I have worked as a custom professional Conservation Art Framer,  working with art of all sorts, from a 1600's fold out pieced map of London, to an inexpensive but beloved print.  There are a few guidelines which simply apply to all~  If you love it enough to spend money framing it, no matter how little or how much, you want to be able to enjoy it for years to come!!

Much of the cost will be in the frame itself.  Frames can be quite pricey, depending upon your taste and choice.  A professional framer will be quite picky about this, not only insuring that each rail is absolutely perfect, but also insure that all rails are from the same lot, etc., and there are no imperfections one to the next of the 4 rails.  If in joining a frame, a rail is blown, the entire frame must be re-ordered, so often these vulnerabilities are accounted for and add to your initial cost, as this overhead is broadcast out throughout expenses.  Hence the pricey tag sometimes, plus, good frames are indeed just as exquisite to manufacture, when you are looking at "top of the line". 

 That said, the next thing to realize in choosing your frame is SIZE.  A narrow frame cannot support a large piece of glass for years and years, maybe not even 1 month!  You may have a heartbreak of a crashing heap and torn art, if you insist on too narrow a frame.  Be sure to work only with conscientious framers who understand their work enough, that they do not mind taking the time to explain these many things to you, during your decision process.  A smooth talker fast walker, is probably not the best choice in the end!

I just read another review on framing, which includes excellent advice.  I encourage you to read it thoroughly too, as this review is not meant to repeat said info, but fill in a few things which as a framer, I consider MOST IMPORTANT.  So, from the inside, a few important points I would like to add when shopping out your frame job:

Sales people are urged to "upsell".  Get you to spend more than you need to, and more than you meant to, convincingly.

Truly!!  ..The SINGLE MOST IMPORTANT THING TO KNOW/DO WITH FRAMING IS "Conservation".  You frame your art not only to look pretty, but for protection, so it will last.

It is personally a heartbreaker for me to see someone spend fortunes on a pricey frame, maybe 1500.00 or more, but skimp on the most important ingredient, the UV glass.

(NOT to be confused with non-glare glass, which is different altogether; a needless expense)

If you are not using UV glass, you may as well buy a frame for your cereal box cover, so you can replace it every few months as fading WILL INDEED OCCUR!  Flourescent office lighting fades art rapidly, too.  So does a dark north room with scant light.  I personally (and regrettably!) damaged forever, a small cotton batik framed piece in my own home, (and I knew better, but honest, it doesn't take long!)  as I thought it was safe for a little while in a dark windowless hallway.  NOPE!  It faded, ruined, in a very short amount of time.  So forget about playing with Mother Nature, UV RAYS are bouncing havoc all around, everyday, no matter who tells you what, and no matter how dark the room!!  This is not a cost to cut, insist on UV only!!

So the most important things are;  UV glass, the better rated, the higher the grade, and the safer.  But even the lowest grade does a grand job~  (Do not waste money on Non-Glare, it actually gives a foggy effcet anyway, but Non-Glare glass does nothing to protect your art.  It is often brought into conversation by normal framers for upsell, but is cosmetic only, and not protective.  Just "say no!":) 

 Skimp on the cost of the frame, if this will help you purchase the UV glass.  Select a less expensive frame, as you will certainly be able replace it later...as you will still have healthy art to work with later!

Or, if deciding against UV glass, you could go ahead & get the more expensive frame, so when your art fades you still have that pricier frame to admire...  (Hopefully you see what I mean!)

Insist on ALL materials used, to be conservation materials ONLY.  The little extra cost is so far and away worth it in the end!  Even if it is just some dotty little postcard from fifth grade~ You can always re-use the frame and the glass, should you ever tire of it!  But often, a piece is all the more loved for having hung for many years, a cheery companion through the years, and as time goes along, you may wish to upgrade or change the frame itself in keeping with your newer tastes or decor.  This is where the inside "guts" or materials used, matter!!  Can matter TERRIBLY!  It is just a little upsetting, to open up a piece and discover that the last framer thought it would never ever be framed again, (or at least he/she would be long gone) and the art has been severely compromised, and is not reclaimable.  The most you can do is put the whole mess in a new frame as is, without the fresh touch.  The Guts inside matter crucially, insist on seeing what materials will be used, and get a guarantee.

Conservation materials are non-acidic, are cleanly removeable, also there are hold downs for delicate, narrow bordered or antique items which "hold down" as little sticky clamps to the backing and merely guide the art to be seated properly, but never actually stick to the antique art itself.  There are many quality materials, and when it comes to an antique piece, the worst thing you can do for it is not allow it to be treated properly, or merely store it, unframed.  A good conservation framer's suggestions are well worth the cost, when it comes to preserving your art.  But this is true for your favorite $5 print, too!  Suppose it cannot be replaced later, or not with a new fresh one?!  (Perhaps all the others are faded too!  Wouldn't it be best to keep it nice while you still can!)

