Introducing Tim McFadden to the Gallery


Tim McFadden was introduced to glassblowing through courses offered at Salisbury University in Maryland.  

Tim's work is strongly founded on Italian techniques learned from some of the most reputable glass schools in the country, most notably the Corning Museum of Glass and Pilchuck Glass School.  

We love how the light plays off the undulating surfaces and how each piece can be arranged in an endless number of ways.  


His work pairs perfectly with Maya Eventov's Abstract series, we love it with her minimalist abstract series as seen in the photo above!  

Each piece is sold individually to allow you to fill any sized space.

Maya Eventov’s Abstract Evolution

The mark of a great artist is their ability to take everything they have learned - the years of training, study, copying, sketching, understanding colour theory and design - only to set it aside to explore new ways to manipulate their medium. This is at once a giving up of control, and a knowledge that their instinct and understanding of their medium will guide creation.

  This idea of giving up control was something that could only come with age for Maya Eventov. Eventov began her studies at six years of age, with her education centering around artistic studies. Her training included studying at the prestigious High School #190, followed by a Master's Degree in graphic design. During this time, she did not focus on abstraction, rather she worked towards a complete control and mastery of her skill. When she created abstracted pieces, they were simply a tool towards developing her craft. She describes these abstracts as 'cold' and not having the connection to them that she does with her current work. This calculated control is exactly what Eventov needed to create her famous Birch Tree and Mediterranean paintings. Acrylics are a fast drying medium so placement of paint needs to be precise.

  Maya dabbled in vibrant abstracts in early 2013, creating three pieces for Crescent Hill Gallery. In 2013 she painted the piece below, which was featured in her Solo Show at the gallery in 2014. Maya was able to re-visit this piece at the show and it became a catalyst for an incredible series that represents one of our fastest growing collections.



"Abstract," 48x48", acrylic on canvas.

For Maya, the creation of her new abstract series comes from a place of maturity and learning to let go. To create these works, she relies not on her honed skills, but her intuition. Each work involves kinetic movement and elevated feelings where Eventov must rely on her senses. In these works, the colours come alive for Eventov and her senses become heightened. She instills a sense of trust in the painting, letting it lead her, rather than meticulously controlling the placement of the paint.  

Each painting takes her somewhere new. Slowly, this work has become a sort of exercise in mindfulness and an exploration into her subconscious. From this, Maya admits that something mysterious unfolded. Images began revealing themselves to her amid the abstraction, visions of faces and nudes. Eventov attributes these familiar forms to the many life drawing sessions and studies she did in her twenties. As if from muscle memory, reclining figures and alluring faces emerge from her signature washes and texture. To Eventov, it is a mysterious process wherein an ethereal creature, often a stranger, appears to her and allows her to sit back and wonder who they are.  


"Nude Portrait," 48x48", acrylic on canvas.

To see more of Maya Eventov's Abstracts, click Here

New Artists to Crescent Hill in 2017

We are at the mid point of the year and looking back, we've introduced several new artists to the gallery so far! Here's a quick summary of all the new to CH artists this year so far.

If you would like to receive updates on new artists more frequently, sign up for our weekly newsletter /mailing list on the right of the page.


Karin Silverstone



Out of the many galleries that are currently pursuing her, we are honoured to be the first to exhibit her work!

We are intrigued by her unique style and how she salvages lath from old home and re-purposes it in her artworks. Her work examines time, playing with layers that reveal the imagined history of the reclaimed wood.

    Here is Silverstone on how she creates her artwork:

  "I re-purpose the lath that myself and my husband salvage form local home owners . . . I use a variety of plasters, drywall compounds, clear gessoes and acrylics to draw [using graphite pencil].

The tree imagery, based on personal photos taken in southwestern Ontario are meant to stir up involuntary memories of personal experiences with the hopes of reminding the viewer of the importance of respecting our natural environments. The recycling of found materials further support my interest in the environment."

Liz Rae Dalton


      Liz Rae Dalton's encaustic sculptures starts with collecting driftwood from near her home on an island  in the Gananoque area. Using encaustic as her main medium, she transforms the driftwood into marine vegetation and coral.


Collecting driftwood along the shore near her home


She is inspired by "what lies beneath the water's surface", including the many historical shipwrecks in her area.


