Arqadia's entire moulding range consists of over 3,000 different mouldings in a wide range of styles and finishes to suit every framing requirement. Please click a sub category on the left to see more categories.

The Original Collection is an exclusive collection of mouldings, hand-finished in the traditional French style to offer superb craftsmanship and quality. Inspired by the grandeur and extravagance of bygone Europe, these classic new ranges create a truly elegant look.

The Larson Juhl range continues to go from strength to strength, with popular ranges like Ferrosa and Confetti offering unique finishes and colours. For added flexibility we offer a chop service on all our Larson Juhl mouldings, so you can buy in either custom chopped or standard length to suit your needs.

The Larson Juhl range continues to go from strength to strength, with popular ranges like Ferrosa and Confetti offering unique finishes and colours. For added flexibility we offer a chop service on all our Larson Juhl mouldings, so you can buy in either custom chopped or standard length to suit your needs.

The Designer Mouldings range by Cardinal Aluminium Company is one of the leading brands in the USA and is distributed exclusively by Arqadia Ltd.

In November 2008, Arqadia received its PEFC and FSC Chain of Custody accreditation from BM TRADA Certification Ltd. This category contains all FSC or PEFC certified mouldings.

This is a list of items shown in the current catalogue which are now discontinued. These products are now out of stock and no longer available to order.


Ask the Experts

Welcome to Ask the Experts, a brand new on-line service which offers
help and advice to framers on everything from technical framing
solutions to business and sales issues.


Steve Burke

Sales Director,

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Steve Burke can offer tips and advice for surviving in the current downturn.

With over 30 years experience in the framing industry, Steve, from Saffron Walden knows the market inside out. Steve first joined Arqadia (then Arquati) in 1981 as an area sales representative, spending most of his time between East Anglia and London. In 1995 he became national sales manager and in 2005 was appointed as Arqadia's sales director.


Mal Reynolds

GCF Advanced
Harlequin Frames

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Got a tricky framing job? Seasoned framer, Mal may have the solution.

Mal came to framing late in life which rapidly turned into his third career after serving 31 years as a navigator in the Royal Air Force. He regularly gives seminars and workshops on conservation, textile and 3D framing. Mal is also a member of FATG and ICON.


Lyn Hall

GCF (Adv.), APF
Fringe Arts

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Lyn Hall joins the Ask the Experts team to answer your framing questions.

With over 33 years in the framing business, Lyn Hall GCF Adv APF is the owner of Fringe Arts Picture Framers based in Farnham, Surrey, a multi-awardwinning business specialising in conservation framing with a creative flair. Lyn also has a training school called The Art of Framing Training School, teaching framers from all over the world. She has travelled extensively teaching and demonstrating and is particularly interested in creative mountcutting and textiles.


Stuart Welch

Founder of
Conservation By Design

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Stuart can offer expert advice on a wide variety of conservation issues.

Stuart trained in fine art at Derby & Birmingham Colleges of Art. He worked as a cartoon animator and maintained his own studio before starting in 1977 the fine art paper suppliers, Atlantis Paper Company. The business specialised in acid free papers, boards, artists materials and conservation Picture Framing.


Q.I create 3d artwork in boxframes. The artwork includes fabrics and coloured papers which are not lightfast. Can you advise on the best type of glass to use, that will protect the artwork as much as possible from fading from exposure to light.


The best glass to use for this purpose is Tru Vue Museum glass.
Tru Vue Museum glass offers the highest quality, anti reflective picture framing glass in the industry. Tru Vue's proprietary manufacturing process, called Magnetron Spluttering, is adhered to an Extraclear lower iron substrate to produce an ultra protective, nearly invisible clear glass. It reduces reflection by over 85% (to less than 1% of total light).
Provides the highest brightness and contrast levels available and has optimal clarity for true colour transmission.
Protects works of art against 98% of harmful indoor and outdoor UV light rays.
We sell Tru Vue Museum glass as follows:-
BDTVMG2501 2.5mm thickness 1220x915mm sheet size (48"x36") 3 sheets per pack @ £125.00 per sheet
BDTVMG2502 2.5mm thichness 1525x1015mm sheet size (60"x40") 2 sheets per pack @ £214.50 per sheet
BDTVMG2503 2.5mm thickness 1725x1220mm sheets size (67.9"x48") 2 sheets per pack @ £291.50 per sheet

