Vanishing Point Picture Framing
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Every picture requires its own framing solution designed to enhance its unique beauty and give it the protection it deserves. The possibilities are as varied as the art works themselves.


  • I had the privilege of framing this exquisite work by Carol Wylie, the finest portrait painter in this part of the world. The maple frame is hand-stained to match the deep purples.
  • Even this strong, wide, magically crafted Roma frame is just able to contain the explosive energy of this Norval Morrisseau sketch on paper.
  • Seven mats!
  • It is fun to have fun! A limited edition print of a Dr. Seuss drawing in a hand-painted maple frame, from the collection of Eric Anderson! #yxeart #custompictureframing #drseuss.
  • An astonishing piece of needlework by Monika Kinner-Whalen, framed in subtle variations of silver and grey.
  • Bris Flanagan discovered this Ernest Lindner watercolour from 1961 at Sherbrooke Community Centre. Sadly, it had been framed using acid materials, such as corrugated cardboard, and suffered severe damage as a result, the paper now yellowed and fragile. In its new frame it is protected from further damage by buffered cotton rag mats and UV filtering glass from TruVue.
  • One of my favourite Roma mouldings, dark, worn and warm, adorns this iconic Dave Geary print playfully depicting the building once known as the Merry Mansion, now demolished. A double Crescent rag mat with a black reveal echoes the comic-book style outlines typical of Geary's poster work.
  • Here is an elegant contribution to the prairie still life genre by Ruby LaLonde. The frame has a comfortable, worn-looking finish reminiscent of a home in the country.
  • A captivating painting by Aleida M. Oberholzer is set off by an 8-ply mat, providing not only adequate air-space under the glass for conservation purposes, but also a nice wide bevel that gives a feeling of substance and depth.
  • This engaging mixed media work by Jan Norris is mounted as far from the glass as possible to reduce static electric attraction of the relatively loose particles of pigment in the pastel.
  • How about this bright and jazzy painting from Cuba? Its liquid light is contained by a standard white linen liner and a gold frame that has been hand-rubbed to let the red bole show through from beneath.
  • A fine example from the Emma Lake Collaboration of 2012 by five artists: Lindsay Embree, Michael Hosaluk, Kimberly Winkle, Michael Cooper and David Bynoe. The framing is an unobtrusive combination of muted green metal moulding, off-white 8-ply mat and reflection control glass.
  • It's not often that I use an iridescent lime green frame, but in this case it suits the art work by Ellen Brenneman perfectly!
  • A classic antique gold frame and linen liner gloriously complement this meticulous and skillful copy of The Redoutable at Trafalgar, originally painted in 1836 by Auguste Etienne Francois Mayer. In one of many portrayals of the famous naval battle of 1805, the Redoutable, with all three masts gone, is being fired on by the Temeraire on the right, the same ship painted by Turner in 1824 as it was being towed back up the Thames for demolition in 1824.
  • An unusual collection of significant items housed in a multilevel arrangement. No collection is too challenging!
  • This richly coloured paper batik on canvas by Paige Mortensen is completed by a raw maple gallery frame favoured by artists for mounting exhibitions of work on canvas or cradled panel.
  • An extraordinary photo of the famed Bonneville salt flats by Joe Schmidt, framed with double mat and metal frame.
  • A gold frame adds warmth to this 1958 study by Otto Donald Rogers.
  • Sydney Thiesson is commemorating the destruction of her family's cabin in the forest fires of last summer by collecting images and objects and transforming them into art. In this piece a scorched fragment of birch bark is simply mounted in an environment created from wood and paper materials of similar colour and texture.
  • Cheryl Ring has done a fine job of hand-painting this maple gallery frame to fit her richly textured encaustic on panel, something that other artists may be interested in trying.
  • Simple, clean frame with clear acrylic spacer to provide space under the reflection control glass.
  • I was privileged to frame this remarkable work on paper by Edward Hargitt from 1866. At first glance it has the softness of pastel, but is actually painted with great reserve in watercolour and gouache. The presentation is a straightforward float mount within a raised mat under museum glass.
  • Reproductions of paintings on plywood by Kari Dunham in simple raised mats with double openings. The frames also have a subtle dark brown wood grain.
  • The raised mat, closely matching the colour of the watercolour paper in this exquisite work by Patricia Jaster, casts a slight shadow that subtly bounds the image, while the natural wood frame enhances the warm sunny atmosphere of the scene and draws attention to the central figure.
  • Repetition of the predominant colours of the painting in both the mats and the frame creates a harmonious whole that echoes and emphasizes the powerful figure.
  • An understated dark frame and raised black mat are all that is needed to lend simple elegance to this Haida relief.
  • A muted gold frame echoes the ochres in this bold painting by Hilary Johnstone and adds light through its subtly reflective surface.
  • A classic antique gold frame with a narrow linen liner for a truly classic painting by Craig Berry.
  • An extraordinary handmade Roma moulding with a double rag mat completes the magic of this print by Maya Cardin.
  • A double museum mat (with solid colour throughout) and a wide reveal provides an elegant setting for this group of family photos by Marlis Funk Photography.
  • This unusual stacked frame offers the advantage of the floating frame which allows the complete panel to show without covering the important edges, while adding the width of the well-suited 'distressed' moulding by Roma (painting by Kim Ennis).
  • A hand-stained maple gallery frame enhances a bright canvas.
  • This precious panel, one of my daughter's earliest paintings, is float mounted on cotton rag mat board and nestled in a moderately wide linen scoop with a rich looking antique gold frame.
  • Another example of an unusual stacked combination (painting by Kim Ennis).