"The entire process of creating my encaustic sculpture, from the arrival of driftwood on my shoreline, to the cleaning, carving, and application of molten coloured wax, is a personal journey that speaks about transformation and navigation. I am deeply connected to this work which draws parallels with the journeys that we all take in life."


Daniel St-Amant


Daniel St-Amant currently works in Toronto, creating his mixed media artworks that utilise objects he has found in nature (such as dirt, moss, driftwood or tree bark). He will also create unique textures from urban settings. One example of this is having vehicles drive over canvases to capture the tire tracks onto the canvas. His goal for his work is to raise questions about how current human activities are encroaching and affecting not only the animals and their habitats, but also the people.

He holds a BFA from NSCAD University and a graduate’s diploma from Seneca College at York University in Visual Effects for film and television. His work is found in collections in Canada and internationally.

  Scroll down for a video at the bottom that shows a behind the scenes look on how he creates his artwork, starting with capturing the tire tracks.



Estella Fransbergen


  The gallery is always looking to expand our collection and introduce collectors to some of the best artists in North America. We are thrilled to be able to carry the delicate yet powerful work of Estella Fransbergen, who currently works out of the US. Estella uses a variety of sculpting techniques, from traditional coil building to modern 3D printing using metals and precious stones to create intricate decorated female torsos in the reminiscent of the oldest fertility statues.

"The simplicity of the torso captures the essence of the soul. That, together with the primitive firing techniques of sawdust and Raku, brings me back to my South African roots. The beauty of the colors in the clay is created by the intensity of the fire. Each torso comes from the fire with a uniqueness all its own. This element of surprise and individuality celebrates the human form.

I "dress" the naked form of the torso to represent nature using feathers, branches, leaves, and gemstones. I use semi-precious and rare stones, formed over millions of years. Each stone has a symbolic meaning and our eyes detect the unique beauty of what lies within each."

Raku is the method of covering a kiln fired and glazed ceramic with 'slip' (watered down clay), which is left to harden then placed in a sawdust fire. The slip cracks, allowing the fire to burn the glaze underneath, creating surprising patterns on the sculpture. Some artists chose to engrave the slip to create patterns or images.


Ruben Fasani


Ruben Fasani studied at the National School of Ceramics, and graduated from the National Technical Ceramic Arts. Throughout his art career, he has made functional objects in ceramic, using a potter’s wheel. As well, he has studied traditional Japanese glazes for both stoneware and porcelain.

He then began to create larger-scale sculptures and installations, and researched fusing glass as well as the lost wax process. He often works with recycled glass and derives satisfaction from transforming industrial waste into art.

He has won several national and international awards in 2000 becoming the Grand Prize of Honor President of Argentina in the National Ceramic Exhibition. His work can be found in both private collections and in international museums.


All About Encaustic

Today we are looking at the medium of encaustic, which is heated beeswax and pigment and tree resin. Encaustic paint has been used since 100-300 BCE, used by both the ancient Egyptians and Greeks in their art. Beeswax is very durable, being moisture, mildew and fungus resistant, and many archaeological examples have survived to the present.


The encaustic medium is warmed on a heated palette to soften and melt and then applied to a warm surface. It cools in minutes, in which applying additional layers can be applied alsmot immediately. After it has cooled down, it has a stable finish which can also be reworked at any time.


Pasagic, "Untitled", 60x40", encaustic on canvas.

Encaustic is stable in natural light and you should never have any concern displaying them. They do become brittle and can shatter under 4 Celsius/40 Fahrenheit. At 48 Celsius/120 Fahrenheit the work will shift and will become soft and eventually melt at higher temperatures.



Kraft Van Ermel, "Wings of Dammar", 36x60", mixed media on board.

When encaustic is used in addition to other media, such as oil, we call the work "mixed media", rather than listing each type of medium used.


Dalton, "Hydra", 26x10", encaustic on driftwood.

A new artist to the gallery, Liz Rae Dalton's encaustic sculptures starts with collecting driftwood from near her home on an island  in the Gananoque area. Using encaustic as her main medium, she transforms the driftwood into marine vegetation and coral.


Collecting the driftwood from around her island home

  She is inspired by "what lies beneath the water's surface", including the many historical shipwrecks in her area.


Driftwood ready to be transformed into art!