If this grade is to high in quality we also stock Tru Vue Conservation Clear glass.
Tru Vue Conservation Clear glass is an ideal choice for original artwork, limited edition prints and other valued works of art.
It has a coating process of microscopic, silica based UV blocking agents which are cured onto the surface of an ExtraClear lower iron substrate to produce an ultra protective life of the glass that enhances true colours.
Conservation glass acts as a sunscreen, blocking most harmful light rays and helps protect the artwork.
Provides conservation protection without glare protection.
We sell Tru Vue Conservation Clear glass as follows:-
BDTVCC2501 2.5mm thickness 1220x915mm (48"x36") 4 sheets per pack £22.50 per sheet
BDTVCC2502 2.5mm thickness 1525x1015mm (60"x40") 2 sheets per pack £53.50 per sheet
BDTVCC2503 2.5mm thickness 1725x1220mm (67.9"x48") 2 sheets per pack £72.50 per sheet

Further details can be found on our current price list page 28.

Q.I have been using Arqadia mountboard for photographs for some time, buying the supplies as bulk packs of A1 board from a local art shop, which has now closed. Can I buy direct from you?


Thank you for your question.
If you are a trade customer then the answer is yes, you can buy direct. However we only stock mountboard in large sheet sizes. Mostly 815x1120mm and by the pack which is usually a minimum of 5 sheets. See our web site for further details or contact our Call Centre on 01234 852777. Alternatively we have wholesalers across the UK.

Q.Could you please advise me on the best way of sticking Arqadia's display fabric onto 2.5mm hardboard or mdf (I use both). I have glued it on in the past and it has come unstuck.


We use the following adhesive - Action can SA- 90 Industrial Strength Adhesive. Phone number on the can is 01942 713667.
This works very well for us and doesn't come unstuck.

Q.I am in the early days of running my bespoke framing business and am struggling to decide what chevrons I should hold to help my customers reach a decision, so far I have had to resort to email images and an old copy of the brochure - herein lies my problem, a customer as expressed an interest in a number of mouldings that are now discontinued and I can not see anything similar to them that you now stock - can you help? One is from the old coloured range 2423GY, and the other is 225705000.


Firstly, printed and CD catalogues are readily available by simply asking our Call Centre on 01234 852777 or sending an e-mail to
You also have the option of viewing the web site where all our products are shown and you can search by colour. Once you've made a choice you can request 3" sample cuts to ensureyou have a perfect colour match.
I've arranged for a catalogue and CD to be sent to you for future help.
As with all ranges we do discontinue items occasionally whether it be due to lack of sales or if a supplier is no longer manufacturing.

Secondly to try and solve your problem. I've had a look at the moulding codes and can recommend a few alternatives.
I've e-mailed you images and also arranged sample cuts to be sent to you.

Q.Might sound a weird question more for the technical guys really, but can you tell me why on the 3500 micron boards don't they put the colour code on the back. I have just started to use 8627 (minuet) thick board and I have got to tell you it is doing my head in. I thought I had good eyesight but trying to distinguish between the front and back with this particular colour is driving me crazy! They seem to manage to put the colour codes on back of thinner boards why not the thicker ones? Apart from wasting time trying to decide, it is also money if the wrong choice is made.
P.S I don't seem to have trouble with the others and as I said I have good eyesight


Basically because we are using pre-laminated board and the thickness is at the maximum they cannot guarantee the print could be close to the edge of theboard. If they move the print closer into the board then there is a possibility you would see the print on a bevel. For this reason we don't feel it's worth making a change that could potentially cause many more quality issues.
You can however rest assured that the backing liner is also the same quality as the top paper although difficult to view the difference against 8627.


Q.I have a 1.6 meter square silk from Iran it is heavily decorated over its entirety with small beads. The customer wants the best protection she can afford. The piece is stable but how would you suggest I support it probably weighs 10lbs. Chris Williams


Hi Chris
This sounds like a rather big job and should be carefully thought through before starting. What you should consider once you have decided how to support the silk is how are you going to frame it bearing in mind the customer's wishes. The following might help:
Size of the silk may cause problems - can you get the materials or will you have to get a supplier to cut them to size. Is your workshop large enough to easily manage working on the silk.
It will need glazing - weight wise you might consider acrylic and for conservation purposes glazing with a UV filter.How are you going to distance the silk from the glazing - it should not touch the glazing.
Should you decide to put a mount around the silk can you get a board large enough or are you going to have to design a mount in sections? If you do decide to mount it then you will need to use a spacer the same thickness as the silk to ensure the mount lies flat on top of the silk.
If you intend to float the silk or close frame it you will need to make spacers to ensure the silk does not touch the glazing.
You will require moulding with a rebate depth sufficient to take the silk and mounts etc - this is easier than box framing the item.

