Top - a garage sale find - oil by A.Bruce (* Solving a problem, hanging over "breaker box")
Found out by the curb - oil by H. Squire (* It hangs on a wall that is covered by the window drapes all day long, at night it becomes a mysterious, somewhat exotic corner, I originally changed the frame but recently reverted back to it, although it is falling apart!)
Oil - Mine circa 1980 - 86? (* Hanging at the entrance to my bedroom about a two feet off the floor. It is where it looks best! )
Unfortunately, a frame can make or brake a painting - in my opinion. (So, if can't afford one that is suitable, leave the painting alone! Save up for it.)
You may choose the do-it-yourself method easily accessible to most now days, but again, familiarize yourself with your options and also budget for it, in case you need to do so!
A professional framer may guide you along, ask around for a trusted one, as there are all time classics and trends in this area also and you may prefer one, over the other.
A linen mat around an oil or acrylic will, generally/hopefully enhance and, of course, enlarge the work.
When it comes to prints, you will need to look for acid-free matting, which will effectively enhance the piece - watch for proportions and different widths and sizes...
You may have more than one mat, as you will (observe bellow) in "Subtle Power".
Personally, I don't like white mats - framers adore them. This is definitely a matter of choice/taste.
I always like mats around watercolours, pastels, photos and prints to reflect some of the major tones in the piece, to enhance/complement, not distract. Got to be careful here.
Ohhh, do I have stories on this subject!
I always like to have at last one mat on whatever I am placing under glass.