Frame Fix-Up

Back in the day, when you went to a picture framer they didn't always just cut and join pre-finished moldings. I really like the frames that truly were "custom" where the framer started with wood and created a surface treatment.

As purchased. Bottom and left rails with no finish remaining, deterioration on remander.

I purchased this painting a few years back. The frame's finish had suffered greatly. Two legs of the frame were down to bare wood. Possibly it had gotten damp and the gesso deteriorated, or perhaps someone started trying to (misguidedly) return the frame to "natural wood" and gave up.

Applying gesso

After a cleanup, new gesso was applied. A painted finish was built up with applications of various colors, along with some gentle distressing, to wind up with an "interesting grey".

Building the paint layers

There is no finish or additional work over the paint. When the painting is sent out for cleaning and re-varnishing I may need to adjust the frame color. Finishing will take place at that time.

 

Finished (sort of)

Hanging

Regilding an Oval Victorian Liner

Gilded liners for picture frames usually suffer from overzealous cleaning of the glass, where abrasion, combined with ammonia based products removes the protective shellac and then the gold.

Damaged are

In this case, the damage appeared to have been caused by the frame standing in a wet area. The gesso had become friable at one end, and the clay and gilding gone from that area. The concern with water damage is whether the rest of the gesso has been compromised.

The glue holding the joint together had also dissolved, so the first step was to re-glue and clamp this joint. The liner was gessoed, smoothed, and a grey clay applied. 

Grey clay applied

As it would be difficult to have a graceful transition, the entire liner was re-gilded with 22K. After burnishing, a light distressing, then shellac applied.

Water gilding

Finished

Always Take Another Look

This frame had a missing corner piece - a fairly straightforward repair. My first step is usually to do an overall survey of the object, and this was in overall good condition - the corner was probably just due to a bump or a bad moving experience.

While selecting an intact portion to make my mold I noticed some other small areas were missing. Since these damages had apparently happened long ago, the accumulated dirt, grim and dust (or as we more fashionably call it - patina) made the losses inconspicuous. But, in for a penny, in for a pound, I elected to replace these areas as well.

White areas of gesso show where replacements were needed

Replacement detail

More replacement detail

Original missing corner replaced and gessoed

Gilded

Usual steps were followed - mold-making, casting, fitting, gilding and toning. I get nervous about having to work on a frame with the art still installed - but in this case, the client didn't want the backings removed as they contained part of the work's history. This means hiding the project in a safe place between working sessions (which usually means forgetting about it), and having to keep the painting covered while frame restoration is in progress.

Finally done and packed for return.

When Compo Goes Bad

Frame as delivered

This frame is typical of late Victorian compo (composition) work. This material, composed of whiting, rosin and glue has the consistency of cookie dough when fresh, and can be pressed into molds. When dry, it is steamed, which reactivates the glue and also allows it to be pressed onto curved shapes, such as the half-cylinder outer rails of this frame. Over time, however, compo dries out, and can separate from the wood - particularly if the frame is knocked around.

Missing sections of compo ornament

Repairs like this, which look minor, can be difficult because molding and casting is done on a curved section. The original compo was in relatively large sheets that were attached to lengths of molding. Since you cannot easily mold a single piece to match this, you wind up piecing it in, trying to use as much of the original as possible.

Molds and casts

Piecing in replacements

More falls off while frame is being worked on

A tedious job, but now the frame is once more complete.

The Old Oval Finally Finds a Home

FInished

This oval frame came with a domed glass, and is typical of the 1890-1910 era. I don't recall how I acquired it (I think someone just gave it to me), but when it arrived 90% of the outer band of ornament was missing. I didn't even bother to photograph it.

While it was not financially worth-while to replace this missing molding, I did do it for purposes of class demonstrations on how composition ornament is steamed and bent to conform to a shaped frame. Once the ornament was applied, it remained in the workshop in a state of limbo, as I had no further use for it, yet it was now too good to discard.

Out of the blue I had an inquiry for domed glass, and this frame and glass (which I had left up in Maine, intending to discard) was just what was needed. I finished the band of compo with mica powders (which I now use in place of traditional bronzing powders, as they will not tarnish over time), and a casein wash.

Now that is done, I almost wish I had kept it for myself.

Composition molding, gessoed, then tinted shellac.

Missing Pieces

Finished restoration

This large oval  frame was damaged when being fitted for a mirror. Unfortunately, the pieces that came off were not found. The biggest missing section was about three inches long, encompassing a section of the bold outer ornament. And of course, this was needed ASAP.

This is usually one of the simplest types of repair, but this one was more difficult since when the original composition ornament was steamed and bent over the frame, there were some very thin sections at the high point, while the flowers facing out were quite thick and three dimensional.

Someone else started repairing this, and the placement of the molded replacement was far out of alignment, making it much too noticeable. First I had do chop this out.

Earlier repair attempt did not quite fit.

Fortunately, they did make a flexible mold and got it to me, so I was able to cast new sections, but due to the problems of thickness/thinness, it took three castings before I was able to get one that was satisfactory.

The thickness of the castings meant they had to dry overnight, so it took a few days just to get things that far.After installation, additional carving was needed to bring things into alignment with adjacent areas.

After several molding attempts, new casts are installed.

As is often the case with this type of frame, only highlights (in this example, the blossoms) were water gilded. The rest was done with bronze powder.

After the usual process of fitting the sections, applying gesso and clay, The owner wants it today, so I was up late putting on clay, and very early this morning to gild.

