To have your prints professionally framed by Elliott, please visit the Framing section of the eshop.

FRAMES (I use these for my exhibitions)

For 11×14 prints, I use a 16×20 inch frame. For 16×20 and 17×22 prints, I use a 20 x 26 inch frame.

TYPES OF FRAMESBob Dylan Print Framed

1. Black, Dark Brown or White — slightly textured wood – 

  • Pressed wood interior—has an elegant solid wood look
  • Frame face is 1.25 inches wide 
  • Double thick (8 ply) Mat Board
  • All acid free, archival materials
  • Optical framing quality Plexiglass (non-UV)

2. Red Wood Frame, (I use this only for the Dylan Infrared Print.)

  • Wood
  • Double matted (two single ply mats)
  • All acid free, archival materials
  • Optical framing quality Plexiglass (non-UV).

Print Size

Frame Size
(Approximate outside dimensions)

Frame Type
(as described above)

Price,including insured
shipping to Continental USA

11 x 14

16 x 20

Black or Brown Wood


11 x 14

16 x 20

Red Wood (for Dylan Infrared print)


16 x 20 & 17 x 22

20 x 26

Black or Brown Wood


16 x 20 & 17 x 22

22 x 28

Red Wood (for Dylan Infrared print)


20 x 24 & 18 x 24

26 x 32

Black or Brown Wood


20 x 24 & 18 x 24

26 x 32

Red Wood (for Dylan Infrared print)


I do not offer any other frames nor any variation of these—sorry.

frame detailThese frames are the same ones I use for prints in my home. They are cut precisely to my specifications, both aesthetic and archival so I am certain the proper archival materials are used. I offer framing because I have seen some of my prints poorly framed.

If you want a more complex frame, I encourage you to use a local framer and spend time creating a super custom frame. Choices of wood, multiple mats, colored mats, etc. (Please send me a photo of what you do.) Below is some basic framing information to guide you when you work with your own framer.frame detail

Black, slightly textured wood frame,1.25 inches wide. I use this for my own prints at home and most new gallery shows. The example shown has a 4 ply mat, but I now only use 8 ply, show below, as it gives a much more elegant look.

Red wood with dark staining running through it. For this, I use a double Mat which gives it a more elegant look. Each mat is the normal 4 ply thickness. The the type of frame used is AMPF #2731. Your framer can probably get it if you want to have this made yourself.A dark brown wood frame (pressed board.) I use this type and color for my Sepia toned prints. The example shown has a 4 ply mat, but I now only use 8 ply as it gives a much more elegant look. The frame is the same as the black one above except for the color. 1.25 inches wide.

Although, I use black wood or metal frames for most of the prints in my own home, I have also used colored frames and colored Mats and love to do that as well. I just can’t offer that service.

To find the right colors for a print I spend a lot of time at the framer, trying many different combinations and colors, I place Mat corners and colored frame corners next to the print to see what it looks what works best.

Suggestions and Information for framing and cleaning

If you get a framed print from me, it will use Plexiglass, not glass. Plexiglass has to be cleaned with plastic cleaner. Do not use normal Windex—it will damage the plexiglass. You have to use a soft cloth such as a cotton T-shirt, or a very soft paper towel. Bounty seems to work, but I suggest you test it before use. Rub plexiglass gently. One reason you may not want to use plexiglass is that the print will be in a place where it will be cleaned by various people who cannot be instructed on how to clean it, such as an office or public space. Its a common mistake to use normal glass cleaners and hard paper towels on pictures. This will damage the Plexi. So if it will be cleaned by various people, I suggest glass.

Matboards and cuts:
I suggest you use double thick mat board, called 8 ply. It looks much better (and more elegant) because it makes the image stand out a lot more.

Be sure to tell the framer that you will NOT ACCEPT any slits in the corners of the mat. In the past I had to struggle with many framers who overcut the inside corners of the mat, creating slits, who told me it was normal. But it is not. Tell them in advance that you will not accept anything but a PERFECT cut.
The frames above show the matboard sizing and ratios I have established for my own prints.

I general, when I choose to Mat the print in white, I use an off white or light cream color mat instead of a pure white. Of course you can select a colored Mat to match the print and a special colored frame.

Both the matboard and especially the backing board behind the print must be be acid free.

