THE ART AND FRAMING MAGAZINE FOR PROFESSIONALS ISSUE
47 / 2024
SYCAMORE GAP
ARTWORK BY Lucy Pittaway
RANGE & QUALITY
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WELCOME
Welcome to Issue 47 of 4walls, featuring Lucy Pittaway’s stunning Sycamore Gap artwork on the front cover. This painting has a fascinating story in itself after Lucy pledged to plant a tree for every print sold. We cover Lucy’s story in detail on pages 4 & 5.
Our centre spread on pages 16 & 17 again showcases some of our favourite customer social media posts.
Sustainability is becoming increasingly important to us and our customers and so we have given an update and some
Framing guru Ian Kenny talks through upselling and downselling on pages 14 & 15; our latest product news is on page 24; two of this year’s Larson-Juhl scholars share their stories on pages 22 & 23 and Jon Price’s new training offer
Thank you to all our contributors for their words and images - I think this is a great edition! I hope you agree and do let me have your thoughts and feedback, or suggestions for future issues of 4walls.
Wishing you a successful autumn and I hope you have a fantastic Christmas trading period in due course. If you would like any help with product or business advice, please contact your area sales manager or call the customer
@Larson-Juhl UK @larsonjuhluk
27. The Picture Place Music to our ears!
28. King & McGaw’s Olympic triumph Celebrating sport in artwork
30. Sustainability Guidelines and update
Artist
Artist, Entrepreneur and Philanthropist
Lucy Pittaway Spotlight
Long-term loyal readers of 4walls will recognise Lucy Pittaway. We featured her back in 2017 (Issue 26) after she was appointed as the official artist for the Tour de Yorkshire.
Fast forward to 2024, and Lucy is now a multi award-winning creative force and entrepreneur, operating a successful online retail business offering artwork and homewares, with seven galleries across Yorkshire and the Lake District, a dedicated bespoke picture framing studio and branded ‘Pittaway’ Pecorino wine stocked in Tesco – with a team of 58 employees in total.
A look at Lucy’s website will show a prolific collection of stunning artwork. Not surprisingly, she has held the title of the Fine Art Trade Guild UK’s Most Popular Published Artist (sponsored by Larson-Juhl) since 2018 and today you’ll find Lucy’s work in homes and galleries across the country.
There are Lucy Pittaway galleries in Harrogate, York, Richmond, Keswick, Yarm, Bowness-on-Windermere and
Brompton, which is also the location of the company’s head office, housing the warehouse, printing and production facilities, marketing and logistics. There are plans to add another two galleries in 2025.
Wensleydale acquisition
Last year, Lucy acquired bespoke picture framers Wensleydale Galleries, including its specialist equipment, stock and highly skilled employees. This was a valuable addition to the expanding Pittaway business offer.
Wensleydale Galleries’ previous owner Andy Richardson and his team brought with them a nationally acknowledged reputation in framing, restoration and conservation. Andy explains the move: “Having worked closely with Lucy for over 15 years, I’ve come to understand the level of quality she looks for in her supply chain,
Lucy with her Pecorino wine in Tesco
Door To Herriot Country in Oak
Sycamore
Gap in context
and with our combined 70 years’ experience in creating hand-crafted picture frames for artists, photographers, commercial clients and the general public, it was the natural step for us to combine our services.”
Lucy Pittaway’s framing offer has recently been officially launched as Yorkshire Framing Services.
Andy has dealt with Larson-Juhl since he started his business in the 1980s and today
works with Richard Clayton as his area sales manager. He says: “Richard is a very affable chap and is always keen to oblige. He helps us keep our framing offer fresh with a steady stream of new mouldings. I particularly like the Barefaced and Coastal Woods ranges and we are now ordering more on chop as we expand and have a bigger requirement for a wider range of more premium mouldings that we don’t necessarily want to hold in stock.”
This project received national television attention on BBC Breakfast and ITV – with interest from many, many other media outlets too.
Lucy has now collaborated with Swinton Estates to create a destination where trees are being planted for generations to come, which includes sculptures and attractions for families, schools and visitors to enjoy and commemorate Sycamore Gap.
Visitors to the Lucy Pittaway Sycamore Gap Trail will be able to follow a pathway formed by chippings from the felled larch trees on a woodland walk which will also feature artistic installations, areas to relax and education boards.
“I hope this is an area that can be used for relaxation for generations to come,” said Lucy. “If it can inspire people’s interest in art and the countryside then the legacy of the Sycamore Gap tree will be a positive one.”
Other beneficiaries of Lucy’s commitment to giving back to society include The Junction Foundation, an esteemed Tees Valley charity committed to changing the lives of children, young people and families within the region and the Great North Air Ambulance Service.
She has also developed a range of free educational resources for schools to use from Key Stages 1-3 to enhance their art provision and encourage creativity in young people.
Increasingly becoming a household name, Lucy is proud to be a flag bearer for business in Yorkshire and in making art accessible for all.
Giving back to the community
The commercial success of the Lucy Pittaway brand is very impressive but it is not just about the money.
Recently, Lucy received nationwide attention for her pledge to create a woodland commemorating the Sycamore Gap tree.
After repeated requests from customers asking Lucy to create a painting of the stricken tree, Lucy agreed to paint Sycamore Gap only if its creation could somehow become a legacy for the tree, and contribute to the wider community.
She painted an image of the tree with a Northern Lights backdrop and pledged to plant a tree for every print sold. Demand has been unprecedented with over 3,200 prints sold to date!
You can find out more about this incredible woman’s story by following her on social media and on her website.
@LucyPittaway www.lucypittaway.co.uk
Andy and Lucy in the framing studio
Andy at work
Night on the Shambles in Dove Bevel
Larson-Juhl’s Simon Flavill with Lucy Pittaway
OH, FOR ARTS SAKE!
Northwest London’s ‘For Arts Sake’ has been running for an impressive 46 years and it’s all down to the hard work of married couple, Brian and Melanie Davis, who run the framing gallery and workshop in Hendon – and let’s not forget the more recent addition to the team, their daughter Erica, who runs their successful retail gallery in Ealing.
At a time when both Brian and Melanie were working as cabin crew, they discovered a lot of crew members returning with graphic art from the US that wasn’t available in the UK. So, they started to do the same which led them to opening their own gallery in Hendon. They soon discovered this art needed framing that would do it justice and began to sub-contract this out and very quickly opened up their own framing workshop. Within no time at all, “the framing grew faster than the art”, Brian told 4walls.
They soon found themselves framing for advertising agencies, sparked by a request back in 1979 where a customer who told Brian he “may not have heard of the advertising agency” he worked for turned out to be from Saatchi & Saatchi, opening a door for them to frame for most of the top agencies in London. They also got involved in framing for hotels which took their business international – Rome, Madrid, Brussels and even Hong Kong – but most of the major contracts stayed close to home in London such as Hilton Park Lane, Grosvenor House, the Ritz and the Savoy.
Classic white
There’s no denying that For Arts Sake has achieved a lot of success and it’s partially owed to their brilliant honesty. “When I’m serving a customer, if I don’t think what they’ve asked for is right, I tell them”, says Brian.
The work we do is our advertisement, so I don’t want something hung on a wall that I’m not proud of.
Customers can be safe in the knowledge that their art will be properly framed using conservation materials by skilled people who care about the piece just as much as they do.
And there are certainly a few customers who have stood out to Brian over the years. Heading to the apartment of Sir Terence Conran to advise on framing artwork in his home and his restaurants certainly isn’t something he’ll forget in a hurry. More recently, For Arts Sake was commissioned to frame a truly unique piece based in Canary Wharf, measuring over 2m² on a
sheer piece of material, this unforgettable print was to be hung from a ceiling to act as a room divider. The piece needed to be viewed from both sides, so two frames were joined together with the fabric encapsulated between them using Larson-Juhl unfinished oak moulding, stained and polished charcoal, this piece is a real showstopper.
