Hang a framed piece in a bright Dubai room and two things work against you. The light that makes the room beautiful bounces off the glass, so you see the window, the ceiling lights and yourself instead of the artwork. And the ultraviolet in that same light slowly fades pigments and yellows paper, permanently.
Tru Vue Museum Glass® was made to solve both problems at once. It is the glazing we reach for when a piece is original, irreplaceable, or simply too good to look at through a reflection.
What Museum Glass actually does
- Blocks up to 99% of UV rays (300–380nm): conservation-grade protection, the highest level Tru Vue makes in glass.
- Reflects less than 1% of light. Standard framing glass reflects around 8%. Detail, blacks and subtle colour stay visible from across the room and at an angle.
- Transmits over 97% of light, so colours read brighter and closer to what the artist intended.
- No ripple or “orange peel” texture, with a smooth, durable surface that is easier to clean.
- 2.5mm thick for strength and rigidity, with coatings engineered for permanence: the UV coating is bonded to the glass, not a film that can peel.
It also meets ISO 18902 and passes the Photographic Activity Test (ISO 18916), the photo-safe standard conservators look for. In plain terms, it is safe in front of photographs and works on paper for the long term.
When we recommend it
- Original paintings, works on paper and limited-edition prints
- Highly detailed, dark or colourful work that reflections would wash out
- Fine art photography, including giclée prints on archival paper
- Shadow boxes for heirlooms, medals, jerseys and keepsakes: objects you look into, where glare hurts most
- Pieces of sentimental value that cannot be reprinted or replaced
- Rooms with floor-to-ceiling glass, spotlights or pale walls, which describes most Dubai villas, galleries and hotel interiors
What it is not
Museum Glass is still glass. For a very large piece, a piece that will travel, or a frame going into a high-traffic or children’s space, weight and breakage become the deciding factors. There we recommend Tru Vue Optium Museum Acrylic®, which gives the same 99% UV protection in a lighter, shatter-resistant, anti-static sheet.
And if the piece is a replaceable print in a room with controlled light, where colour accuracy matters most, Tru Vue UltraVue® UV70 may be the more proportionate choice. It is the clearest, most colour-neutral glass of the three, but at 70% UV it is not conservation grade. We will tell you honestly which one your piece needs.
Glazing is one part of conservation framing
No glazing blocks 100% of UV, and glass alone does not make a frame conservation grade. Museum Glass works best with acid-free mounts and backing, correct spacing between artwork and glazing, and a wall out of direct sun.
Caring for it
Use a soft microfibre cloth and an ammonia-free glass cleaner. Avoid abrasive pads and ammonia-based household sprays, which can mark anti-reflective coatings over time.
See it in person
The honest way to choose glazing is side by side, under real light. Visit our showroom at Jumeirah Centre, or send a photo of your piece on WhatsApp and we will quote it with Museum Glass and the alternatives, so you can compare before you decide.