin, which releases acid as it ages. That acid migrates into the paper and shows up as a yellow-brown band along the bevel, then across the print itself. Collectors call it mat burn, and once it sets in it cannot be reversed.
Georges Lacombe's work gives this particular risk some bite. He was associated with the Nabis in the 1890s, and his prints tend to sit in flat planes of saturated colour, blues and greens especially. Even light degradation is obvious on that kind of surface. The fix is simple and specific. Every component touching the print, mount, backing and hinge, should be acid-free and pH neutral, rated conservation grade.
A short sentence for reassurance. None of this is specialist knowledge. Any framer can do it, and it costs a modest considered, often 20 to 50 percent over a basic frame, rather than a fortune.
Glazing and UV Protection
Ultraviolet light is the main cause of fading in reproduction prints, and the anxious instinct here is correct. Sunlight through an ordinary window will bleach inks noticeably over two to five years of continuous exposure, with south facing rooms doing the worst damage. The countermeasure is glazing with a UV filter coat, available on both glass and acrylic.
Ask for a filter that blocks at least 97% of UV. Museum glass goes further and reduces reflections, which helps with Lacombe's darker palettes, since reflections on dark ink are what you actually notice. Acrylic is lighter and safer above a sofa or a child's room, though it scratches more easily and carries a static charge that can lift loose pigment from some printing surfaces.
Glazing alone is not enough. Position matters more than any coating. A wall that never takes direct sun, a few metres back from a window, will preserve a print longer than UV glass hung in full afternoon light.
Environment and Ongoing Care
Humidity does quiet damage. Paper expands and contracts with moisture, and repeated cycling can buckle a print inside its frame or encourage foxing, the small rust coloured spots that appear on old paper. Aim for a stable indoor range, roughly 40 to 55% relative humidity, and avoid exterior walls, bathrooms and the wall above a radiator.
The backing deserves a mention because it is where cheap frames cut corners. A sealed acid-free backing board keeps dust and insects out and stops acidic particles from the wall working their way in. The frame should seal at the back with a proper dust cover. If a framer leaves the back open, ask why.
Care afterwards is light work. Dust the frame and glazing with a dry microfibre cloth. Never spray cleaner onto glazing over a print, since liquid wicks under the edge. Check the backing and hanging points once a year. Lacombe's Nabi-era images reward this, and there is no need for anything more elaborate than that.
A print fades from the edges inward, and by the time you notice, the damage is already priced in.
| Component | What to specify | Why it matters |
|---|---|---|
| Mount board | Acid-free, pH neutral, conservation grade | Prevents mat burn and acid staining |
| Glazing | UV-filtering glass or acrylic, 97%+ UV block | Slows fading from daylight |
| Backing | Sealed acid-free board with dust cover | Blocks dust, insects and wall acidity |
| Position | Out of direct sun, away from heat and damp | Reduces fading and humidity damage |
Framing components ranked by effect on print lifespan
Key takeaways
- Specify acid-free, pH-neutral mount board, backing and hinges, since acidic materials cause permanent mat burn.
- Choose glazing that blocks at least 97% of UV light, in glass or acrylic depending on where the frame will hang.
- Keep the framed print away from direct sunlight, radiators and humid rooms, which matter as much as the materials.
- Conservation framing costs a modest considered over basic framing and is the difference between a print that lasts years and one that lasts decades.
Related questions
Is UV glass really necessary for an art print?
For any print hung in a room with daylight, yes. Ordinary glazing blocks very little ultraviolet light, and UV is the main driver of fading in printed inks. A UV-filtering coating on glass or acrylic blocks around 97% or more and slows fading dramatically. In a dark hallway it matters less, but most rooms receive more light than people expect.
Acrylic or glass for framing a print?
Glass is more scratch resistant and usually cheaper, and it does not carry static. Acrylic is lighter, shatter resistant and better for large frames or walls above seating, though it scratches more easily and attracts dust through static. Both are available with UV-filter coatings, so the preservation performance can be equivalent either way.
How much extra does conservation framing cost?
Typically 20 to 50% more than a basic frame, depending on the size and the glazing chosen. Museum-grade anti-reflective glass is the priciest upgrade. Given that acid damage and fading are permanent, the considered is small relative to the cost of reframing, or replacing, a print a few years later.
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