Looking to the future, something Brian is keen to implement is an online bespoke framing service, for which there’s already a model running in the US that they plan to emulate. Similar to many businesses, For Arts Sake closed during the pandemic which taught them just how much can be done remotely via video call. During Covid, they offered a virtual service and found it took off pretty well. “Lots of areas in the country don’t have access to experienced picture framers who can help and advise them”, says Brian. The online service would involve collection and delivery and means the expertise of Brian and his team can reach even further than it already does.
Murus Art
Brian and Melanie’s daughter, Erica, also runs her own website called Murus Art which has sat under the For Arts Sake umbrella since May 2024. The idea was that all art and retail will move over to Murus and the framing side stays in Brian’s domain. Erica sources all sorts of art globally such as candles, cushions, ceramics, glass and jewellery.
Looking to the future, Brian said it was always his hope that Erica would take over the business and he loves having the younger ideas and input into the business. With plans to expand and invest in the business, 4walls can’t wait to see what’s to come.
www.forartssake.com www.murus.art
This Ionia piece was three separate posters, stretched and joined together, framed for an office in Mayfair
Storia Italian restaurant
Founders Melanie and Brian Davis with daughter Erica who runs the Ealing gallery and website
How to select a MOULDING
A MASTERCLASS WITH JON PRICE GCF(APF) Guild Accredited Trainer
Frame design is the most important and most overlooked aspect of picture framing. Let me justify that statement. Of the many, many books written on picture framing there are only two that are dedicated to frame design; a quick scan of your Instagram feed will show you that most UK framers rarely incorporate more than single or double mounts into their designs. I find this incredibly uninspiring and short-sighted! Not only is great frame design extremely rewarding. It’s also the easiest aspect of framing to sell. It’s no coincidence that the bespoke framers that run the most successful business are often the ones that put the most emphasis on frame design.
When I tutor framers on my ‘Advanced Frame Design’ course, I start by looking at the fundamental elements of great frame design. The first is that there are two paths which can be followed: enhance the item being framed, by complementing its colours, textures, patterns and style, or focus on other factors, such as neutral framing for artists or matching décor. Although I agree that most artists should opt for neutral framing, matching the décor of a room should be a secondary consideration. Frame design which focuses on enhancing the framed item has many benefits, not least of which is that the item will look good wherever it’s hung.
A frame should be an extension of the artwork. Think of it as a sum of all parts; the item and the frame add up to much more together than they would as separate entities. The second fundamental is the order in which to create a frame design. With few exceptions, choose the aspects closest to the artwork first. Often that’s the mounts.
Having established these fundamentals, the conclusion is that frame moulding selection should be dictated by two things: the artwork and the mounts chosen.
Moulding colour
Colour is the upmost consideration when selecting a frame moulding. The general rule with colour, whether you’re selecting mounts or moulding, is the stronger the colours in the artwork, the stronger the colours you can use in the frame design. Stay clear of colours that are lighter, darker or brighter than those in the item being framed. The same applies with contrast. Strong contrasts in the artwork give you more potential for a contrasting frame. Don’t just think ‘colour’, think tints and shades: a moulding that isn’t an exact match in colour, but has the right tint, can work. Now consider how many shades of black or white there are. Don’t just choose a black moulding: choose a shade of black that matches a dominant shade in the item being framed.
Now, let’s think about the influence of mount selection on the moulding. Assuming you’ve chosen mounts that match colours in the artwork, a reliable option is to choose a frame that matches one of those colours. For example, when using multiple mounts, choosing a moulding that matches the colour of the inner-most mount can provide a very balanced design. Moulding can also be matched to a neutral colour, which is often what the top mount should be. If you’ve chosen a neutral single mount, or multiple mounts of the same neutral colour, you can go the whole hog by choosing a frame that matches, or you can choose a frame that matches a stronger colour, or colours, in the item being framed.
Moulding width
The width of the moulding is an important factor in a balanced frame design. The visual weight of the artwork should be compared to the visual weight of the moulding and that of the overall frame design. The stronger the artwork is, the wider the moulding can be, depending on its colour: a wider moulding is more likely to work in a weaker colour than a strong one. Moulding width also affects the presence of a framed item. Consider how much importance the finished piece should demand. Is it a centre piece and focal point of a room? In which case a wider frame will say ‘look at me, I’m important’. Or is it a picture of Auntie Doreen, destined for the downstairs loo? Again, the artwork’s era should be considered. Is this style of artwork traditionally framed with a narrow black hockey stick or a wide ornate gold?
The Larson-Juhl range incorporates over 2,000 mouldings. Despite this, there are times when the best coloured moulding for a frame design is not the ideal width. Fear not! Other elements of the frame can be altered to achieve a balance. This is why you should decide on mount border widths once the moulding has been selected. If a moulding is too narrow, increase the mount width to give the overall frame design more presence, or stack the moulding to give the frame more width and visual interest. If a moulding is too wide, either increasing or decreasing the mount width can work.
However, be aware of placing a strong coloured moulding too close to the artwork. Another way to maintain a balanced design when using a wider moulding is to add
Moulding texture
Rarely do you see frame designs where the texture of a moulding matches the texture in the artwork. Which is why, when the opportunity presents itself, you should seriously consider doing so. Matching an artwork’s textures and patterns, as well as colours, with those in the frame takes a frame design to another level.
a stronger element which sits next to the artwork and draws the eye back towards the centre of the frame. Mount slips are excellent for this. Consider matching the frame or contrasting it. Larson-Juhl offers some stunning ranges of moulding, such as Soho, Prague and Ferrosa, which include matching slips. If you can’t find a slip that works, try a suitably coloured mount next to the artwork or even just a V-groove. Wider mouldings can be more challenging to cut and join. Instead of letting that have a negative effect on your frame designs, try Larson-Juhl’s chop service, which includes a routing option. If you’re not sure how to use chop or routing, get in touch and I’ll talk you through it.
If a moulding is too narrow try stacking it to add width and interest
Mount slips draw the eye back towards the centre of the frame, allowing the use of a wider moulding
Artwork style and era
Another factor to be considered is the artwork/item’s style and era. We all know how well plain or stained wood mouldings can suit a rustic scene. If artwork is of a specific era, it would be foolish not to consider a frame appropriate to that era. Although, it’s also fun to give a traditional piece a modern look.
How many colours are too many?
If two, or more, different colours have been chosen for the mount, be cautious of introducing an additional frame colour. A good design is balanced. Too many colours unbalance.
A moulding’s depth should be deep enough to comfortably house the entire contents of the frame i.e. glazing, mounts, artwork, under mount and backing board. However, there’s more to it than that. Frame depth can be used to enhance design in lots of ways. Additional frame depth allows you to incorporate extra elements, such as multiple mounts, shadow mounts and spacers. The latter two giving you the opportunity to play with perspective. Try using spacers to sit the artwork half-way back into the depth of the frame or a shadow mount to increase visual depth and draw the eye towards the artwork.
Having established the rules of moulding selection, it’s important to say that they aren’t rules at all, but guidelines. Picture frame design is subjective and for every rule there are exceptions. When an item comes in for framing, I often have a good idea of the design options that will enhance it. However, the only way I really know what will and won’t work is to place chevrons next to artwork. If I think something might work I give it a try, because every time something works that I thought wouldn’t, or vice versa, it’s another step forward in my understanding of frame design. So, experiment and try new ideas. It’s the small details that make the difference between good design and great design.