You can use double or triple matting also. This is a framing decision. This is where you have two or three Mats each a bit further away from the image.
I have seen my prints with very big mats, so a lot of space is left around the image, sometimes nearly as much as the image itself; I don’t like this. I have framed a few prints with a square frame and Mat instead of a rectangular shape. This type of square frame is nice for some images. The key is not to make the mat too large.

Types of glass:
1. “museum quality” glass and “museum quality” Plexiglass

There are different definitions of these. Basically a Museum glass is either or both of the following”

A. Non-reflective so you don’t see reflections. It is nice in that you don’t see reflections of light, but it diminishes the colors of a print. So its worse to use this for color than black and white images. After much testing, I have determined that I prefer not to use this type of glass in most situations. However if you have a very brightly lit room with lots of lights then you may need it. Its not terrible but for use in a normally lit room, I like to use normal glass and plexiglass so that the colors and brilliance of the print are not diminished.

B. UV Plexi and Glass – reduces fading caused by sunlight and artificial light. I find this glass to subtly reduce the vividness of a print – both color and black and white. Since the archival life of Pigment Ink and Silver Gelatin prints is so great that it will not fade in your lifetime and way beyond, I do not use UV. However there is testing that shows it does prolong the life of the prints. Pigment ink has a 150 – 200 year archival life and Silver Gelatin prints more than 200. However Digital C (Fuji and Kodak) prints should be framed with UV glass/plexiglass as these do not have the same super long archival life

2. Normal Glass vs. Normal Optical Plexiglass

I compared as many types of framing and regular plexiglass as I could find and I settled on the brand: “Acrylite FF acrylic sheet” plexiglass. I found this to be clearer than regular glass. It is not non-reflective, but unless you hang the print in a high glare area, I find this type most pleasing despite the fact that is which does show some reflections. However it does not show as many reflections a glass.

Ask your framer to show you sheets of the various glasses/plexis he uses and put them over the print to see what effect they have on the print. I have done this with many prints and like the Acrylic FF better than any other glass except the True-Vue Museum Glass.

Another thing about Plexi is that it can be shipped more easily than glass as there is little chance of breakage. When you ship anything in glass, no matter how well packed, there is a chance of breakage which will then ruin the print. I’ve had glass break when I shipped framed prints in wooden crates specially made for shipping prints. On the other hand framers do successfully ship frames with glass. Most of the time it works OK, but it is a risk.

If your framer suggests other types of glass or Plexi, and you wish to see what he is suggesting, then ask him/her to show you sheets of the various types of glasses/plexiglass which he suggests. Put them over the print to see what effect they have on the print. I put two different types of glass/plexi over a print and compare the look of the print beneath them. I have done this with many prints and glass/plexi and like the “Acrylite FF acrylic sheet” plexiglass the most.

There are other types of nearly transparent glass, but all of these diminish the colors except for the one below.

3. The nicest glass, in my opinion, and the glass of choice is “Tru-Vue” brand MUSEUM GLASS.

But it is very expensive and delicate. It will cost a few hundred dollars just for the glass for a 20×26 inch frame. It is totally transparent. It does not diminish the colors of the print as do other types of non-reflective glass and plexiglass. This is a different kind of glass, which is really 100% invisible, so it looks like there is no glass in the frame. The problem is people will try to touch the print.

The negative aspect of this glass is that it must be cleaned with SPECIAL care to avoid scratching it. This is what the factory recommends. Small spots may be removed by using a dry micro-fiber cloth and wiping in circular motions.

Entire surface may be cleaned by spraying a small amount of glass cleaner on a microfiber cloth and wiping in circular motions.

To prevent seepage onto the matboard and artwork, do not spray cleaner directly onto glass. If micro-fiber cloth is not available, use a clean, lint-free cotton rag.

Do not use coarse or abrasive cleaning agents or dirty cloths. Spray an ammonia-free cleaner onto the cloth and wipe the acrylic. Never spray cleaner directly on the acrylic.

Do not use an acrylic cleaner (i.e., Brillianize) on this product. Do not buff scratches in this product as it may damage the anti-reflective coating. Abrasion-resistant properties prevent mild scratching, but not deep scratches.

Cuts by hard objects cannot be repaired. I do not offer this type of glass, but most framers can get it.

I wish you much joy and brightness with your prints.

Elliott Landy
LandyVision, inc.
218 Goat Hill Rd.
Woodstock NY 12498

The Band Print framed


The Band Print framed