Framing a Bonnard Print So the Colors Survive
Bonnard's violets and hot oranges are the first things light destroys. The framing choices that matter are few, specific, and mostly about what sits between the print and the room.
Frame a Bonnard print behind UV-filtering glass or acrylic, ideally blocking 97% or more of ultraviolet light, with acid-free matting and backing, and hang it away from direct sun. Light does the damage, so the glazing and placement matter more than the frame itself. Expect conservation framing to cost more than a standard frame, roughly two to four times as much.
Why Bonnard Fades Faster Than You Think
Bonnard built his pictures from the colors that fade first. The violets, the pinks, the chrome oranges in the interiors and the nudes at the bath were all mixed with pigments that modern lightfast testing treats as vulnerable. A reproduction printed today can hold those tones well, but only if the paper itself is protected. The risk is not the print quality. It is everything the print meets after it leaves the box.
The practical worry is cumulative exposure. Daylight through an unglazed window delivers ultraviolet radiation that breaks down color molecules over months and years, and the damage never reverses. A print hung opposite a bright south facing window can shift noticeably within a few years. One hung on a shaded interior wall behind proper glazing can look much the same for decades. Placement and glazing together decide which outcome you get.
The Materials That Actually Matter
Three components do nearly all the protective work. The glazing should be UV-filtering glass or acrylic, with reputable conservation options blocking 97% to 99% of ultraviolet light. The mat and backing board should be acid-free, described as conservation or museum grade, because ordinary cardboard mats slowly release acids that stain paper from behind. The mounting method should be archival hinges or corner mounts, never dry mounting or adhesive spray, which cannot be undone.
Acrylic is worth a hard look over glass. It filters UV equally well in conservation grades, weighs less, and will not shatter over a bed or a hallway. Its tradeoff is static, which can lift loose pigment from some printing surfaces, so ask that the print be sealed or hinged properly first. A standard glass frame from a department store, with a plain cardboard mat, protects against almost none of this. That is the gap worth paying to close.
Conservation checklist
- UV-filtering glazing rated at 97% or higher
- Acid-free conservation mat and backing board
- Archival hinging or corner mounts, no adhesives
- A wall that receives no direct sunlight
Where You Hang It Matters as Much
Glazing is the first line, placement is the second. Direct sunlight defeats any filter over enough hours, so a wall that never catches the sun beats a bright one with the best glass. Avoid spots above radiators or fireplaces, where heat and fluctuating humidity stress the paper. Bathrooms and kitchens combine moisture with temperature swings, and both work against long-term color stability.
Two inexpensive habits extend the life of the frame considerably. LED bulbs emit negligible ultraviolet light, so swapping nearby halogens or incandescents removes a quiet source of exposure. And rotating which prints hang in the brightest room, even once a year, splits the cumulative dose across a collection instead of concentrating it. None of this costs much. Together it buys years that no frame alone can.
The frame is decoration. The glazing, the mat, and the wall are the conservation.
| Option | UV protection | Tradeoff |
|---|---|---|
| Standard glass | Minimal | Cheap, near no UV defense |
| Conservation glass | 97% or higher | Heavier, can reflect light |
| Conservation acrylic | 97% or higher | Lightweight, static can affect loose media |
| Anti-reflective conservation glass | 97% or higher | Best clarity, highest cost |
Glazing options compared
Key takeaways
- UV-filtering glazing at 97% or higher is the single most important purchase.
- Acid-free mats and archival hinges prevent slow damage that glazing cannot stop.
- Hang the print where direct sunlight never falls, regardless of glazing quality.
- Conservation framing costs more upfront and far less than reprinting a faded print.
Related questions
Does acrylic yellow over time and change the colors?
Modern conservation-grade acrylic is formulated to resist yellowing and carries optical brighteners that keep it clear for decades. Older or cheaper acrylics can shift slightly. If a framer offers conservation-grade acrylic from a recognized manufacturer, the yellowing concern is largely a problem from an earlier generation of materials.
Is UV protection still needed in a room without windows?
Yes, though the urgency drops. Fluorescent tubes emit meaningful ultraviolet light, and even some household bulbs contribute small amounts. LED lighting emits negligible UV, so a windowless room lit only by LEDs poses little risk. Glazing still adds a layer of protection against accidental handling and airborne grime.
Can a faded print be restored?
Paper conservation can reduce some staining and discoloration, but lost color in a printed reproduction cannot be genuinely restored. Light damage is chemical and permanent. This is why prevention carries nearly all the weight, and why the modest extra cost of conservation materials is the sensible place to spend.
From the Auvrique collection
Made to order · Every size
Every size, every country, delivery included
Editions are made to order and shipped worldwide. Choose a format and a size, and the price you see is the price you pay.
View the collectionGeneral art-historical background drawn from public museum records and standard reference literature. Pricing reflects Auvrique editions and is indicative only.