Jon Price GCF(APF) is a Fine Art Trade Guild Accredited Trainer with 25 years’ training experience. Through Picture Framing Tuition UK he provides bespoke one-to-one training and business consultation. Jon also owns Handmade Framing & Gallery in North Cornwall and has framed for world-renowned museums and exhibition spaces, as well as the works of internationally recognised artists, photographers and designers.
PICTURE THIS!
High-profile framing commissions always make a good story for 4walls and the team was very excited to hear about The Picture Frame Workshop in Windsor’s recent project for artist TAYO Irvine Hendrix –daughter of the legendary Jimi.
TAYO’s work was on show at this year’s Henley Festival in July and it so happens that she was working with design and event specialist Debs Hunter who is a long-standing client of Arthur Ivers and Pete Stratford – who run The Picture Frame Workshop.
Arthur and Pete were schoolfriends, then worked together in a record shop before teaming up in the framing industry. Arthur joined the business in 2009, initially to help out his father-in-law Dennis Andrews with Pete coming on board in 2011. Today the business is a thriving mainstream picture framer while also selling artwork.
Getting the right frame for TAYO’s work was, of course, critical. It needed a moulding that is dark and robust enough to balance the dramatic paintings – especially the big ones! The largest measuring 1 metre x 1.5 metres. Arthur explains:
This job required strong, chunky framing and we love Colosseum! We were lucky to get the required 26 metres of the widest profile to be able to fulfil this order - thanks to help from the customer service team.
“We also used canvas tray frame 239137171 and put a few prints in 150167000. They all look amazing – and both Debs and TAYO were thrilled!”
Area sales manager Simon Davies also gets a name-check for going beyond the call of duty to get stock sorted for Arthur and Pete.
Instagram @ pictureframeworkshopwindsor
About TAYO
TAYO’s practice seamlessly blends fine art, music and ancient shamanic wisdom. It’s a journey of creative and deeply spiritual exploration that began as a child, when her father –Jimi – gave TAYO a drum and taught her to connect with her own heartbeat, and her mother taught her how to connect with her soul.
TAYO – who is also a motivational speaker, musician, award-winning author, artist and philanthropist – launched a new collection at Henley Festival as part of their unique riverside exhibition. The opening night was the moment for TAYO to unveil her healing arts to the world under the title The TAYO Heartbeat Experience, where pulsating rhythms and vivid colours merged to tell tales of triumph, resilience, and limitless potential. TAYO took visitors on an enthralling journey into the heart of rock ‘n’ roll, where every brushstroke and lyrical verse narrated a powerful story. TAYO describes it as: “An immersive experience that resonates deeply with your soul”.
The Picture Frame Workshop was proud to supply framing solutions for the TAYO Hendrix Heartbeat Experience
The multi-talented musical and graphic artist, TAYO Irvine Hendrix
Arthur working on TAYO’s art
The TAYO Heartbeat Experience
Visitors at The TAYO Heartbeat Experience
TAYO and her daughter Clare
A great aspect of 4walls magazine is hearing the successes of valued Larson-Juhl customers. In this edition, 4walls caught up with Jon McRae at Otters Pool Studio in Woking, Grahame Case at Have It Framed in Edinburgh, and Carlo Riccio from Riccio Framing & Printing in Dalkeith to hear about how they’ve recently transformed their business by either relocating or renovating their premises.
Riccio Framing & Printing!
After just over 24 years in his central Dalkeith gallery, Carlo Riccio recently moved the business into a purpose-built garden room, well away from traffic wardens! “Moving from the gallery to my home has given me more ‘Carlo time’! My customers will be getting a great experience while I can balance my hobbies of fitness and gardening in perfect harmony with my love of framing.”
Carlo has introduced an appointment-only system which makes for a bespoke experience for each customer, as well as a flexible schedule for him. “In the gallery, I took orders then waited to go home to frame,” Carlo explained. “Now I can get jobs turned around more quickly because everything happens in the same place, I’ve got some really good relationships with my customers – you spend ten minutes talking about the job and the rest talking about life and what’s new with them.”
Carlo’s large-format inkjet printer complements the framing service: “I work closely with artists and customers to accurately reproduce paintings or photographs, then enhance the images with carefully selected mounts and mouldings. Even with such a high-tech printer, you still need discretion and judgement to perfect the final product.”
And that’s not all – he has introduced a delivery service with the option of Carlo hanging the framed work in a customer’s home. He told 4walls: “Getting something framed is only part of the process – it can be tricky to hang it well. I make sure it is hung safely and securely and I can also help customers rearrange their pictures and precious memorabilia. Sometimes customers will ask me to reframe other pieces to bring a room together or create a more contemporary atmosphere.”
The garden room has been kitted out beautifully and houses an impressive chevron selection for customers to choose from. For many years now, Carlo has ordered lengths from Larson-Juhl and cut everything down to size for each order. In the neighbouring workshop is the foot-operated Morso guillotine he used since he started framing in 1988, alongside its replacement, an electrohydraulic version that has relieved the strain on his knees.
Larson-Juhl’s area sales manager, Robert McKeown, has visited Carlo’s garden room and was ‘totally delighted’ by the new space. 4walls wishes Carlo the best of luck with his new premises – but with three appointments on his first official day of trading earlier this year, we’re not sure he’ll need it!
www.ricciogallery.com
Otters Pool Studio!
Otters Pool Studio opened over 50 years ago, situated right in the heart of Guildford. When Jon McRae bought it in 2007, he noticed a few issues with the busy central location, so started thinking of ways to solve them.
“It’s all about the customer experience…”, he told 4walls. “...make it a pleasurable one and eliminate anything that doesn’t do that.”
Accessing the town centre involved customers battling with traffic and parking,
putting them in a frantic mindset when arriving at the studio. Jon found it increasingly difficult to upsell extras and upgrades to his customers when their whole experience has started off in the wrong frame of mind. “It’s difficult to even go through the basic framing process with people who are more concerned about whether they’ll get a parking ticket,” explains Jon.
Recognising this, he moved just a few miles away to The Mayford Centre, an out-of-town location between Guildford and Woking, where he took on two small units, one to use as a workshop and one as a showroom.
Otters Pool Studio now has ample free parking and works
Carlo in his garden room gallery with the chevron display
Have It Framed!
Another story worth celebrating comes from Grahame at Have It Framed in Edinburgh. Grahame runs the studio with his mum, Mary, and his dad Peter also plays a key role in the business.
Towards the end of 2023, the family decided to refit their studio. “We went completely back to a shell and started again,” Grahame told 4walls. They were closed for around two months and opened back up in February of
this year and upon reopening, it became very clear that it was all done for the benefit of their loyal customer base.
“Before Covid, we had about 80% customer space and 20% workshop space,” explained Grahame, “but now, we’re handling far more complex jobs and we’re much busier, so we’ve got about 7% customer space and 93% for the workshop.”
Reconfiguring the customer area to a smaller, 8 by 12ft room has made a much more cosy, personalised consultation space where they can provide truly dedicated attention. They even installed LED temperature-changing lighting that can mimic the conditions of the
customer’s home, helping them envisage how their framed piece will look once in place.
Another streamlining technique that they’ve taken on board is strictly using Larson-Juhl chop service. “We don’t buy any length mouldings anymore which we find allows us to be agile when the market changes,” says Grahame. Reducing their stocked range from 2,000 samples down to around 300 has also resulted in low wastage and means they generally keep up with framing fashions that can rapidly change. “Ordering anything
from the Larson-Juhl website or catalogue will arrive quickly for our customers, so we can be completely adaptable and always win the sale whether we have a moulding currently in stock or not.”
