The Colourman's Choice: to hang pictures on
When choosing the right colour for art I always consider the tonality first and foremost (be guided by the pictures themselves). Green is universally successful and the weight of colour should roughly match the strength of the picture. All our colours are well suited to art pre 1950. Since then artists' palettes have used a wider range of synthetic pigments and our whites and greys would be my starting point for work done since then - including photography.
If possible insert a painted, brass or steel picture rail at the top of the wall so that you can hang your art without making holes and can adjust positions really easily.
Supplier: Scraggs of Birmingham
The highest spec is an electrified rail which allows you to light art wherever you put it.
Large pictures look better hung over small if you hang in two or more tiers.
Best lighting is a source close (15 to 30 cm) to the picture. Frame or rail mounted. These can be ordinary off the peg
Or bespoke for the most efficient
The great thing about this ‘sea blue’ is that it conveys the warmth of the Med and the greeny depth of the ocean. As a wall colour it brings a richness that is free of the seasons but is wonderfully timeless and so can complement any age of furnishings.
Lucinda Waterhouse - Etruscan Brown - " a wonderful earth tone that provides a beautiful backdrop to pictures and prints "
More red than brown, this colour relies on earth pigments and was thought to evoke the sort of colours used to decorate the walls of the palaces of Pompeii. It was the height of fashion in late 18th century London. Superb as a backdrop to prints and black frames.
Sue Jones - Aerial Tint - " an elegant grey blue that manages to aviod being cold "
We pass from grey to blue with this subtle shade. It evokes the distant sky, but let’s face it, an English sky. Based on Prussian Blue but, as with so many of our blues, anchored with yellow ochre to give it a softness and avoid it being too cool.
Posted: November 2016