"The entire process of creating my encaustic sculpture, from the arrival of driftwood on my shoreline, to the cleaning, carving, and application of molten coloured wax, is a personal journey that speaks about transformation and navigation. I am deeply connected to this work which draws parallels with the journeys that we all take in life.”


Dalton, "Deep Glyph", 53x11", encaustic on driftwood.

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Decorative Objects & Vignettes

Decorative objects are another element to help define your own personal design. As we recommend with our artwork, buy what you love and you will be able to make it work in your home!
To create a more cohesive look, group objects together rather than individually. A vignette is a grouping of objects where they have something in common, such as colour, texture or theme.
We created a small vignette in the gallery, using artwork from our gallery and decorative objects from our neighbour in the Home & Design Centre, Hearth Manor.
We've placed different paintings with our vignette to show different possibilities, including some that may not work as well as others.
  Gorg, "Scorpio", 15.5x12.5", etching on paper. Remy, "Sybelle" 21.3", bronze sculpture.
Here is a framed Gorg etching in beige tones that adds warmth to the stark white walls. The metallic frame defines the painting from the walls and complements the metallic decorative objects in the vignette.
Miller, "Winters Approach", 30x40", mixed media on canvas.
This painting, although quite stunning on its own, isn't as successful in this setting as it doesn't have a frame to define the image from the walls and the proportions of the painting look awkward with the console table and the height of the statue.
  Tkachenko, "Masked", 20x24", mixed media on canvas.
A smaller horizontal painting in a frame fits better in this design and the dark frame adds depth to this space. The imagery of the woman in the painting complements the bronze sculpture.
Pasagic, "Untitled", 40x40", mixed media on canvas.
This vibrant painting adds lots of colour to this display! The larger square size of the painting creates a dramatic background for the neutral decorative objects on the table.
Ma, "Spring Glacier", 36x30", acrylic on canvas.
I have saved my favourite pairing for last! The size and the portrait-orientation of the painting are perfect over the table. The restrained palette in the painting adds just the right amount of colour to the design and the style of the artwork matches with the style of the furniture and decorative objects.
For more design tips, this is a great article: 10 Interior Design Lessons That Everyone Should Know from Fresh Home.

Caring For your Art

Here at Crescent Hill Gallery, our artists use the highest quality acrylics and oils. These paints will retain their colour and vibrancy for a long time; according to the CCI (Canadian Conservation Institute), an acrylic or oil painting left in direct sunlight for 8 hours will not show signs of fading for 30-50 years.

However, it is best to take certain precautions when dealing with your artwork as they are on either a wooden stretcher and canvas or on board.

1. Frame the Artwork


Wood 'breathes' even after it is cut, and will expand and contract with fluctuations in humidity. To save yourself the expense of having a painting warp and need to be re-stretched (a cost of several hundreds of dollars), frame your painting in a simple floater frame. This will give is space behind the work and help maintain the stretchers shape.

2. Hang the Art Directly on the Wall


A painting leaning above a fireplace or on a shelf will slowly warp towards the wall, creating a concave shape to the stretcher. For tips on hanging your art, check out our blog post:

3. Choose an Interior Wall

Exterior facing walls can also be problematic as they are exposed to more fluctuations. A frame and bump-ons stuck to the back of the frame will help air circulate around the piece. If you have work on exterior walls or above fireplaces, make sure to check them every few months for signs change.

4. Be Careful when Cleaning

Dust can act as an abrasive force on your painting, so make sure to dust your painting with a feather duster or, preferably, a clean sable brush. To clean the inside edges of your floater frame, a Q-tip fits nicely between the space of the frame and painting.

5. Lighting

Although the high quality of paints used by our artists minimises any concerns of light damage to the artwork, there are lighting options that are better for the art than others. Our blog post "When to Shine a Light or Not" explains the safest options:

6. For those who want to learn more:

McMichael Art Gallery offers a concise and insightful write up for caring for your art, including more delicate works such a historical paintings and works on paper:

They suggest using incandescent lamps to protect work IF they are low wattage or on a dimmer. Incandescent lamps do emit a lot of heat which can degrade fabric and paper. LED lighting emits less heat and UV, while allowing you to view larger spectrum of colours and see more details. Some argue that the warm tone of incandescent bulbs is more suitable for paintings as they do not cast a hard white tone on the work.