Have It Framed used government funding for their refit which is currently available to apply for in Scotland. These interest-free loans and grants help businesses to refurbish affordably and run efficiently.
www.haveitframed.co.uk
entirely by appointment bookings, and customers are certainly reaping the benefits of the move. “I take time with every person to sit down and go through the process, so they find it genuinely enjoyable,” says Jon. “They turn up at the time slot they’ve booked and receive my dedicated attention on a one-to-one basis.”
The showroom is decorated and furnished to an incredibly high standard, with two whole walls dedicated to around 1,200 mouldings
in a huge chevron display. “My Larson-Juhl rep, Derrick, takes photos every time he visits – it’s become a bit of a bar raiser!” says Jon, proudly. Conscious to fully close the loop on the customer experience, Jon always dresses smartly, sends email and text appointment reminders, and issues electronic order confirmations and invoices, making certain his professionalism matches his quality and reflects his prices.
www.otterspoolstudio.co.uk
The extensive and impressive chevron display at Otters Pool Studio
The new customer area, small but efficient with a custom design desk
An extensive chevron display
Larger workshop space means more room to offer customers printing and more storage!
New signage and a thermally efficient shop front provides a modern, professional look
In this feature, Larson-Juhl’s international director of sales & marketing, Matt George, provides some insightful advice around innovative sales techniques.
What is upselling?
Upselling is a sales technique used to convince customers to spend more than they originally intended. It involves offering the customer more value if they purchase an upgraded or higher-end product at a higher price. As framers, you can upsell during each step of the consultation process: moulding selection, the type of mountboard and glass to complete the frame.
It can be as simple as offering a better quality, more expensive moulding than the plain black frame the customer had in mind. Alternatively, a framed image in your shop featuring a shadow mount with Artglass and stacked FSC® mouldings may catch the customer’s eye leading to an in-depth conversation on these options.
Cross-selling
Cross-selling involves selling related or complementary products to customers. Unlike upselling techniques that aim to raise profit margins, cross-selling aims to increase the average order value. In our industry, the opportunities to cross-sell are dependent on the type of business you own. A framing shop with a gallery may tempt the customer into buying artwork to complement their personal framing. If you do not have gallery art and specialise in bespoke work, the customer may need a picture hanging kit. Consider your experiences when shopping online. Amazon never misses an opportunity to sell you a complementary product to the one you are purchasing!
Avoid being a salesperson!
Most people do not like pushy or obvious sales techniques and a friendly, consultative approach is a better way to build rapport with customers. You are the expert and can guide the customer with options they may never have thought of. After walking into your shop with an idea of a simple thin black frame and no mount leaving with a Larson-Juhl Collection frame, double mount and AR70 Artglass is a possibility. It is the subtle sales techniques and friendly, family service that will make this happen.
Visit www.larsonjuhl.co.uk/content/files/ pdf/Best-Practices-2024.pdf for more advice on how to boost sales and profitability.
Upselling and down-selling!
Framing maestro Ian Kenny is a fountain of advice and best practice and so 4walls was keen to get his thoughts on ‘upselling and down-selling’ as he calls it! Here he shares his recommendations around maximising your profitability by premiumising your offer throughout your operation.
It’s a fact that 80% of new clients find you online and so the process of upselling starts well before their first visit. You never have a second chance to make a first impression, so the first impression that you create through your website is paramount.
I would advise you to take a step back from your website. How does it look compared to others in the field? What’s the quality of information given? Do you have a picture gallery featuring outstanding design work?
Highlight any qualifications you might have and/or what standards you work to and mention any affiliations with professional trade or business organisations such as the Fine Art Trade Guild or the Institute of Conservation.
Thinking about your physical premises, how does your frontage look? Does it project a professional image? Does the interior feel fresh and vibrant, with good lighting – or is it tired and dull?
God Save The Queen
Moulding: LJ Deep Matt Black 452167000
Mountboard: Hayseed SSS008065
Shadow mount featuring one of our Signature Keyline designs
Ian Kenny
Deer painted in embossed leather
452167000
Deer Painted – Embossed Leather
Moulding: LJ Angus 842420
Mountboard: Hayseed SSS008065
Shadow mount featuring one of our Signature Keyline designs
Numbered Print
Moulding: LJ Dresden 638120
Mountboard: Hayseed SSS008065
Featuring one of our Signature Keyline mount designs
638120
Mountboard: Hayseed SSS008065
Featuring one of our Signature 2.3mm thick Keyline designs
down-selling!
Put yourself in your customers’ shoes…and be honest with yourself. What is a client’s first impression going to be on entering? And remember that subliminal messages are important! By that, I mean: is the place tidy or does it resemble a bombsite? Do you have good lighting or are there dead bulbs dotted about? Is yours the kind of place YOU would go to spend your hard-earned cash?
Welcome
How welcome and at ease do customers feel? How is the view on entering, for example, are chevron displays clean, tidy and in a logical order? Is the design desk area clean, organised and ready to go?
I am also a great believer in quality by association. In client-accessible areas, do you have unknown electrical and electronic goods such as card terminals, PCs and monitors just to save a few pennies, or recognisable, trusted brands which can bolster client confidence?
Personal service
Once the client is in and feeling comfortable, it is important to build on this by treating them as an individual. Working with clients is not a tick-box exercise. They are all different so the consultation process should not be highly regimented but adapted in a controlled manner to provide a great experience.
Clients love to talk, so get the back story of what they’ve brought in to be framed. And remember, clients often have no idea what they want but always know what they don’t want!
Be confident and think on your feet but in a customer-focused way. Earn their trust. Get their permission to be shown the best you can do and never presume you know what the client wants to pay!
Featuring an extra deep shadow mount over a photograph of Jimmy Page
What’s not to like about at least seeing the top option? Stacked frames, for example, which are best on canvas or close framed work provide a good revenue stream and can look great.
And on other types of work it’s not only the frame choice, of course, but internal design elements and glazing choices which can make a big difference to your bottom-line profit.
Sales tools
Finally, I am a big fan of sales tools, and would strongly recommend having framed examples of your best design work on show. Spend time and money on it. Prominently display any qualification certificates you may have and frame them so they look stunning. And when it comes to your mountboard selector, make your own readyprepared chevrons of your most profitable design elements. It goes without saying that you should have a superb example of premium glazing framed and on your wall, with the sales tool close to hand.
All the above is intended to create the best possible environment to showcase your talents and capabilities. Essentially, making it as easy as possible for the client to say ‘yes’ first time!
Down-selling
This section is short and sweet. If your top-end design suggestions are not accepted, down-sell in stages – drop one design element at a time. Your client will say yes when they are comfortable with the financials. A very simple principle, but if your subliminal upselling has been done properly, down-selling is not often necessary.
Ian has worked from high street retail premises since 1989 and has been framing since 1976. Not content with the GCF qualification, he also holds all three of the Fine Art Trade Guild’s Advanced framing qualifications. He is a Guild Accredited trainer as well as a Guild Certified Examiner and is currently a member of the Guild’s Framers Committee. Alongside other fully qualified professional trainers, he also offers one-to-one training and business advice. Find out more about what’s on offer at www.PictureFramingTraining.com.
Heron – metallic thread embroidery Moulding: LJ Colorato Blue 386700525
CUSTOMER CONTENT - INSTAGRAM
It’s great to see how customers select and use Larson-Juhl mouldings across a huge variety of stunning artwork. This issue of 4walls showcases some incredible pieces from artists all across the UK, all finished and framed to do them justice.
Gallery (@theframing.gallery)
This fantastic piece of digital art was created by Sergio Feldmann Pearce. Larson-Juhl 454303 - Brittany moulding is the perfect complementary frame for this piece with a deep shadow mount to show off the depth of the frame.
