Frames
Making frames and conserving antique frames for the National Gallery of Art, other museums, private collectors and dealers has resulted in many greatly improved, historically accurate art and frame combinations.
Here are several of my best creations and
the art they enhance. I've learned
much about frame history and provide
short descriptions of each style.
​
Whereas my website isn't for sales directly, I still maintain a workshop and continue to do top level, museum quality frame work on a contract basis. If you own, or if your museum has a painting that could benefit from changing to a high quality, historically accurate frame, please contact me at the email address below.
Gothic Wasserschlag
Most frames in the Gothic Era feature at the bottom a wasserschlag (sill) based on cathedral windows that allow water to easily flow down. This frame, one of a pair I made for Cranach portraits of a prince and princess, is based on a real gothic frame in the National Gallery of Art collection. I made the molding out of oak, assembled with wooden dowels, typical of the time, then gessoed, painted and gilded it. The curator liked the effect of cracking damaged paint. Some rare antique gothic frames are indeed well distressed, however many remained in rather undamaged condition because they were altarpieces that folded together, thus protecting the art and frames.
Italian Renaissance Tabernacle Frame
This gold-leafed frame holds a marble relief by Gaggini, and takes the form of a Renaissance version of an antique Roman portico. Such frames most often held paintings of Mary with baby Jesus and occasionally other biblical scenes.I carved moldings, capitals and running ornament. The panels are cast from antique frames. The severe toning, abrasion and craqueleur imitate a rare Renaissance tabernacle frame in the Kress frame collection at the NGA.
Italian Renaissance Tabernacle Frame
Here is another more architectural style of tabernacle frame holding a terra cotta relief of the Nativity by Luca Della Robbia. Sometimes such frames are called Aedicular style. Simpler than the one above, this frame features fluted columns, Corinthian capitals that I carved and gilded. The Latin phrase in the frieze declares "Gloria In Excelcis Deo" suggested by the curator, imagining what the angels are singing. By far the most used inscription, however, was a version of "Ave Maria Plena Grazia" (Hail Mary Full of Grace) above or below a depiction of the Virgin Mary.
Italian 17th C Baroque - Medici Style
This is my most complex, fancy baroque frame carving, gilding job. It reproduces a Medici frame in the Uffizi Gallery in Florence. The painting by Cesare Dandini is one of a pair of fowl paintings, probably for a hunt room, belonging to the Medici ruling family in Florence in the 16th and 17th centuries. It features swirling leaves found in many Italian frame and furniture designs. Also there are six balls from the Medici coat of arms. One is blue with French fleurs de lis. Many interpretations of their meaning exist, but none are certain.
Italian 17th C Baroque -Titian Style
This molding features a complex hollow carved center ornament with a textured red background showing through. The delicately carved gold and red harmonizes nicely with the elaborate dress depicted. It is designed in the form of an antique frame at the NGA with fancier acanthus leaf corners than the original. Such stylized leaf corners are ubiquitous in 17th C frame from Italy and France. Acanthus is not an actual leaf in nature, rather an often repeated design element that ranges from very refined multi-lobed versions found in the wealthy courts of Europe to simple, primitive leaf decorations made in the provinces.
Flemish 17th C Ripple Molding Frame
Flemish frames were often fancier than Dutch frames of this period. Flanders Catholic Counter-Reformation allowed more ostentatious presentation than Holland's more understated, but no less wealthy, Calvinist culture. This frame features rows of stained pear ripple molding that I made on my own hand-operated machine, constructed using a 17th C illustration. Rippled, basketweave and veneered pieces are varnished, polished and glued to a profiled basswood base, then corner miters were cut for a clean precise appearance typical of antique frames of this period.
Dutch 17th C Profile Frame
Dutch Calvinists of this period were quite wealthy due to the shipping trade among other industries, but were more austere in their decor. This polished macassar ebony frame would have been expensive in 17th C Holland due to exotic wood and refinement of moldings, veneers and finish. It is understated as many Dutch frames were compared to fancier Flemish frames. Early in my career I discovered an excellent book, called Prijst de Lijst (Praise the Frame), about the history of Dutch frames, including scale profiles. From it and studying many original Dutch 17th C frames, I built many historically accurate Dutch 17th C frames for museums and clients.