Collectable memorabilia offers some unique framing challenges. As well as framing them appropriately, conservation must be considered.
This collection of boxer's career cards were double-sided which prevented the use of tapes and adhesives. They could have been held in place and mounted using different methods including using archival plastic sleeves or corner pockets. Our client was not keen on these since they would be visible and could be distracting. Instead we mounted the cards holding them in place with a tray method, this way they were viewable in near entirety and easily removable.
For 20 boxing cards and also a gold title card, a particular multi-aperture mount pattern was requested by our client. The pattern was a dynamic shape and worked very well with the sports and boxing theme.
Our client decided on a black conservation mount with black cotton core, which complimented the colourful boxing images.
A gold metal leaf slip was added to the smooth, traditionally shaped, matt black lacquer frame to opulently define the inside edge. UV filtered glass was used to reduce fading with an anti-reflective coating for optimum clarity.
Slight alterations to frames can have impressive effects. For this 20th Century Impressionist painting of Montmartre by Charles Malle, we created a frame to our client's specifications.
We began with various hand finished samples to decide on shape, width and colour combinations. The final combination chosen was a large frame with a wide frieze between raised astragals with a pale grey and white distressed paint finish.
Our client, however, decided a slightly deeper tone was needed, so we replaced the pale grey with a darker, bluer hue.
The colour alteration created a bolder frame with the darker frieze enhancing the whiteness of the astragals, which then brought out the cool tones in the painting. Our client was very pleased with the result.
Contact us with your custom framing requirements. Visit our client space at Fine Artisan Conservation Framers to see our large range of frames and finishes.
Every framing order at Fine Artisan Conservation Framers is unique with each customer having their own particular needs.
In this case study our clients required a frame for a large oil on canvas to be displayed at a private residence in Mayfair, London.
They wanted the frame to match the style of an existing leather and metal frame, so the painting would sit well with the rest of the luxury interior.
We sourced frame samples with different finishes which would suit the painting and which could be combined to build a similar combination frame.
After visiting the residence and consulting with our clients, they chose a 68mm wide flat Larson-Juhl 'Antique Brown' faux leather finished frame with a dark silver aluminium wrap frame adding a polished metallic accent on the outer edge. The LJ Angus Faux Leather frames are available in 'Antique Brown' (Dark Brown), 'Cognac' (Tan) and 'Dutch Black' in three classic profiles.
Our clients requested glazing and so we recommended Anti-Reflective glass with spacers to provide protection and superb clarity, especially since the painting has dark tones which will become highly reflective under regular glass.
Oil paintings do not need to be glazed, although glazing will protect the painting from the build up of dust over time which can damage the surface of the paint and then require professional cleaning.
The faux leather with polished aluminium successfully frames this painting by being both contemporary and traditional.
Contact us with your bespoke framing requirements and visit our client space to see our large range of frames and finishes.
Introducing our frame selection of exclusive A&M Lacquer Hand Finishes on Tulip in Blue Black, Red Black, Dark Cherry, Mahogany and Red.
Lacquered frames bring a richness of colour along with a sleek, high gloss finish. The finish is achieved by applying multiple thin layers of varnish which are slowly built up to create an intensity of colour.
Various effects can be achieved through lacquering like our mahogany finish or our dark cherry finish where two colours are used. For these samples we used an elegant, thin and deep profile but lacquer can be applied to any shape or size of frame and it works especially well with gilding.
The richness of lacquer brings an unrivaled quality, making lacquered frames ideal for those occasions when you want something particularly special.
When framing abstract expressionist work, like this painting on paper dated 1959 by William Gear RA which we framed to conservation level for Arthistorical Ltd, gold can be a winning and arresting choice.
With energetic and expressive art, a bold frame is often required. The water gilding on this frame complements the warm yellows and reds in the artwork while the curved astragal shape enhances the sweeping gestures used to create the piece. The shade of gold in gilding can be the difference between a warm 24ct gold and a cooler 22ct moon gold. In this instance a bright 23.5ct gold leaf was used to match the artwork.
The black outer edge adds a gentle weight, creating a union with the powerful black gestural shapes in the painting.
Another thing to consider when framing energetic art pieces is the complexity of the frame design. A uniform finish on a simple shaped frame can provide a calm counterbalance which successfully frames the artwork without being too busy or fussy. (See also the flat, neutral float frames we made for Tim Benson).
For interest about the William Gear RA painting contact Arthistorical:-
Arthistorical Ltd. is a fine art dealership specialising in European sculpture but also dealing in an eclectic range of other art, including Old Master and Modern British paintings, antique textiles and Asian works of art. The company is a member of the LAPADA art & antiques trade association and is based in Central London. www.arthistorical.com
One way to frame an expressive, textured oil painting is to contrast it with something clean, calm and simple. When we framed three epic oils by artist Tim Benson VPROI for his exhibition at the Mall Galleries, London, we knew they would look great in a frame that is weighty yet subdued and unobtrusive.