Complete Framing Ltd (@complete_framing)
This lovely piece was created by artist Geoff Beckett, who is also the business partner and brother of Elaine who owns Beckett Framing Company! Framed in Larson-Juhl 241000107 - Coastal Woods, a great choice for great artwork.
Complete Framing Ltd (@complete_framing)
This beautiful watercolour of an orangutan was painted by artist Annabelle Davis and has been suitably double mounted and framed in whitewashed walnut 233170545Simplicity by Larson-Juhl.
This stunning, ornate Larson-Juhl 674079Prague moulding is the perfect choice for this print of a painting by French painter Jean-Baptiste-Camille Corot.
The Framing
Beckett Framing Company (@beckettframingco)
Meg Jones Framing (@pictureframing24)
An amazing restoration piece using LarsonJuhl 655252 - Ferrosa. This large canvas was restored and then framed at Bespoke Framing in a wide scooped moulding with a pewter iron finish.
(@claphampictureframers)
This is a truly unique and unusual piece showing a collection of preserved arrow heads, mounted and framed in Larson-Juhl 207214740 - Ponti using low reflection glass.
This beautiful collection of original watercolours date back to the early 1950s, painted by Sussex artist Edwin Harris. They have been traditionally framed in Larson-Juhl 218150640 - Classique with hand-painted washline mounts.
This vintage window decal was framed for a playroom or nursery and has been kept perfectly intact, complete with the release paper and dust that had settled over years of storage. You can even see the creases where the image has been rolled-up and squashed! For Bev’s client, part of its history. Framed in Larson-Juhl 140649 - Confetti, a perfect match.
Securing that mitre –alternatives to the underpinner
BY ALEC PALMER GCF(APF) ADV AND JO PALMER GCF(APF) ADV
Craftsmen have been creating frames for many hundreds of years. Over that time the methods and equipment used have varied, but the objective remains the same – to create a structurally sound frame that is cut and joined well – and will last for many years into the future.
We’ve all seen older frames made before the invention of the modern underpinner. From the carpentry skills of structural splines across the rear of the mitre – a particular favourite on old oak frames – to the tell-tale pin holes of the side pin method on a hand-joined frame. There are numerous ways to create strong mitre joints with carpentry techniques and tools.
Many framing workshops now have an underpinner as an essential piece of kit – whether foot-operated or pneumatic. From the most basic, to the fully electronic, in bespoke framing they all effectively perform the same function. They drive a V-nail/wedge into the wood, pulling together the join as the applied glue dries to hold the mitre together.
But what about the alternatives? When might it be better to step away from an underpinner, and use a different method instead? What are easily accessible methods that don’t require advanced carpentry knowledge?
Hoffman Routing
A really great alternative, particularly if you work with a lot of hard woods, or thin box frame mouldings, is to use a Hoffman Router. The router bit cuts a bow-tie shaped hole across the mitre and the plastic ribbed wedges are glued and knocked into place, pulling the mitre tightly together. They can be stacked or trimmed to the correct depth to suit. On wider mouldings you just route at multiple positions. If you have the space, budget and need, then a Hoffman Router is a great piece of kit to add to your workshop.
The advantage for Larson-Juhl customers is that you don’t even have to invest in the machinery, as they offer a routing service on chop orders. This can be particularly useful on very wide mouldings that you’d struggle to fit into your underpinner. But they have also now invested in a second machine allowing for very thin mouldings, including tray frames, to be routed and paired with the narrowest of Hoffman wedges. Just choose the routing option when you order your chop frames.
Side-pinning and Plugging
This is where the good old-fashioned mitre vice (also known as a corner clamp) come into their own. They hold the mitre closed and steady while you work, allowing you to make micro-adjustments before committing to pin the joint. In its simplest form, you are pinning across the mitre after you have applied glue to the surfaces. The clamp holds the mitre while the glue dries, the pins offer support to the glued mitre.
On very tall frames, you can combine side pinning with using your underpinner, pinning as usual to secure the frame, then side pinning to close the top.
For a more substantial moulding, you can even screw instead of pin across the mitre. This method is best used on barewood frames that are to be painted, gilded, stained or waxed, and you can plug the hole to cover the screw.
To achieve this, mark the position of the holes taking care to make them uniform on each mitre and being careful to ensure they are going across the most substantial part of the moulding. Making a small template from scrap mountboard can help. Use a Forstner bit to create the depth for the plug and then a drill to create a pilot hole within it for the screw. Once you’ve secured the screw in place and the glue has dried, you are ready to plug the hole. You use a plug-cutting tool (the clue is in the name!) to create the plug from an off-cut of the same moulding. Glue and tap the plug into place. When dried, cut it flush to the surface of the moulding.
For most frames you can use normal woodscrews. When we’ve used this method on frames that need to be weatherproofed because they are being hung outdoors, we’ve swapped to stainless steel or brass screws instead. The finished result can be disguised easily on a frame that is to be painted, or made a feature of on a frame to be stained or waxed. You can also be creative and use a different wood type for the plug – but in most cases the aim is to make it invisible, by lining up the grain as best you can.
Clamps
A word about clamps. Alec’s favourite saying is that you can never have too many clamps in a framing workshop. Our most regularly used are strap clamps – we prefer the Stanley ones which are widely available at reasonable cost. We also use Veritas clamps – which are particularly useful on very small frames. There are also occasions when using handywrap is a good idea – it’s particularly useful to draw together awkwardly shaped mouldings.
Summary
Whilst the underpinner will likely remain as the obvious choice for joining most frames, it is always useful to have alternative techniques ready to use. This allows the framer to select the right method to achieve the best results. While it is a good idea to be flexible in your approach to a quality result, it is never a good thing if the mitre is flexible too!
With their own successful bespoke framing business, drawing on over 50 years combined industry knowledge and expertise, Alec and Jo Palmer are also Guild Accredited Trainers and Guild Certified Examiners. They have both achieved the “full house” of the Guild’s GCF and three Advanced qualifications. They serve as current members of the Guild’s Framers Committee and Jo is a past Chair & Master of the Guild.
Alongside other fully qualified framing professionals, they offer industry specific training and business consultation via www.pictureframingtraining.com
From left to right: Veritas clamp; Band clamp and one handed clamps; Large frame showing four mitre vices or corner clamps
Plugging – from left to right: Use a Forstner bit to create the depth for the plug; Drill a pilot home for the screw; Carefully secure the screw; Use a plug cutter to create the plugs; Glue and tap the plug into place; The finished result
Side-pinning – from top left to bottom right: Drill the pilot hole; Tap in the pin; Use a punch to tap the pin below the surface; Fill the pin hole with appropriate filler, wax, etc
Interior Trends Enriching Our Lives
enrich
In this feature, Design Insider editorial & marketing director Alys Bryan shares her thoughts on three current trends. The narrative around them all is from a purist design perspective - Alys has then brought in examples of Larson-Juhl mouldings that complement the visuals and ‘big picture’ environment to provide some inspiration on how you might utilise these trends in your own commissions.
Cross-sector commercial projects, which seamlessly integrate hospitality services, workplace offerings, and retail outlets, are becoming increasingly common. These complex developments often include residential components, and innovations such as branded residences and aparthotels are on the rise.
The melting away of commercial and residential sector boundaries allows trends to effortlessly transcend into all the spaces that enrich our lives.
Enjoy three current interior trends that are walking straight from the commercial sector into our homes!
Framing Tip:
Creating Depth & Personality with Layering
Layering is a dynamic and enriching interior trend that combines furnishings to create depth, interest, and personality in a space.
