Optically coated glass, which is quite distinct from textured anti-reflective picture glass, is a potential answer, but expensive, fragile, needs to be very carefully cleaned just like a lens, and like all glass per se, is subject to condensation behind it in a humid or poorly insulated environment. "Museum glass" tends to be slightly tinted to block a bit of UV, much like an 81 camera filter; but in my experience, the amount of cumulative UV blockage is nil, and the yellowish or pinkish tint spoils certain colors, especially blues. Optically coated acrylic versions of both now exist - difficult to break and a way better thermal insulator, but ridiculously expensive for anything but a small print. For something like a mounted 30X40 inch print, I'd personally tack on a thousand dollar surchage plus the basic mounting and framing expense to do that kind of option for a customer.
There is nothing particularly "archival" about inkjet prints, and their track record is still quite brief. NONE are pigment prints - that's a deceptive marketing myth. They are complex blends of rather ordinary photographic dyes, lakes (dyed inert pigment particles), and some actual very finely ground pigments. How well they resist fading will differ with respect to the actual proportions of respective colorants involved, because those inks don't all fade at the same rate. Some hues will fade faster than others. And UV light is present not only in direct sunlight, but also in much of this new energy saving lighting, and bad for any kind of colorant. All that being said, some inkjet prints "might" survive on display longer than certain chromogenic photographic papers per se; but I probably won't be around long enough myself to give the answer. Color print permanence
in general has greatly improved in recent decades.
Second, Inkjet prints outgas PEG for awhile. PEG is a necessary ingredient to discourage the drying out of the colorants so they can still get through those tiny nozzles. Frame one of these prematurely, and there might be fogging behind the glass; or if the image is placed in direct contact with the glass, it could get stuck or ferrotyped with mismatched shiny areas.
Another tidbit - one of the worst things to either your personal health or print dyes you can use to mount photos are these aerosol art contact cements. Bad, bad, potentially lethal stuff. Not exaggerating. Back in that era they first arrived, when they were routinely used in pro frame shops, there was an outright epidemic of premature deaths. That kind of product should only be used in relation to a spark-proof industrial spray booth with excellent air removal. It's just like working with nitrocellulose lacquers or, more appropriately described, just like sniffing glue - cause that's exactly what you are doing, and each time you inhale some, a few more brain cells die.
