Another little hazard is that when you get in there at any time of day your eye/brain combo immediately registers that the stonework is a light beige. But use of a gray card shows that while what comes in from the N side in daytime is colder, the overall colour balance is very warm. That is the effect of the coloured glass filtering the light. In order to tweak more to what we think we see I have settled on 4000K and minus 30. Inevitably however that will affect the balance of the glass. With the stone colour kept warm the glass itself, seen and shot by transmitted light, is more accurate.
This IMAGEKIND fine art site is a place where a fine giclée print of any available image, photography or painting, on paper or canvas, may be ordered at up to poster size, framed and matted in many different combos ready to go, or just by itself. My preferred paper recommendation is Epson UltraSmooth Fine Art. It costs more, but is very thick and super-archival.
Whoever does your matting and framing, the materials including the backing should be at least of conservation grade, preferably of 100% rag i.e. cotton.
Hang your print well away from moisture, fumes, heat-sources and UV-rich light, e.g. the sun, strong spotlights and fluorescents.The glazing should be anti-UV, to maximize the life of the print. Acrylic plexiglass as offered here on Imagekind which is not explicitly anti-UV screens out 80%. This is more UV protection than plain glass affords. Anti-UV plexi screens out 99%. You should be aware that non-glare glass or plexi increase visibility but reduce contrast.