Just a few thing you will need to note before deciding whether to take the job on and if so then decisions for pricing up the job.

Turning to support. The method I might consider is to stitch the silk onto mountboard. You will need a reasonably strong cotton thread, spacing thestitches at approx.. 150mm apart careful not to allow the silk to sag between stitches. You will also need a number of rows of stitches across the centre to stop the silk falling forward. Remember when placing the stitches I would suggest you drill holes in the mountboard as this is easier than trying to push a needle through the board itself. By careful choice of coloured thread these can be hidden. If a mount is to go around the silk I am aware that many framers may make use of a tag gun - it is easy and quick however, I am not in favour of their use for a number of reasons.

I hope this helps - all the very best with the project but careful consideration needs to be exercised before taking on such a large job..

Q.I'm an artist working on kitakata paper with ink and watercolours. Actually I mount the pieces onto cartridge paper with dry hot press tissue. I want to start working on bigger formats. Which support would you recommend me to stick big sheets?


Firstly if you are using the Kitakata paper I would strongly recommend that you do not place in a Hot Press machine. This paper is specialist paper of a conservation level and as soon as you place in a hot press you reduce it to a standard level this removing it from a conservation paper.
For attaching any type of Japanese paper I would recommend you use hinges and I have written articles on hinging for 4Walls magazine. See link

Q.Thanks for your reply but I'm afraid there's some misunderstanding.
I've seen your videos but you're just framing a little paper artwork in a standard frame, nothing to do with the type of problems I face with a handmade paper that is *not flat* after being painted, pretty thin, and that requires a background to be framed... what I'm interested in is to know the proper ways they mount flat those big calligraphy/sumi- e rolls for exhibitions or folding screens.
As far as I know there's a wet (starch) and a dry (silicone/hot press tissue) ways
I'm using the tissue with an iron in a size around 50cm (conservation level ok) but want to work on bigger sizes including multi-panels.
I truly appreciate any indication.


Your original question referred to mounting your artwork with the use of dry hot press tissue and an iron. You have now provided additional information which whilst the original answer remains the following may help.
The advice in the videos demonstrates, generically, the technique used at 'Conservation Level' to mount and frame artwork whatever the size. Obviously, with larger format artwork the number of hinges would change as would the type of hinge and materials used to construct the hinge for light weight paper for which the tape would be too strong.
You have now introduced the fact that after painting the paper is 'not flat' and presumably this is the reason you use hot press tissue to lay the artwork onto board. As you may appreciate the artwork should NOT touch the glass for a number of reasons. This may be avoided by using a sink mount (using one or more window mounts or by the use of a mount cut from thick mountboard) Alternatively, if a watercolour artist is using heavier paper than Katakana paper then I would suggestthat to stop the paper buckling it would need to be sized before use. If you are not sizing the Katakana paper prior to use this may solve the problem of flatness.
If the latter suggestion worked and the artwork was sufficiently flat then to hinge the artwork I suggest the use Japanese starch paste(wheat/rice or Yuki flakes see CXD catalogue for paste and Kozo paper) and Kozo paper at a weight of around 16gms, less that that of the Katakana paper such that the paper hinge was weaker than the artwork.
I am not sure of the methods used to 'mount flat those big calligraphy/sumi- e rolls for exhibitions or folding screens.' I would suggest this aspect could be researched on the internet. However, I would consider using Japanese starch paste and Conservation quality mountboard as a possible solution to your question - this is a more traditional method which I have seen on numerous occasions with Chinese silks and thin fabrics. A possible problem associated with the use of hot press tissue is the quality of the adhesive and whether or not over time this may either fail, resulting in bubbling on the face of the artwork or alternatively, cause discolouration of the artwork.
There is much to consider but initially I might experiment with the of sizing your paper such that it remains flat when the paint dries.
M Reynolds GCF(APF) Adv

Q.I've to price up framing an original piece of art work,which is on thin black paper. It's worth a bit of money. It measures 55"x55". They want it framed in 202 560 167. With either Tru Vue AR92 or Artshield anti UV acrylic. I will need to brace the back of the frame, to stop it sagging over time. What I would like to know is, what to use as a backing board? Normally I use Art Bak Aqua. This would need to be joined 4 times to fit, which wouldn't look too good.I'd thought MDF, but with it being valuable, maybe a bad move? Any advice?