Watts 1874, the iconic family-owned company, celebrated their 150th anniversary at Design Centre Chelsea Harbour‘s WOW!house event with a stunning tribute by the worldrenowned designer, and layering master, Alidad Mahloudji. Alidad is known for his unparalleled eye for antiques and textiles, expertly layering colour, texture and pattern to transform spaces into immersive environments that are rich in narrative.
Secrets to success:
• Define Your Palette: A broad colour palette can be effective, but it must be well-defined to ensure cohesion and harmony.
• Embrace Cultural Diversity: Incorporate furnishings from diverse cultural backgrounds and historical periods to add depth and a sense of discovery to your space.
• Achieve Balance with Symmetry: Use symmetrical furniture and furnishing placement to relax the eye and bring balance and order to the room.
Add an additional layer by framing objects. Be brave and make a statement! Larson-Juhl’s Sevilla Brown answers this brief perfectly, featuring cracking and patina that allow the beauty of the wood to show through.
Layering expertise showcased in Watts 1874 Legend Room during WOW!house designed by Alidad
The OWO Residences by Raffles - show residence designed by Angel O’Donnell. Photograph by Martin Morell
Engage All the Senses
Sensory design is an approach that engages all the senses to create an immersive and enriching experience. It combines natural materials and textures with lux fabrics and innovative lighting to craft a holistic interior scheme.
An extraordinary example of sensory design can be seen in the Old War Office’s 85 Raffles branded residences. Designed by 1508, with additional contributions from Elicyon and HBA Residential, these spaces honour the building’s heritage through a careful curation of textures, from upholstery to flooring. Each residence benefits from an abundance of natural light, enhanced by thoughtfully integrated secondary lighting solutions.
Secrets to success:
• Orchestrate with Sound: Hospitality settings regularly demonstrate how soundscapes can guide a guest’s journey through a space, enhancing their overall experience.
• Layer Textures: Add depth and interest to every surface with a varied texture palette, from woven boucle upholstery to reflective stone surfaces.
• Incorporate Scent: Infuse the space with natural flowers and a carefully considered scent profile to create a memorable and inviting atmosphere.
Framing Tip:
Experiment with surface finishes. Use natural grained timber for texture and interest, while a high-gloss reflective finish can enhance the play of light within the space. With natural worn-wood simplicity, the rustic-inspired Lancaster Collection is a great choice!
Alys Bryan is editorial & marketing director of online magazine Design Insider, the media partner for trade association Commercial Interiors UK.
Alys is a knowledgeable design editor dedicated to instigating conversations, both online and in-person, with industry experts that challenge, educate, and advance the commercial interior sector. With training and 20 years of professional experience as a furniture designer for the commercial sector, she is uniquely positioned to lead Design Insider. Alys curates the editorial content of the publication, organises unique industry events such as the Design Insider Talks seminar programme, and commissions thoughtprovoking editorial articles that address the needs of our commercial interior community. www.designinsiderlive.com
Harmonise Eclectic Global Influences
The global trend draws together eclectic influences from around the world, creating harmonious schemes that are not restricted to a single country, influence or style. This trend celebrates diversity, blending elements seamlessly within a space.
In March 2024 Osborne & Little launched their Byzance Collection during London Design Week at Design Centre Chelsea Harbour. This extensive collection, featuring fabrics, wall coverings and trims, is inspired by India, blending traditional and contemporary colour palettes and motifs. Each design tells a distinctive story, from ornate patterns reminiscent of Indian artistry to playful motifs capturing the essence of nature.
Secrets to success:
• Broaden Cultural Influences: Avoid limiting the design scope to a single influence, as this can create an undesirably themed space, instead widen the cultural influences to add interest and intrigue.
• Consistent Colour Palette: Tie the space together by weaving a consistent colour palette through the furnishings, extend this attention to detail by considering forms which complement each other and add synergy.
• Highlight Key Pieces: Position key pieces in neutral pockets of the space to let them shine. Use natural colours, wall coverings, textiles, or flooring within your palette to achieve this.
Framing Tip:
Select frames and mounts that enhance the artwork without overshadowing it, allowing the art to be the focal point. An ideal option is the Riviera moulding, showcasing a contemporary profile and interesting patinated surface finish.
The Larson-Juhl scholarship is designed to help framers at the start of their careers achieve their Guild Certified Framer GCF(APF) accreditation, providing them with training before a rigorous exam to build up confidence, knowledge and skills in the industry.
The scholarship has two intakes per year, with the first round for 2024 announced back in July and the second round due to come out in November. Each section of the scholarship course runs for six months and is just one part of Larson-Juhl’s long-standing commitment to supporting the Fine Art Trade Guild.
Looking back to 2023, 4walls is pleased to introduce the second round of scholars from the year: Zachary Hope from Lovelys Gallery in Kent and Emma Britten of DMR Framing in Milton Keynes (formerly at Picture Perfect in Northampton), both Zachary and Emma are currently implementing the valuable training into their day-to-day practice and planning to sit their exams before the end of the year.
LARSON-JUHL SCHOLARS
Zachary Hope – Lovelys Gallery, Kent
Zachary started working at Lovelys Gallery a few years ago, initially as a part-time member of the team until the previous framer left, so he stepped up to succeed. “People keep coming back, so that’s a good sign!” Zachary told 4walls when discussing how business has been since he took on the role.
Zachary’s creative background is what led him to framing and having previously worked for a sculpture artist alongside his brother, he developed an interest in hands-on work. His brother also has his own joinery workshop where they’ve regularly both worked together creating custom pieces.
Having attended the scholarship training back in March, Zachary reflected: “It was brilliant – really, really insightful. It was great to see how bespoke framers operate and how a well-oiled machine runs.” Hoping to sit his exam before the end of year, Zachary wants to allow himself plenty of time to implement his learnings and get some further practice in.
“For me, getting the scholarship was a huge confidence boost and I certainly felt like my potential had been recognised by the Guild,” he says.
The study guide has been a fantastic resource for me especially as I started out with adopted methods and I’ve now adapted the way we do things to align them with the 4 Levels of Framing. I came away from the training with so many improvements to techniques and better materials to use that I feel much more positive about the work I’m producing.
Looking to the future, Zachary said: “I’m always keen to expand my knowledge and learn new things, so I’d quite like to work towards one of the other advanced certifications – I think Conservation Framing would be the most useful to me.”
Zachary hard at work at Lovelys
Emma at work
Emma Britten – DMR Framing, Milton Keynes
Emma’s background is in fine art and illustration with a deep interest in the history, conservation and preservation of art. She told 4walls: “My Grandad – I call him ‘Pap’ – made frames in his garden workshop when I was growing up and that’s what really inspired me to find a role in framing. He would always prefer to make things with his hands rather than go out and buy it. As a watercolourist, he would frame his own art to put in local exhibitions.” It’s lovely to see that these fond memories have led Emma to work in a field that she’s truly passionate about.
Emma also spoke incredibly highly of the training workshop hosted by Jo and Alec Palmer saying:
It was one of the best training courses I’ve ever been on. It was packed with information and really intense – but in a good way!
A key takeaway for her was the section on the design desk. As someone who generally works behind the scenes in the workshop, spending time with customers and taking orders isn’t something Emma had much experience of, adding: “It was great to understand the ordering process and how best to inform the customer of the framing process and explain the quality of your work.”
Also keen to book her exam in before the end of the year, Emma is feeling nervous but knows it will make her all the more confident as a framer. She said: “Jo really assured me at the end of the training. She could sense some nerves and said there’s no reason I wouldn’t pass, so I keep hearing that in the back of my mind.”
they do next!
Another piece of exciting news from the Fine Art Trade Guild is that their successful Art+Print+Frame.expo will be returning for another year on Sunday 29 September, held at Wolverhampton Racecourse at Dunstall Park.
