Hello mate,, im uk based and was looking into this a few years back, didnt end up buying any but it sounds like what your after.

www.windowfilm.co.uk/buy-online/window-film-by-the-metre/uv-protection/clear-uv-window-film

UV radiation is most-often talked about because it is so harmful, especially to works on paper. However, it's important to keep in mind that all light is to some extent damaging — including visible light, whether natural or artificial, direct or indirect.

UV glazing or filters can shield your art from UV rays (the most effective offering up to around 99% protection). But they don't block out visible light, which is also harmful, albeit to a lesser degree.

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Anyone looking to fully protect their art against the damaging effects of light would need to keep it in a sealed box, or a blackened room with no windows or bulbs.

The drawback is that such an environment would prevent the works from actually being seen.

Each art enthusiast therefore needs to find the right balance between two opposing interests: properly experiencing / enjoying their collection on the one hand, and long-term preservation of that collection on the other.

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In your case, my tip would be to liaise (at least in the first instance) with the relevant staff at art museums in Toronto — specifically the museums with large collections of works on paper and photographs. You can also approach high-end galleries, and even libraries that hold rare books and old manuscripts.

It's almost certain that a few specialist employees working at these places will have considered the issue of light damage. They will probably have done extensive research, and much or all of the groundwork already.

If you can track those individuals down, you'll be able to benefit from their own experiences and mistakes. They might be able to give you positive recommendations along with helpful warnings about which paths to avoid.

One advantage of contacting institutions in your own city is the greater likelihood of putting together a hit list that includes local light-protection suppliers and service providers. For peace of mind, dealing with local professionals has clear benefits: easier access, no time-zone differences or language barriers, greater accountability, and better aftercare if any problems should arise.

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Good luck. In due course, I'd be interested to hear which solution(s) you end up going with.

Thanks all. I've decided to do some renovations before moving so I've shifted focus to other aspects with the plan to revisit the windows last. I'll keep you updated and please keep the suggestions coming.

I simply have wooden venetian blinds up at all my windows. When it's sunny (which in the UK is relatively rare) I just adjust the slats so that direct sunlight does not fall directly on to my artworks. It's easily done.

But then again, I don't have any hugely expensive pieces. I guess it all depends on how much your artworks are worth and how much you think it is worth protecting them.

Agree with you quinn. You need to have as many escape routes as possible if a fire breaks out. 
So many of these new windows have small openings with no chance of getting out. Also if you have those child safety locks on you can only open the window a small bit. You should 100% be able to smash the window with one blow if there was a fire.

I’m replacing old wooden sash windows with double glazed vertical sliders (modern sash windows) so they will open up fully, plenty of room to climb out of.

thats sounds ok but personally I would check fire regulations before you sign off on laminate glass. All it takes is for a key to be missing from the window and your stuck.