There is no reason why you should not use MDF accepted that you have concerns regarding the artwork's value and conservation issues. Assuming that you are using an undermount which is of conservation quality e.g SSS008953 which is 1650 microns thick then that should give adequate protection from any acids leaching from the MDF. Obviously SSS008953 does not come as Jumbo so I would tape pieces together using 999000031 on both sides; as an alternative I might consider using a normal Jumbo conservation quality board resulting in less joins. For extra protection I would also include a layer of Mylar/Melinex or alternatively RIBs Foil either would then give an extra layer of protection. By using either and a good thickness of undermount this would suffice.
Products mentioned:SSS008953 1650 Conservation backing board, 999000031 ARQ Cotton Rag Gummed Paper Tape 25mm/30mt, SURIBS1219 CXD RIBS Foil

Q.When framing very large prints (cardmounted) how to ensure print lays flat against glass?


Firstly we would not recommend the artwork touches the glass at all.
There are some very good reasons why one should have an air gap around the artwork. As follows:

  • Equalise the temperature and humidity across the face of the artwork
  • To prevent the formation of condensation on the artwork thereby encouraging the growth of mould
  • Inhibit the growth of mould
  • Greatly reduce the chance of the transfer of the image to the glass
  • Newtown's rings are concentric rings of irregular shape that resemble the iridescent patterns of an oil slick on wet pavement. They are caused by the interference effect of light reflecting within the extremely small space between the glass and the negative base.› Specifically with respect to photographs.
    My advice would be to use spacers to distance the artwork from the glazing. One can make their own spacer using foamboard and mount card or there are a number of spacers available on the market.

Selected question is about framing/making mirrors in particular large mirrors. Does one treat this process the same as a picture. You pick the appropriate moulding, cut the mirror to size and then a sheet of backing such as corricor and fix in place with the usual fittings such as fletcher points? Thanks in advance.


In response to your question about mirrors the most important thing is to choose a strong frame and then instead of corricor, cut a piece of hardboard to just a bit smaller than the outside size of the frame. Fit mirror into frame using a thin card to keep the fittings from the back of the mirror and then screw or staple the hardboard to the back of the frame. This will help to stabilise everything if the mirror is very large. If oversized use two pieces of board to make up the size. Hope this helps. Lyn

Q.Hi I am wondering how to float mount a vinyl record and record cover. I can encapsulate the album cover, however, this does not look good on the actual record itself. It there another way? I have struggled to find appropriate screws or bolts to hold the record in place. One of my concerns is that the vinyl record will twist whilst in transit. If floating both items is proving difficult is there another way to mount the cover and record using conservation methods. I do not have access to a CMC. I look forward to hearing your thoughts.


Having considered this question carefully, I am assuming that the record and cover have some value. If this is the case, techniques to preserve will be appropriate. Starting with the record cover, I would recommend that Mylar strips are used across the corners as shown on the photograph of this valuable map. Small slits are made into the under-mount through which you feed a strip of Mylar approximately 7-8mm wide. The slits needs to be wider than the Mylar so that it can pass through on the angle and remain flat. This method ensures that the artwork is held securely in place but is totally removable. Once glazing is in place, the Mylar is barely visible. With regard to securing the record, I understand that the central hole is 7.3mm wide and that it is important the record is static. Two options (1) cut a circle out of conservation mountboard using a straight sided cut and place record into the hole to support it. If you don't have access to a circle cutter or CMC, you could (2) use silicone sealer or glue gun and fix through centre hole. The glue is inert and can be removed easily from plastic/metal surfaces. You could paint or spray black a mirror screw cap and stick itintothe glue whilst still soft. This wouldoffer a neat finish and would prevent the record moving. Hope this helps.