If you have any concerns about your work, your first and most trusted source should be the Canadian Conservation Institute:


When to shine a light…or not

The lighting environment in your home can make all the difference to the way your favourite works of art will look.  In some cases, too much lighting can wash out a painting with a subtle colour palette or create a glare against glossy finishes, whereas too little light might hide the vibrancy of colours and create an illusion of a flattened image

See what a difference the light can make?

On the left, this original acrylic painting by Christian Bergeron is exposed to minimal natural daylight and is lit with a LED spotlight. This method is ideal in intensifying the colours and emphasises the depth in the landscape.

On the right, the same painting is displayed facing large windows which over illuminated the piece with bright natural light. The contrast has been subdued and the colours loose their dimension by being over lit in this way.


For this and many other reasons, we always encourage people to take home artwork they are considering on approval for a while. Our open, bright showroom in our gallery may not represent the environment in your own home and can have a drastic effect on the appearance of the artwork

What's the safest way to light your original art?

Once you've chosen an artwork to display in your home, lighting it properly and safely is an often overlooked, but crucial, part of protecting the condition of your original artwork.

Here's some simple guidelines to refer to when considering relative sensitivity to UV:

No sensitivity - Most inorganic materials such as stone, metal, glass or ceramic*

*be aware of the resins or finishes that are often applied to artworks made of inorganic mediums. They often contain materials that have a higher sensitivity.

Low sensitivity - Most modern oil and acrylic paints are fortified with UV stabilizers and therefore have much more resilience to light exposure that older works. Normal daylight exposure indoors through windows will have a minimal effect over approximately 30 years.

High sensitivity - Artworks on untreated wood, cotton, silk, and paper with watercolour paints, inks and dyes are all susceptible to UV damage if exposed to natural daylight or UV emitting light bulbs anywhere between 2 months and 3 years.*

*The time varies so widely for these mediums due to the individualized nature of each material and situation. For best practices to display your artwork well and keep it safe, consult a conservator.

Artificial Lighting

When it comes to spotlighting your artwork, we recommend LED lighting over incandescent lamps.

Incandescent bulbs give off a yellow glow which can distort the true colour palette and emit heat that will slowly degrade fabrics and paper, and fade watercolours.

LED lights emit less heat and UV while allowing you to view a larger spectrum of colours and see more details in your art. This option can sometimes be more expensive, but LED bulbs rarely burn out and therefore don't need to be replaced as often.

Let's shed some more light on the situation...

Be careful of what you read on the internet if you are concerned about conserving artwork, there can be a lot of contradicting information out there. Accredited organizations that make the care and conservation of artwork their business are usually the best sources for indisputable information.

For more detailed information on protecting your sensitive artwork (ie. watercolours or antique paintings) against agents of deterioration, visit The Canadian Conservation Institute run down here.   Save

Introducing Tim De Rose


This winter you will find his stunning and labour-intensive paintings featured in Arabella Magazine's Artists To Collect series and with a CV like his, we are surprised it hasn't been earlier! Check out his article February 2016! Until then, you can read about his amazing accomplishments in his bio here, or below. We can't wait to see the new work that will arrive over the next few months and invite you to meet Tim next year at our 17th Annual Evening With the Artists!


De Rose is influenced greatly by trees and forests, finding the setting to be intensely powerful. In exploring their quietness, he uses them as symbols of people and relationships. Deeply invested in the power of this subject matter, he comments on the open and unassuming way in which he approaches his work:

“I paint in a series with a style that is evolving all the time. I paint within that style until it lets me go. I don’t use any theories of colour, perspective or representative techniques for light and shade.”

Tim begins his process by photographing his arboreal subjects, looking for striking compositions and arrangements from which to base his painted works. From there, he begins drafting a complete line drawing to solidify his composition. To create depth with his medium, he adds as many as four layers of paint. Energetic textures and patterns begin to emerge by a meticulous etching and scraping away of these layers with a potter’s tool called a serrated kidney. In this part of his process, one can detect the essence of De Rose’s early roots in pottery surface.

Tim, in fact, began his successful arts career in the realm of pottery. As his skills in pottery grew, so did the range of projects he took on. These involved anything from hand building architectural sculpture, to ceramic wall panels. These clay canvases were etched, sculpted, and glazed in such a way that eventually they morphed into something approaching traditional paintings. In this way, one project leading to another, De Rose ultimately spent about thirty percent of the time painting. Around 1996, he came to realize how significantly painting was missing in his creative spectrum, and found that he enjoyed using the “different muscles of the process and the problem solving” that it involved. Tim affirms that he can’t say that he loves one art form more than the other, but has confirmed that after 45 years of pottery, he’s now determined to devote himself to painting full time.

