Marion Gunderson Art (and the Farmer's Daughter)

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I’ve had a fair amount of artwork framed. Not until about a year ago had anyone at a frame shop explained to me the importance of using conservation clear glass (as opposed to regular glass) when framing Mother’s original watercolors.

About a year ago, I began having most of my artwork framed by Mona Majorowicz, owner of Wild Faces Gallery in my hometown of Rolfe, Iowa. I knew that Mona’s gallery in Rolfe existed, but I’d never stepped foot inside the gallery. I’d always had my artwork framed elsewhere, probably thinking that a framer in a little town like Rolfe just couldn’t have as much to offer as one would in a more populated area. WRONG.

Not only does Mona offer quality framing (as do many frame shops); she also provides design expertise coupled with actively listening to her customers’ framing wants/needs (more than at any other frame shop I’ve been to). In addition, she offers lower pricing than most (maybe all?) shops I’ve frequented, and Mona cares about every piece she frames.

With that care, Mona stressed to me the importance of using conservation clear glass on anything that is really important to me (especially if it would be difficult to replace if it fades) and acid-free mats. I’d heard the passing mention of acid-free mats before, but, before Mona did, no framer had ever before explained and expressed to me the importance of selecting nothing but acid-free mats.

* * * * * * * *

Part II will be posted within a day or two.

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This entry was posted on April 27, 2010 at 5:12 pm and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.