This one-day event is a great opportunity for all members of the industry to meet in a wonderfully relaxed atmosphere. Whether you are looking to browse for supplies at the trade stands, learn some key insights in one of the masterclass seminars, or discover new art and artists for your gallery, this expo is the place to be.
Best of all, it’s completely free to attend and you can register now online. We hope to see lots of our lovely 4walls readers there – you can find the Larson-Juhl stand at E007.
To register your attendance visit: www.fineart.co.uk/events/apfexpo2024-45.aspx
We wish the best of luck to both Zachary and Emma and can’t wait to see what
Exhibitors and attendees at FATG’s 2023 event
Emma at work
LATEST LAUNCHES
Here are two gorgeous new mouldings which we think have fantastic potential for a whole host of commissions.
Lustrosa
Lustrosa sets the benchmark for premium quality picture mouldings, embodying the timeless allure of lustrous metals with unparalleled elegance. Available in four stunning colour finishes and four meticulously crafted profiles, each moulding is designed to captivate and enchant. Its sleek, contemporary design seamlessly complements modern interiors, while infusing a touch of enduring charm into traditional decor.
Metalia
We are very pleased to be introducing our stunning Metalia range. Softened industrial etched metallic finishes, each piece combines rugged elegance with modern sophistication, featuring four profiles and available in six colours.
New Recycled Kraft Board
We have launched a new, easy to cut Kraft Board.
FSC®accredited, made from 100% recycled material and also fully recyclable, the board is available in two sizes:
- 813 x 1120mm in packs of 15 999138000
- 915 x1220mm in packs of 10 999139000.
For more information, please go to www.larsonjuhl.co.uk
Lustrosa
Metalia
Masterclass expert launches new training school
Larson-Juhl framing expert and masterclass author Jon Price GCF(APF) has launched a new picture framing training school: Picture Framing Tuition.uk. With over 25 years’ experience and a Fine Art Trade Guild Accredited Trainer, Jon’s aim is to bring the best teaching methods and training techniques into the picture framing industry.
Jon has run a highly acclaimed bespoke framing business on the Devon/Cornwall boarder for over a decade and has framed the work of international renowned artists and photographers, such as MF Hussain and Irving Penn, alongside highly regarded institutions and exhibition spaces, like the Arab Museum of Modern Art and St Petersburg Menege Hall.
Before becoming a framer, Jon spent two decades running a business in the sports training industry where he developed his technical tuition skills and expertise.
Regular readers of 4walls will know Jon through his masterclass and Ask the Experts articles and via the numerous inspirational ‘how to’ videos. Those that enjoy his articles’ relaxed and humorous style blended with professionalism, clarity and attention to detail will be pleased to know that these are traits he carries into his training. “Of course, it’s very important to know your stuff, to be a framing expert,”
says Jon, “but it’s equally important that that knowledge is delivered in the right way. A training course has to be engaging but also be fun! If it is, the learning comes as a by-product.”
As a professional trainer I understand how people learn. I also know that everyone is different and that teaching methods need to be adapted to suit the individual. My intention is to offer the highest level of picture framing tuition available, both for those that are new to framing and for experienced framers that want to learn new techniques or make their business more profitable.
Jon was an early Larson-Juhl Scholar and completed his Guild Certified Framer qualification via the scholarship. Through his work with the Fine Art Trade Guild, Jon has since assessed the applications of numerous would-be scholars.
Picture Framing Tuition.uk specialises in bespoke one-to-one training courses tailored to the needs of the individual. Courses on offer include a five-day beginners’ course, Guild Certified Framer exam preparation, mount cutting, textile framing and canvas stretching.
Training aimed at experienced framers includes a one-day Advanced Frame Design course and a Business Assessment Consultation which is aimed at framers who run their own business and want to identify new opportunities and increase profits.
Picture Framing Tuition.uk courses are available at both their specialist, stateof-the-art studio on the beautiful North Cornish coast near Bude, and at customers’ premises.
Built in 1898, Norwich Frame Workshop is located in the Norwich Lanes – a stunning and busy part of the city that has a high footfall day and night. This hugely popular area mainly houses independent shops and restaurants which bring framer Lee Smith a steady passing trade, although having been in the business for over 30 years, he also has many regular, returning customers. The premises have been compared to the Flat Iron building in New York – and are something of a tourist attraction in their own right!
LOVING LIFE IN THE LANES
I am really lucky to be in such a prime location,” Lee told 4walls. “25 years ago, this area was rather dowdy but today it is thriving, with a real buzz and lively vibe. I sell a lot of art alongside my framing services, which is predominantly paintings and photography. My shop has quite a gallery feel and the window serves to really showcase what I have to offer. People will typically come in and say they were out for dinner last night and now want to buy ‘that painting’!
Given Lee’s propensity for fine art, it is not surprising to hear that he is a fan of Larson-Juhl’s Signature Collection. “Seville and Prague are two of my favourites for large oil paintings, for example, but these are expensive mouldings. So, buying chop is perfect! I buy chop a lot. As depending on the quantity needed, I will take a call on which is the cheapest option for me - so sometimes I buy by length or pack, but often, given I like to offer a really broad range of mouldings, chop delivers the best price and value.”
“The other good thing about chop is that I hate waste of any sort! And apart from waste, I hate mess too! And keeping my workshop clean and orderly is essential.”
Lee’s commitment to organisation and efficiency also makes him appreciative of the value now offered on Larson-Juhl carriage costs, the scope for mixed orders and the overall speed of delivery.
Lee showcases his mouldings in a sample rack that he made himself, which allows customers to flip though the options.
Lee does little in terms of marketing. He is lucky and gets most of his trade from word of mouth. He has a really upbeat approach to life and is optimistic about the future: “Covid was tough for retail businesses like mine, and while it is hard work running a framing business, I am in a good place. At the end of the day, I love my work!”
Lee at work
Lee Smith
Norwich Frame Workshop
The pandemic was a difficult time for business, making it even more impressive that music fanatics Darren and Maria White of The Picture Place in Sunderland managed to come out the other end of it with a surge in their sales and a heightened appreciation for their loyal customers.
IT’S
TIME TO FRAME THE MUSIC
After trading for nearly 25 years, lockdown posed a real threat to The Picture Place. “We were truly worried about the business surviving,” Maria told 4walls, but the couple successfully turned a negative into a positive despite the pause on trading. While stuck at home, they started by casually decorating with sentimental music memorabilia and didn’t stop until the whole house was covered – including the ceilings!
“The house is pretty crazy, it’s really out there and not for everybody,” says Maria, but it’s certainly attracted a lot of attention in their workshop thanks to a before-and-after photo album that’s readily available for customers to flick through and admire. Comments like “Wow, this is your house?” quickly lead into “We could get this done” and “I could do that with my memorabilia.”
For Darren and Maria, there’s no better feeling than inspiring customers with something they feel so passionately about. Their style has become a real talking point and continues to encourage customers to see the value in having things they love framed, from vinyls, posters or gig tickets all the way to famous outfits and instruments – including some real standout pieces that they’ll never forget, like framing Liam Gallagher’s tambourine and memorabilia for rock band ‘Supergrass’ framed using Larson-Juhl Signature moulding Confetti 140632.
Featuring in 4walls magazine was down to the encouragement of their area sales manager, Richard Clayton, who has seen first-hand the success of the couple’s business and how they use Larson-Juhl mouldings in impressively creative ways. “Richard’s come to us for years – he is absolutely fantastic, you can’t fault him,” comments Maria, “he says ‘people really need to see what you’ve done in your home’.”
A huge congratulations to Darren and Maria as we quickly head towards 2025 – the year they’ll be celebrating both 25 years in business together and 35 years of marriage!