Tim De Rose's work can be found in Kingston and at Crescent Hill Gallery in Mississauga.

Hanging Tips and Tricks

To make quick work of the task of hanging your new art, we've compiled some helpful guidelines to follow so you can get to enjoying your vacation a lot sooner!


Hanging your artwork with precision, rather than by-eye, not only gives your collection a more polished look, but it is also more naturally appealing to rest your eyes on even lines and square angles.


At the gallery, we use 60", the height of average eye-level from the floor to the center point of your artwork to hang our work. Heights vary, and so for optimal viewing of your collection, you may need to adjust the measurement to your own comfort.




An alternative way to hang artowrk without using a wire on the back of the painting is to use D-rings and angled wall hangers.


For this method, you install the two D-rings into the back of the painting, making sure they are level with each other.


Then, using the measuring methods described above to figure out the ideal placement of the angled wall hangers. Make sure to measure the distance between the two D-rings on the back of the painting for the distance of the two angled wall hooks as well as the correct height for the painting.

Framing: Inspiration and Information

We get a lot of questions about framing - Is it necessary? What looks best? - so we've put all the information in one area to help get you started!

Choosing how to frame your piece is almost as important as choosing the artwork that you decorate your home with. It's easy to get overwhelmed by the terminology and the sheer volume of style options that are available.

The key things to keep in mind when considering framing is what style will best enhance the features you love about your piece, and accentuate its place on your wall and in your room, without stealing the show.

You may even find that your artwork is at its best without a frame!

Quick Tips:

1. If your linen liner has a small mark on it, try using a white pencil/crayon to gently blend away the stain before resorting to replacing the entire liner.

2. If you're calling for a frame quote, have on hand the depth of the canvas and UI (United Inches) measurement of your piece for faster results.

Example: If you have a piece of artwork that measures 30" x 40" the UI would equal 70 inches.

Floater Frames vs. Traditional Frames

Traditional Overlay Frame (left of top photo):

Characterised by a ledge that juts out (rabbet) and sits on top of the artwork, as seen in the bottom left photo.


  • Comes in a wide variety of styles to suit any taste and budget.
  • Can be used in conjunction with a floater frame as a "cap" (keep reading for more details on this)


  • May cause damage to edges if removed since the frame lays on top of the piece.
  • Reduces the area of the image by the width of the rabbet on all sides.

Floater Frame (right of top photo):

Characterised by it's "L" shaped profile, the floater frame rests underneath the artwork and its edge is typically placed a 1/4 inch away from the painting, appearing that the painting is floating within the borders of the frame, as seen in the bottom right photo. A more contemporary way to frame, you can also choose a wider relief, opting for 3/4 inch away from the image.


  • Poses no threat to damaging the edges of heavily textured paintings, as there is no contact with the paint.
  • Provides a contemporary looking, clean-lined finish to a piece without detracting from the artwork.
  • Does not reduce the area or crop the artwork by laying on top of it.
  • Less expensive than traditional frames.


  • Has less options of widths and styles than that of traditional overlay frames.
  • Can be "capped" with an overlay frame for greater variety, but will inevitability increase the cost.

Floater Frames


Far Left: Basic floater frame for regular stretch canvases

Second from left: Basic floater frame for deep stretch canvases

Floater Frame Styles


A sampling of the variety of styles and finishes available in floater frames.

Ranging from glossy, matte, metallic, wood, beveled, rounded or square edges.

Regular Stretch vs. Deep Stretch

(below, left) Maya Eventov 12" x 12" regular stretch

(below, right) Bob Arrigo 12" x 12" deep stretch (DS)

Pictured above, left: 3/4 inch width, regular stretcher

Pictured above, right: 1 1/2 inch width, DS stretcher

Due to different stretcher widths, frames also have to come in various depths in order to reduce the gap between the frame and wall.