Tim's signature style of framing for his oils is a square, wide-faced float frame, painted in a flat, neutral hue. The simple shape and neutral colour provide a solid, calm border that recedes, allowing the painting to be the rightful focus of attention, while the heaviness of the wide section gives the frame enough weight to be able to contain the expressiveness of the brush strokes.
For these frames we gessoed the moulding to bring an extra level of simplicity with a beautiful, smooth finish and invisible joins on the corners. The paint we used is made by The Little Greene Paint Company, the colour being one of Tim's preferred colours.
Floating is a way of framing that allows the viewer to see the entirety of the painting. It is the ideal way to frame a painting that has an impasto paint application providing a respectful distance between the frame and the artwork edge.
You can see the paintings we framed for Tim Benson exhibited in the Threadneedle Space at the Mall Galleries.
Tim Benson VPROI / Lachlan Goudie ROI - New Paintings
Mall Galleries, The Mall, London SW1
23rd – 28th March 2015
Open daily from 23rd March 10am-5pm, 23rd & 24th March 10am -9pm
Presenting the new Copper frame collection at Fine Artisan Conservation Framers, they are ab-so-lute-ly the Cat's Pajamas!
The Copper collection are created with 100% FSC Ayous frame mouldings, finished with Copper foils on a trafila base from Italy in Art Deco style profiles.
The warmth and exuberance of these mouldings compliments the rich sepia tones of old family photographs which we have been framing for our new copper inspired window display.
You can create pleasing formations with groups of photographs like the flower formation below which takes advantage of their various sizes and dimensions. Photos can be mounted using multi-aperture window mounts or float mounted to display the photos in their entirety. When framing traditionally printed photography it is important to use the highest quality mount board.
The various types of photographic processes need to be considered to properly conserve photography. Alternatively you can have copies of your old photographs made which opens up the framing possibilities and allows for a greater choice of mount board colours.
The old family carte de visite photographic portraits we have been framing date from the early 20th Century. The Art Deco style of the copper frames enhances these photographs beautifully, delivering a sympathetic traditional style with a contemporary feel.
We have been framing some exotic flamingo illustrations by Shelley Revill which also work splendidly with our copper collection. The depth of the copper colour emphasises the confident hot colours in the illustrations while the solid simple form is ideal for modern simple shapes.
When framing Limited Edition Prints such as these, we advise to frame to at least Conservation Framing standard.
Here's a little more Copper inspiration for you with this dreamy romantic video - Dulux 2015 Colour of the Year 'Copper Blush' video with Sophie Ellis-Bextor
Visit our Client Space at Fine Artisan Conservation Framers to view the Copper collection.
We hope you find our copper frames most agreeable as they are the Bee's Knees!
One thing about picture frames we love at Fine Artisan Conservation Framers is how every aspect of the frame matters. It is remarkable how the slightest alteration of a frame's design can make a big difference on the effect it has on a picture.
The type of wood of a frame moulding can alter a finish, also the different pattern and contrast of the grain can be more or less visible.
Each aspect of a frame's design works to make the frame what it is. By simply widening the frame slightly, one might think the effect would be negligible, but just a few millimetres can make a frame look and feel much weightier.
Shape is also an important feature. By using the same colours and same finish on two differently shaped frames, the results are two very different looking frames. The shape has a big effect on how the colour behaves: how the light catches on it, how the finish sits amongst the crevasses (or lack of them).
The combinations are endless which makes creating frame samples a lot of work. Creating new samples is something which requires experimentation as well as some careful consideration. Colours and finishes need to be tested; the successful ones need to be applied to the right frame.
We would like to draw your attention to the following newly created samples in the Fine Artisan Conservation Framers workshop which are now available and on our display boards. The profile used for these samples is an elegant reverse section moulding with a frieze.
Both of these samples are the same profile, both have a paint and wash hand finish, and both are painted using Farrow and Ball colours called Pigeon and String.
The only difference between these two samples is the colour of the wash used to finish them. Despite these samples having more in common than differences, the result is two quite different effects. While the bottom one has a subdued greyness to the hues, the top one is brighter and paler.
Although the differences might seem small, the effect they are have on an artwork can be quite visible. It can be the difference between a frame working well and a frame working exceptionally well. This is why it is important to try out as many combinations of frames and finishes as possible. You never know which combinations will be the winners. We will be continually expanding our range of hand finishes and work with our clients to explore new possibilities.
Visit our client space to view our carefully selected collection of framing samples including our hand finished and gilded range.
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