- Large tapestry textile art work makes use of glass prohibitively heavy.
- Tapestry fibers best protected by anti-static glazing, so they don’t detach from weaving and stick to glazing.
- Susceptible to abrasions since it’s displayed in a high traffic area.
- Dimensions of work exceed maximum sheet size of anti-static acrylic glazing available.
Seamed Optium Museum Acrylic®
Safeguards against injury and damage to tapestry and visitors. This product is ideal for valuable works, high traffic areas, and public event spaces.
Acrylic is half the weight of glass; Ideal for large, heavy projects.
Anti-static protection exceeds that of glass
Immediately eliminates static charge. Safer for the tapestry and makes for easier framing and less cleaning.
A durable hard coat protects against scratches from cleaning and general exposure to the public.
Allows viewers to see the tapestry rather than their own reflections.
99% UV blocking
Protects the tapestry from the most damaging light wavelengths, helping prevent fading and fiber breakdown.
Seamed Optium Museum Acrylic
SmallCorp seamed two sheets of Optium Museum Acrylic together. Allows for the large art work to be glazed with the highest quality acrylic glazing available.
This tapestry, designed by Sir Edward Coley Burne-Jones and William Morris, two former Exeter College students and leading figures in the Arts and Crafts Movement, was completed in 1890 and has been in the college’s chapel ever since. Chaplain and Exeter College fellow Reverend Allen explained to us that the previous glass glazing was dull, making it really hard to see and appreciate the colors and textural quality. Combined efforts, including surface cleaning and re-installation by Tetley Workshop, to the preparation of the new Optium Museum Acrylic glazing by SmallCorp and fitting by Wessex Pictures left everyone in agreement: the tapestry now shines in all its glory!