The Art of Picture Framing

The picture frame has a longer history than most people realise. Long before it became a fixture of the domestic interior, framing was an architectural language, a way of conferring significance to a defined space. From the cartouches of ancient Egypt, to the painted borders of Roman fresco, to the carved and gilded altarpieces of medieval Europe: all of them speak to the same fundamental human instinct, to mark what matters and present it with intention.

That tradition is what we work within at Mangoe Arts & Framing. Not as an academic exercise, but as a living craft - one that informs every design decision we make, and every frame we put our name to. We draw on that tradition when helping clients find something historically coherent with the work it will surround. Recognising the appropriate context for a Sansovino frame compared to an Auricular frame may present more of a challenge than deciding whether to pick a gilt gold frame versus a contemporary white frame. Our role is to understand that, and to deliver it with the highest level of craft available.

Over more than a decade, we have built relationships with independent frame makers, artisans, and conservators around the world, sourcing hand-finished mouldings that exist outside the commercial mainstream. Many of our samples are finished in house, and a number of our most distinctive designs are available exclusively through Mangoe Arts. That network, built on shared values of craft and conservation, is what allows us to offer something genuinely different.

Conservation framing is a science, and we treat it as one. We use exclusively pH-neutral, acid-free materials throughout - from backing boards and matting to adhesives and tapes, and all of our glazing options carry the maximum 99% UV protection designation. We are equally attentive to the less visible factors that determine how well artwork survives over time: humidity control, the off-gassing properties of framing materials, and the long-term behaviour of different mounting methods on different media. Where a project demands specialist knowledge beyond our own, we consult outside conservators rather than proceed on assumption. The goal is always the same; that the work looks as it should, for as long as possible.

What distinguishes our approach is intention. We do not believe in default solutions. Every project begins with a genuine conversation about the artwork, the space it will inhabit, and the impression it should leave.

Shown below are a small selection of our past framing projects, each one a collaborative vision.