What should I look for when choosing glass for my work on paper?

David Frye, a manager of Lowy's Fitting Department, has a good understanding of this complex subject. "Protection from ultraviolet light is a very important feature, though the UV film can sometimes add a slight tint. And if the composition has large dark areas, reflection control glass might be desirable." Frye cautions that reflection control is different from the more common (and less expensive) non-glare glass, which is etched and does not provide absolute clarity.

Think glass is the obvious choice? Think again. Since plexiglass weighs less than glass- and is shatterproof- it can be the wisest choice for works that are large and/or handled often, and that don't contain any loose mediums. "But on the other hand," says Frye with mock exasperation, "plexi scratches easily, so some might say it is the worst choice for a work that is frequently moved." Even more importantly, the high electrostatic tension of plexiglass can draw loose particles from a charcoal or pastel off the surface and onto the plastic. "As a result," David continues, "elements of the artwork can be lost."

"Amiran TN by Schott is the Rolls Royce of glass," he asserts, "but it doesn't come cheap." The product, which is actually a composite of two sheets of low iron glass is shatterproof, virtually colorless, offers UV protection, glare resistance, and very low electrostatic activity. "Ironically, Amiran TN came to fame during the Vermeer exhibition at the National Gallery because people didn't notice it," laughs Frye. So what's the catch? The cost can be four times higher than other high quality glazing products, and Amiran is often difficult to obtain due to persistently high demand.

It doesn't take a crystal ball to decide how to glaze an artwork- it just takes knowledge. So to help you sort it all out, we've made a chart that shows the attributes of several leading products. Of course, when you have work on paper framed at Lowy, we will help you with your glazing selection.