Pictured above:

(top) The capped moulding is too short for a deep stretch floater and leaves too big of a gap exposed

(bottom) this capped moulding has a more suitable depth for a deep stretch floater frame and leaves less of a gap

To frame or not to frame



Regular stretched pieces by Marie-Claude Boucher with minimal texture

(left)Framed with a brushed black overlay frame

(right) unframed


Deep stretched 20" x 20" pieces by Mark Berens with moderate texture

(left) Framed with a Chrome metallic finish floater.

(right) unframed


Pictured above:

View from the side allows you to see the way a deep stretch canvas (bottom) looks more polished unframed than a thinner regular stretch canvas (top).

Full Frames


Choosing a full frame is the deluxe treatment for artwork.


The components of a full frame are the following (from left to right): Overlay moulding, Linen liner, fillet, basic floater frame


Left: This side view shows how each component is "capped" on top of one another to create one whole frame.

Right: View of how the full frame would look head on.


  • Best way to showcase a special piece of art
  • More versatile, you can mix and match components for the perfect look


  • It's easy to go overboard when a simpler framing option might accentuate your piece better
  • More components means higher cost



Narrow mouldings used as an accent. Fillets can be placed inside mat openings, or in the lip of frames or linen liners.

Linen Liners


It is often desirable to create a visual resting spot between the art and everything around it. This can be achieved by using a liner, a fabric (often linen) covered wood frame.

Seamed liners (above) have a break in the fabric where the corners are joined and are usually slightly less expensive than seamless liners (below), which do not.



Enhancers have a rabbet (the frame lip that rests on top of your piece) like a regular frame, but they also have an indentation on their outer edge for the rabbet of the cap moulding to sit upon.

Note: This component was not designed to be used alone as a frame. Their outside edge is unfinished and they are not structurally strong enough to support a piece on its own.


Enhancers add an extra embellishment to mouldings which look more structurally cohesive than a Fillet to the overall design of the frame.


Mat board has two core functions. Like linen liners, mat board provides an area for visual relief so the art could be viewed without the distraction of the nearby surroundings. Secondly, the depth of the mat also serves as a spacer to keep the glass from touching the face of the art.

These images (above) show the same print matted with three different colours. None of the choices is wrong, they are just different.


Dark mats tend to allow the light in the art to pop while a light mat usually intensifies the darker colours. A mid tone mat keeps both the light and dark details in the art more equal.

Mat Styles


Mats are now available in a variety of colours, patterns and textures, which allows them to act in a decorative roll. Mats even come in shiny metallic and suede!


If you want a more lush look for your print, you might consider a thicker mat. Above, the outer mat is 8 ply with a beveled edge, it is much more apparent in the photograph while the middle (beveled) and inner (straight cut) 4 ply mats are less obvious with their lower profiles.


Single Mat (see above)

When mats were first introduced to framing, they were all a single layer. Today it is much more common to use two or three layers.

  • Used most on high end art where the frame designs are simple and classic, not decorative.
  • Also used when matting vintage, classic or antique pieces as it helps them look authentic to their era.

Double & Triple Mat

When two or three layers of matting are used and cut so that they're all visible, you have an opportunity to use more colour or create more depth around the artwork.

  • To add one or more accent colours that can be used to help draw attention to the art by outlining it (top left and right).
  • Can add greater depth by using two of the same color for a more subtle look (bottom left and right).
  • Multiple mat layers should not be used if opting for non-reflective glass, the extra depth will begin to look cloudy

You can also create a transition from the paper to the mat as seen in the image below.

Mat with Fillet

Fillets, or narrow mouldings used as an accent as described earlier, are placed either inside the lip of a frame or more often in mat openings (below).

  • Create more depth than mats.
  • Emphasize multiple mat layers (below).
  • Finishes comparable to frames so they are useful to coordinate with the frame for a highly customized look.
  • Used to create illusion that matting is thicker that 8 ply (see section on proportions).

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Mat with Spacers

Spacers can be added between mat layers for extra depth (below).

  • Brings out inherent depth in the art, such as a landscape with perspective.
  • Adds actual depth to accommodate an object or art with sculptural relief.

Mat Border Proportions

One of the most important things when choosing a mat is deciding how much of the mat you want to see versus the image. Too little matting can look awkward. A new trend is to use very large matting around a smaller image.

  • Larger matting adds a higher expense because it increases the UI of the frame and glass.
  • Demonstrates your personal style: a smaller mat is more traditional while a larger one is more contemporary.


