Naim owners Artwork


I got this from TAG. It’s actually very big, but just doesn’t look it here. The frame isn’t jet black, it’s a dark grey/bare wood that matches the grey photo.

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I found this a few years ago at the Cambridge Art Fair. It cought my eye for the geometric design and the circles look like 7 inch singles. The picture was sold to me with the frame. I really like it, its hung on the wall between the speakers.

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These are my own photos that I had printed and framed, these are also in my listening room. The New York skyline image was taken on a cold December in the late afternoon as the sun started to go down, the soft golden light over the buildings in Central Park looks amazing.

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Why have you got a picture of me on your wall?

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All I got from TAG is an Aquaracer that has been back twice for leaking water

An Aqualeaker then.

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Because you’re cool, good looking and you’ve got my watch.

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I had an issue with a brand new Monaco and the customer service was exceptional. In fact it was the best customer service I’ve ever experienced from any company in my life.

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Latest one framed.

Lord of the Rings poster signed by 13 members of the cast, incl Peter Jackson. Shame Christopher Lee isn’t on it, but never mind. Very pleased with the frame, as choosing the right profile for a poster took a bit of thought. Something very dark, but not black, modern, yet a touch of ancient LOTR feel about it and the thin strip of brown to compliment the poster. Usual, Artglass AR99 sandwiched between cotton mountboard. This thing is huge and cutting the glass was very difficult for me, but that’s for another post if anyone’s interested.

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For my birthday last month I was given this signed photo of the 1980 FA Cup-winning West Ham side, which I just need to find a wall for…

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Here’s the big one for me that I’ve been building up to frame. I wanted to gain the experience and knowledge before attempting this one. It cost me a lot and the prices over the past 3 years have gone crazy. It’s a limited 295 silkscreen on beautiful Somerset tub cotton, using 19 hand-applied colours and signed by Storm Thorgerson. This is the kind of art that screams quality in real life. The colours, embossed cotton and size can’t be appreciated on the net. Handling something of this size and quality needs a lot of care, so gloves and face mask to ensure nothing damages the surface. Because the plain background takes up a fair amount of the print, any scratch on the Artglass 99uv shows up very easily. No one could supply me with a cut sheet without scratches. Typical useless service, so I ended up learning the process to cut 2mm frame glass. Handling full size sheets of glass and cutting lengths of 37" is not easy at all, especially when it’s only 2mm thick and £130 a sheet.

The number one starting point is getting a proper glass cutter. This has to have a self-oiling mechanism and a precision cut rolling cutter head. One like this, Fletcher II with the proper glass cutting oil.
Fletcher-Terry-Designer-II-Glass-Cutter-3246-01

The frame is solid black walnut, and again, this has taught me a lot about another skill, but this time wood finishing. I’ve always aspired to recreate the finish on my Woodsong LP12 plinth. I’ve never seen a finish as fine and I’ve asked furniture makers to match it, but they can’t. I think I’ve cracked it on this frame. It’s 95% there, but just a hair away from the reflection of the Woodsong. The answer is to sand, sand, sand again until you’re using 1200 grit, then oil. You can’t wax it, spray it, lacquer it or using anything tinted. Just sand in the direction of the grain. It takes forever and tbh I got bored and thought it’s good enough. Once finished you get that depth of natural wood and satin sheen without any ugly coating. All this detail can’t be see on the below photo.

Matching the print’s white Somerset tub with the cotton mount is very tricky. The only way is to order various shades of white and compare them in various types of light and decide what white you want closest to in what type of lighting you want.

Here it is encapsulated between Artglass AR99, cotton mountboard with poly-lined museum backboard. Hung on a dark wall away from any direct light. I’ve made 1/2’ wood spacers for all my frames to keep a nice air gap between frame and wall.

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That’s a great labour of love and a brilliant result :clap::clap::clap:

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