Q.Hi, I have a snowboard for framing, the size is 61" long by 10" wide. It is curved and the customer would like it framed curved side facing backwards against a mirrored surface to reflect the image on the rear side. Any suggestions would be gratefully received. Many thanks,Denyce


Hi Denyce
Thank you for your interesting question which actually poses a few dilemmas (a) the size, (b) the weight (c) the mirrored background. Originally I wondered if it would be possible to put pegs onto the back of the board which are then fixed to the mirror but realised that it was not a sensible solution. Having rethought it through I think the best bet it to use a very deep frame and suspend the board in a wire or nylon loop at each end about 6" in from the end, which is fixed into the inside the top of the frame and do the same into the bottom of the frame so that the board is held in two loops, one going up and one going down. Because the board is curved, you will probably need to either make a custom frame, or use two very deep frames clamped together.


Q.I have an old black and white photo, brought in by a customer, with hole in the photo and the mount, looking just like woodworm ... there are no woodworm holes in the wood frame .... what might have caused this ... and how do I stop it happening in the future?


When I was asked to do "Ask the Experts" I felt a bit awkward accepting because I do not consider myself an expert on conservation, however I have been involved with conservators since 1977 and have got to know a lot of people who are experts. I accepted on the basis that I might be of help if I could act as a hub or conduit to find the right expert for the question.

Photographs are a very special area because they are a chemical process and chemical reactions can be stimulated at any time. For example an old black and white photograph can be stablefor many years but if it is stored next to a modern stabilised colour print where the chemicals are not washed off a chemical reaction can take place and the old photo can suffer irreparable damage. Therefore I put your question to my long time customer and friend Nick Burnett who is one of the few people that really know about photographic conservation. He has worked at the British Museum, Fitzwilliam Museum and ran the Conservation Studio for the South East England Museum Service before setting up in private practice with his company, Museum Conservation Services Ltd.

I am grateful to Nick who has given me the following answer to your question:

Sounds like woodworm. The absence of holes in the frame may be accounted for if the woodworm lived in the frame backboard. Plywood was often used in the past and seems particularly prone to woodworm (we have an example in at the moment and the frame is untouched by the woodworm but the backboard is riddled). If the wormy backboard was replaced at some point in the past then there would be no evidence other than the hole.

When woodworm reach adulthood they travel towards the light. The dead adult should in theory be trapped between the mounted photo and glass. If there was no sign of the adult beetle within the frame then this is evidence that the picture has been unframed before. This would support the supposition that the frame backboard has been replaced. Of course examining the dust seal(s) on the back of the frame would be the easiest way to tell.

As to how to stop it happening in future, the edges of the hole need to be examined to see if it is fresh. If somewhat discoloured and not fresh then it is unlikely the woodworm is active. There is a freeze, thaw, freeze, thaw cycle that can be used to kill woodworm (this avoids the use of chemicals that might damage the photo) but the details are too much for an e-mail.

The mount that the photo is adhered to may well be made from wood-pulp board. This is something that would concern me as a conservator. The safe removal of the mount is again not something I could cover in an e-mail.

I would add to this that another method of treating insect infected objects is to use "Anoxia" which means that you place the object in a special oxygen barrier plastic bag and which you also enclose special oxygen scavengers which remove all the oxygen and in so doing kill the insects and their eggs.

This kind of treatment would be easier for you to do than freezing and it also uses no chemicals that will react with the photograph. Conservation By Design Limited supplies ArchiPress, Mitsubishi PTS and Escal Oxygen Barrier Film and Bags and RPK System Oxygen Scavengers should you decide this is an appropriate treatment. Link
The expert on this kind of treatment is David Pinniger last year's winner of the prestigious "Plowden Medal for Conservation" awarded by the Royal Warrant Holders Association". David has published two books on the subject and his latest publication is available from:

Collections Trust
22 Hills Road,
Tel: 01223 316 028
Fax: 01223 364 658

Regarding prevention for the future it would be possibleto use a material for the backing board that would not be attractive to woodworm and to seal the glass to this backing board using a foil to prevent insects getting inside. Conservation By Design use a material we call Planopanel which is a sandwich of aluminum and polyethylene that would make an ideal backing. It is rigid, waterproof and would not be attractive to insects. Planopanel is used in our Planorama aluminium drawer factory where it is used for drawer bases. It is not in our catalogue at the moment but it is something we can supply if you are interested. We also supply along with Arqadia a material called RIBS Foil which is a Corrosion Intercept product, this is an ideal material to seal the glass to the backing because it is a moisture barrier which combines Intercept technology to purify and permanently neutralize any corrosive gasses within the microclimate of the frame. This foil can be attached by attaching a strong double sided tape to the edges of the glass and the Planopanel backing.

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