A Frame-Maker’s Journal
Updates and reflections on our work and mission to revive the art and craft of framing pictures. Here I'll show you new jobs we're especially proud of and keep you up on what's going on at the Gallery, as well as discuss topics germane to our work, including handcraft and work generally, the place of art, and ideals of the Arts and Crafts Movement (especially its greatest leaders, John Ruskin and William Morris).
I hope you’ll subscribe (see the form in the left column) or at least check back often. And I welcome your comments!
This is a haunting color photograph by award-winning cinematographer Stephen Goldblatt, depicting the decayed interior of a once-lavish aristocratic home in Mexico. It seemed to want a very different framing approach than most photographs. The thing to aim for in framin... continue reading.
Mentioned in my last post how much I was enjoying working with linseed oil paints. Delaware artist Alan Tuttle gave me a good excuse to use them with this painting of his “red-headed friend,” the subject of “Flower.” The compound mitered frame Er... continue reading.
This is a 22″ x 20″ oil painting, “Reds and Yellows,” by contemporary British artist Louis Turpin. The painter’s website says he’s exhibited at The Royal Academy, The National Portrait Gallery and The Royal Society of Portrait Painter... continue reading.
Like the Kawase Hasui print in my last post, this is beautiful nocturne out of the shin hanga tradition. “Rainy Miyajima” (1941, 15-3/8″ x 10″), is a woodblock by shin hanga master Tsuchiya Koitsu (1870 – 1949) depicting the torii gate at I... continue reading.
The still beauty of a scene like “Spring Moon at Ninomiya Beach” by the great Shin Hanga printmaker, Kawase Hasui (1883-1957) warrants few words. I’ll only say something about the frame—another example of a sheltering design, an approach I’ve f... continue reading.
This is a 9″ x 6″ etching by Harrison Clarke titled “Garden Gate, Spain,” n.d. (1930’s). Most of the frame is 3/4″ wide, but it bumps out 1/8″ at the top portion, and that wider portion is also 1/16″ thicker than the lower... continue reading.
This is a set of contemporary Italian tiles in another example of what I’m calling, for lack of a better term, a sheltering frame, a bit like the one discussed in my last post on framing a William Rice print. Each tile is 6″ x 6″, so the whole set of e... continue reading.
I’ve written before (in this post, for example) about the unique opportunity for harmony that exists between a block print and a wooden frame: the carving of the face of the frame can create not only an effective profile for the presentation of the print but can a... continue reading.