Gilding clay applied

Gilding and burnishing

After gilding and burnishing these blossoms, he rest of the job entails the fussy aspect of matching new sections to the coloring of the original. This involves a number of steps and materials, complicated by the fact that due to deadline, I don't have the luxury of anything requiring a long dry time.

Coloring and toning begins.

This is not the first time I've had a repair job like this where missing pieces were discarded. What was a time-consuming process could have been avoided (or at least shortened) if the original pieces were present.

Finishing the toning to match replacements to rest of frame

Holy Gilding Batman!

FInished Frame for "The Watchers"

A few weeks ago I posted about the "Accidental Frame" that was made when I really needed a frame for this artwork. The work is an etching titled "The Watchers". I had a frame of this type in mind when the print was purchased several years ago, but since it was not a customer project, it was at the bottom of the priority list.

Making the "accidental" frame was a blessing in disguise, as it allowed me to work out the design details, and the changes for this one made it even more effective than I originally planned. Practice makes perfect!

Leafing design elements in process

Leafed design elements completed

Fish motif

The Accidental Frame

In the interest of efficiency, when I have things of my own to frame I may wait to  cut and join the wood frame when I have several to do, even though I may not finish gilding/painting for some time. Sometimes a real long time.

Frame with gold leaf details

In this case, I had an etching purchased several years ago, the frame was cut, and was even gilded and painted. I knew I would include some other design work, but hadn't come to final decisions. In a burst of "let's get some of these unfinished projects out of the way", I added gold leaf design work to the panel of the frame (a "faux sgraffitto" technique).

Since, as with the frames, I often get the mats cut ahead of time, and along with the art work, put them away for safe keeping, I next had to retrieve the art and mat. Amazingly, it was, for once, where I thought it would be. But when I went to assemble the package, something was off. A lot off. the art and mat were for an 8 x 10 frame, and my newly finished frame was 11 x 14.

I know that I sometimes mess up measurements, but this was bad, even for me. I went looking through the other unfinished projects, and found a frame the correct size. In fact, it was even noted on the back that it was meant for the etching.

But, as luck would have it, I did have a painting of mine that fit, and, was much better for the new frame than the one it was in before.

"Power Psychic" oil on canvas by Joseph Rice

Now I just have to finish the other frame. Maybe next year.

Restoration of a 19th Century Frame

One of my regular clients brought in this 19 century frame. Typical of the period, it had varying styles of composition ornament, with the topmost a running garland of leaves. The surface seems to have been a combination of gold leaf in prominent areas, with the rest finished with bronze powder. 

Frame in un-restored condition.

 As these frames aged and dried out, the composition ornament would crack and come loose. There was one significant loss on the top border, and smaller numerous losses to the cove ornament. There had been some old repairs and bronze paint.

Mold and castings.

After re-adhering all the loose sections, I made molds and casts for the replacements. Fitting them in is always tedious, and requires making extras in case of breakage.

Fitting in the replacements.

Finally, gilding and toning to match the coloring and patina of the rest of the frame.

Finished frame.

Fall Still-Life Paintings

I did two watercolor still-life paintings for a change. One was inspired by looking at Andrew Wyeth's paintings on a visit to the Farnsworth Museum in Rockland, Maine (even if he was still alive, I don't think he'd be worried about competition from me). The other was of a group of accidental squash (i.e., appearing out of the compost pile from seeds that must have been tossed out). I know there were green acorn squash seeds in the compost, but I don't know where the white one came from.

Both of these are in my grain-painted frames.

Odd Squash

Apple at Rest

Gilt Frame with French Mat

Finally framed!

If you think the hiatus from posts has been long, think of the owner of this artwork given to me in spring for framing! This is a watercolor by a decorative artists, Walter Wright of Vermont. He painted in many different styles and techniques, creating everything from trays and furniture to Christmas cards.

This appears to have been inspired by Italian Commedia delle Arte characters. Walter Wright was interested in many different forms of art, and may have copied the characters from a book or a picture in a museum.

Now deceased, Walter was most active during the 1940-1960 period.

This piece was purchased by the current owner at an auction of Wright's work held by family members. Since it had an "old world" feeling, I made a water gilded frame, with deep red bole to pick up the reddish colors in the costumes. The tone of the mat was chosen to make the foxing age (staining) of the paper less conspicuous, and a watercolor panel added for some extra elegance.

Fortunately, the client felt it was all worth the wait!

Another Day, Another Frame

I purchased this painting many years ago. It probably appealed to me since it was so simple and bold, unlike my own paintings. The old frame was probably not as old as the painting, and was typical of what someone may have selected in the 1960s or 70s - "contemporary" with a linen panel. While narrow frames are often effective with large works, they all to often carry the air of "what's the least expensive". Since the frame was stained and falling apart (it looks better in these photos than in real life) , I knew it would be reframed at some point.

Painting as framed when purchased

Old frame detail

Label on back

As with many of these long term (long term in the sense they get put away and forgotten), my thoughts about the final design may go through several revisions. I cut and joined the basic frame last year, and like the painting, it didn't get out of storage for quite a while. 

Silver leaf applied

Due to the fairly large size (24" x 28"), I wanted to do something with more wall presence, but not fancy. My usual technique for almost any project is multiple layers of material to create finishes that have variations and undertones. 

This started with gesso, coated with pigmented shellac, then silver leaf. The panel was painted in dark blue, then a silver leaf design applied. I wanted the design bold, with the same "casual" feel as the painting. 

Painting corner design with gold size

Silver leaf applied to designs

Afterwards, additional shellac, casein washes, and finally, wax and rottenstone. If this snow season persists I might get all caught up on the unfinished projects..

Detail of finished frame

Another project crossed off the list