This print leaves even spacing around the entire print and uses a large mat to create a large space for the details of the painting to be observed.


In this intimate piece, the matting is closer to the print, but leaves space for the signature at the bottom. Two mats are used with a white fillet to add depth.


Affixing the back of a paper piece to a wood panel or board to stabilize and increases the profile width of the piece.


This piece (left) featured hand torn edges by the artist. The relief between the edge of the frame (bottom right) and depth and shadow created by its mounting (top right) creates a stark and dramatic contrast.


This print (above) has been mounted to a board and covered in a layer of clear plastic, which stabilizes the paper enough for traditional framing, but is not thick enough for a floater frame.

This also smooths out the surfaces of prints that might have been damaged by water or bending. As this is an open-ended, unsigned print that will not hold value, so it is safe to mount in this manner.


Due to it's fragile and porous nature, paper artworks are usually framed with glass to protect it from stains, water, tears or scratches. Choosing the wrong kind of glass can mean exceeding your budget or inadequate protection.

Regular Glass:

  • A physical barrier against stains and direct damage.
  • No UV protection or non-reflective filter.
  • Best for low-lit rooms and painted artwork on paper.
  • Least expensive option

Museum Glass:

  • Physical and UV protection and glare resistant.
  • Ideal for rooms with large windows or bright lights and paper pieces
  • with ink or fabrics which are more UV sensitive over time than paint.
  • Most expensive option


When considering framing you should also be aware of what kind of costs are involved.

The cost of your frame moulding is the most basic component of your invoice. It is generally defined by two sets of numbers.

  • The UI number, or United Inches, is calculated by adding the length and width of one side together.
  • The manufacturer's price code for each frame determines the relative cost to other frames from the same brand.

The cost of your frame is determined by a pricing table given to us by the manufacturer. We then see where the UI and price code intersects on the table to give you your price.

Some other options to consider are:

  • measurements and quality (acid free or regular) of matting
  • fillets and/or enhancers
  • measurements and quality (UV, non-reflective, normal) of glass
  • mounting
  • paper backing
  • assembly charges


Here are a few interactive goodies to help you with your decor projects!

CURATE is fun app that will keep you busy for hours virtually arranging artwork on your own walls! By measuring your space and entering in the measurements, this amazing app ensures everything is actually to scale!

Look for Crescent Hill's gallery of artworks on Curate:

Curate App on Google Play Store

Curate App on iTunes App Store

You can mix and match Larson-Jules collection of frames and mouldings on your own photo: Larson-Juhl Interactive Frame Design

Learn how to create a unique wall art display that completes any room with this fun video from West Elm Home Decor: How to Hang Wall Art Like a Pro

Every industry has it's own lingo, so if we used a term you're not familiar with, try referring to this helpful online glossary:

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We hope you’ll join us!

Fall Group Show Invite 2014Crescent Hill is thrilled to announce the first of three upcoming shows happening this fall and into the winter. Works for each show will only be posted online the day before the opening, so keep an eye out for your favourites. With new works from renowned artists such as Julia Klimova and Peter Panov, we guarantee these incredible pieces will not stay in the gallery long! RSVP to win a special gift selected by our Director! or email us at

Secluded Escape with Bill Saunders

We have a lovely new painting by Bill Saunders today! With lush foliage in a sunny secluded space, this looks like the perfect escape from all the cold winter weather!
Secluded Acrylic on Board 30x48"
Acrylic on Board

Crescent Hill Miniatures Show!

Our annual Miniatures show is on now until the end of the month, so make sure you come by soon to get some amazing one of a kind gifts! We have an amazing collection of miniature works available, so it's a great time to find the perfect pieces for your home, cottage, and friends. Christmas is only 11 days away, so don't miss out!
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Happy Friday!

We have great news! Crescent Hill Gallery will be participating in Shop the Neighbourhood on November 30th, so we invite you to join us in supporting your community by shopping local for the holidays. As part of the event, we'll be offering a free basic floater frame for artwork purchases made at the gallery on November 30th!
Remember to support your community and shop local this holiday season!
Remember to support your community and shop local this holiday season!

Happy Father’s Day!

All of us at Crescent Hill Gallery would like to wish a very Happy Father's Day to all of the amazing fathers out there! Today is a great day to relax and celebrate with family, so we hope you have a fantastic day doing something you love.