Non-Acid mats, non-acid conservation foam core, tapes used in the vicinity under the glass, and conservation hold downs beneath the frame.  This is your art's "environment", and it is important that the air is kept as acid-free as possible, too.  These are things you cannot see, but matter TOTALLY for the sake of your art, valuable to you either monetarily, esoterically, or sentimentally.  You want to be able to enjoy it, not wonder "why it doesn't look as nice as it used to" :)

So you may consider a less expensive frame to offset the costs without any loss of beauty, if you search your frame carefully.  There are some very high quality meatl frames, which you may decide upon, and the good ones are just wonderful.  (They also, do not contribute to acidic air environs like the woods will)

Lastly, should you have a damaged piece you love, a competent art framer can do much to help you save it.  Steaming to remove wrinkles, pressing in a dry mount table WITHOUT adhesive, carefully working with cleaning art, spraying to de-acidify when the art itself is decomposing, a good framer can work miracles if you get to know your people.  But we cannot replace faded colours, and vanishing art from destructive UV rays.  When the colour is gone, it's irrepairable.  Conserve, conserve, conserve!!  There for you later, and there for the next generation!

IF your art should have crashed and broken; and you are heading to the framer:  Your art is at risk of being torn, gouged, scraped & damaged by the broken glass shards, some will be too tiny for you to see, but the damage won't.  Do not allow any movement to rupture further the mass.  I don't think I can tell you here to attempt removal of the art yourself, so just please place it on a rigid gurney, a large cardboard box mat or other large flat carrier, and have helping hands to carry the stretcher in!  Make sure you have help first, for doors, if nothing else!

A note on HANGING WIRE: When framing larger pieces, the hanging wire should be 1/3rd of the way down as with all wired art, however, there is a proper way of doing it, with anything heavy.  There will also be 2 points along the bottom rail which this same wire attaches to.  Even some smaller items may become quite heavy with their framing, and this method is to be happily employed.  Be certain your framer uses this method.  The wire will travel up from the bottom rail, to 1 side and across to the other side, then back down to that sides bottom.  The 2 bottom wiring points would usually be roughly about 1/4 of the way in each, towards center from both side edges.  This is adjustable though, according to the needs of the frame and its weight.  (A very large or heavy piece, I will come slightly closer to center than this formula.)  GRAVITY & GLASS>>This not only better distributes the weight on the heavy guage wire better, but actually forces the frame to stay tightly together as it hangs on the wall, as the bottom rail has constant upward pull on it from the wires which start and finish at the base.  So you are effectively USING THAT WEIGHT TO YOUR BENEFIT!!  :)  A good framer will know this method.  Shop around for your framers. 

IF LIVING NEAR WATER:  Also please remember, these methods do not glue a piece fast down tight, and hence, on a very humid day you may see waves in the art as it stretches slightly, from the moisture being absorbed...Generally, this smooths right out again as soon as the humidity drops!  (Which is what mats are good for, keeping that humid art away from the glass, so it may breathe and not adhere)  In certain cases though, when truly problematic, you may require assistance from your framer in making a few adjustments inside, which can be done if this has become an acute problem.  (A reputable framer will happily help you out at no charge, if he/she was the original framer)  Unfortunately though, Those who live near water must be prepared for wavy days, even so!  Unless you totally glue it down!  ..  :)

I once had a fellow who kept bringing his piece back in, for just this reason.  It was an original watercolour painting, his favorite, and he had had it archivally framed, and was quite concerned about the repeated episodes of waving beneath the glass.  We reworked it 3 times for him.  When he arrived back again a fourth time, still distressed, I happened to ask him exactly where he lived, and here he lived on a houseboat!!!  Well..short of gluing down, you just have to take the waves when they come, not much to do for this poor fellow right on the water.  His problem was not going to go away, unless we dry mounted the piece.  He did finally elect to go that route, as he could not enjoy the piece with the chronic wrinkling.  But he did maintain his UV glass, so all was protected from fading, and finally, he was happy with his piece EVERYDAY!   :)  So sometimes you need to make a compromise with yourself, depending...

Lastly, enjoy your pursuit, have fun with your decisions and purchase!  Nothing brings as much pleasure in our homes and their decor, as our framings.  Our framed arts lend structure, beauty, and a sense of permanence, stability, and comfort.  Give us new vistas, and share dear memories.  They are there when we rise to greet us, and there when we tuck away sleepily!  Please do not try to match your framing to your floor, (no!) aka carpeting, or worry about matching a particular chair, what have you.  A well framed piece can hold its own, and bring so very much JOY and comfort! Frame your art, (not your chair), and you will be more than pleased, I assure you!  Every piece is different, so be sure to play around with your samples and don't be afraid to consider suggestions sometimes, as your framer is there to help!  Enjoy!  And conserve, conserve so you may still enjoy tomorrow!!!

Psst PHOTOS!~Never allow a photograph to touch glass, unless you have copies.  They will fuse themselves to the glass from simple humidity, and must be framed with special spacer if not matted.  It's best to make a few copies before framing photos, when placing in readily available storebought photo frames.  Also, photos too will fade in a simple frame without UV glass, so just keep some copies on hand for later, and you're all set!   :)