‘(Everything We Do), We Do It for You’
A mutual love of art and music is the foundation for many of the relationships – and even friendships – Darren and Maria have with their customers. “People bring us lunch, some even bake for us. We don’t know what we’d do without them.”
Maria told 4walls: “When certain restrictions were lifted and we could let people in one at a time, we actually cried, we couldn’t believe how many people were queuing. It was a real sense of community hope.
Their wonderfully loyal customer base said they would never have gone anywhere else for their framing and were always prepared to wait for them to reopen.
www.thepictureplace.co.uk
The married couple’s house is filled floor to ceiling with some of their beloved music memorabilia
Darren and Maria’s living room ceiling is covered with a display of some of their favourite vinyls.
A standout commission at The Picture Place has to be framing Liam Gallagher’s tambourine framed in Larson-Juhl Artcore Moulding!
Publisher’s Olympic win
The Paris 2024 Olympics had many highlights but for King & McGaw, a leading destination for limited editions and fine art prints, the business benefitted hugely from a highly impressive licensing agreement with Team GB. The project brought together 10 of the UK’s most prominent artists to capture and support the efforts of Team GB on the Olympic stage.
This exclusive collection featured great diversity of expression through a series of works by some highly renowned talent including: Harland Miller, Julian Opie, Fiona Rae, Tunji Adeniyi-Jones, Rose Wylie, Bella Freud, Marc Quinn, Corbin Shaw and Philip Colbert.
King & McGaw was keen to support and amplify the achievements of Team GB, contributing to the cultural legacy and collective memory of Paris 2024. The artworks are available in various formats, including limited editions and commemorative posters, and will be a valuable addition to any art collection.
This initiative continues a rich tradition of inviting contemporary artists to create artworks celebrating the Olympic Games, a legacy that includes iconic names such as Tracey Emin, David Hockney, Andy Warhol and Roy Lichtenstein.
Gyr King, founder of King & McGaw, commented:
Through this collaboration, we are aiming to contribute to our cultural legacy and provide a collective memory for this global celebration of athletic excellence. The works produced by this exciting group of artists has undoubtedly resonated with audiences worldwide, capturing the spirit and essence of this extraordinary sporting event.
The works include the following and 4walls is delighted that the frame options include Larson-Juhl’s black and white satin.
Fiona Rae’s image spells out the Team GB Olympics slogan for Paris 2024 ‘Everyday Extraordinary’, whilst simultaneously creating a field of abstraction with all its ambiguities and its openness to interpretation. There are rainbows that might be Pride flags, there are pink and pale green curving flowers that bear a resemblance to the Olympic flame, whilst the Olympic rings change size and bounce along at the bottom.
Corbin Shaw designed these shorts with his younger self in mind. He used to box as a teenager and always wanted a pair of custom boxing shorts. These shorts are a message to young Corbin: “You’ll be golden,” “Don’t worry, you’re doing fine”, “You don’t have to be so strong.”
Fiona Rae’s ‘Paris Everyday Extraordinary’
Corbin Shaw’s ‘You’ll Be Golden’
“Everything that you could possibly say about winning has probably been said in one form or another, almost to the point where only a real loser would talk about being a winner! But reduced to its simplest form without any of that motivational kind of language around, it’s a very short and very, very powerful word which fitted really well into this series. If you could bottle the way hearing the word win makes you feel, I’m sure you’d be drunk on it forever.”
Harland Miller
Rose Wylie’s poster ‘Pink Skater (Will I Win, Will I Win)’ combines memories: a black-and-white snapshot of a skater mid-jump by Eduardo Paulozzi and a newspaper photograph depicting a confident ‘magnificent Juno-shaped woman’ on the beach, ready to dive into the cold sea on Christmas Day. Both figures pose similarly, dressed in pink but with distinct attitudes – the skater’s conventional pose is competitive versus the swimmer’s exultance – both symbolising the anticipation of victory.
Philip Colbert’s ‘Lobster Games’ pays homage to the timeless spirit of competition inspired by the history of the Olympics and the symbolism of the lobster. Colbert draws from his recent exhibition at the Archaeological Museum of Naples, where he was captivated by the art of ancient Greece and its enduring themes connecting past, present and future.
About King & McGaw
This poster by Tunji Adeniyi-Jones pays homage to the rich legacy of Black American art, incorporating elements of social commentary and cultural identity that resonate with the experiences of Black athletes within Team GB. It serves as a visual celebration of diversity and inclusion, whilst equally championing a sense of national pride, echoing the Olympic values of unity and solidarity across borders.
Founded in 1982 by three brothers in a basement flat in Brighton, King & McGaw exists to celebrate art. In the beginning, they produced prints with a single, secondhand screen press. Today, they have moved along the Sussex coast and their state-ofthe-art workshops have expanded to meet global demand.
They are proud to work with the world’s greatest institutions including The Tate, National Gallery and MoMa in New York, and they are trusted by established artists and their estates, including The Andy Warhol Foundation, Picasso, Matisse, Basquiat, and Frank Bowling to name a few.
www.kingandmcgaw.com
Rose Wiley’s ‘Pink Skater (Will I Win, Will I Win)’
Tunji Adeniyi-Jones ‘Blue Dive’
Philip Colbert’s ‘Lobster Games’
Sustainability – the facts!
By purchasing FSC ® and PEFC-certified products, framers are helping forests and those who rely on them.
Forests are one of the planet’s most important resources, offering a renewable supply of the materials and goods we need for a more sustainable future. Here at Larson-Juhl, we are keen to facilitate the provision of responsible practices and thereby empowering consumers to buy sustainably.
What does selling FSC® and PEFC-accredited products mean for framers?
• Feel good about your selection: materials used in this product are harvested and replanted in a sustainable way.
• These products are not made with any endangered wood species.
• By choosing these products, you help take care of the world’s forests. Learn more at fsc.org.
• By choosing these products, you are supporting responsible management of the world’s forests.
• The FSC ® label means that the wood used in these products meets the world’s highest environmental, economic and social standards.
• Material for these products comes from well-managed, FSC ®-certified forests and other controlled sources.
• By sourcing PEFC, you are supporting sustainably managed forests globally.
Over the last few years, Larson-Juhl has been committed to making as many operational improvements as possible in terms of our environmental credentials.
Our 2023 statistics for waste management include:
• Glass and wood waste was 100% recycled.
• 94.1% of our total volume of waste was recycled. Within the recycling process, we bailed over 45 tonnes of cardboard which was repulped and reprocessed back into cardboard.
• 5.7% of our waste was recovered. This means that energy (electricity) is ‘recovered’ from the waste. The waste is shredded and then sent to an energy plant that burns waste rather than oil, gas or coal. The waste is essentially a fuel which generates heat that is converted into electricity.
• 99.8% was achieved as a total combined figure for recycling and recovered materials.
• Just 0.2% went to landfill.
Through 2024, we are continuing with the above practices and targets, and looking at other improvements too, such as energy saving initiatives at head office and the introduction of electric vehicles into our fleet.
Larson-Juhl’s international director of sales & marketing Matt George said:
We are really pleased with the progress we are making in terms of environmental best practice, and our waste management record shows that sustainability is now embedded in the business. This is good on many different levels – ethically, of course, but also, more and more individuals and organisations now want to deal with companies who can demonstrate that sustainability has been genuinely incorporated into their operation.
For more information about Larson-Juhl’s sustainability programme, please visit: www.larsonjuhl.co.uk/ mouldings/sustainability
FOREST WEEK
The Forest Stewardship Council (FSC) is running its annual Forest Week from Saturday 21st to Friday 27th September. You can get involved in all sorts of different ways, and the theme this year is very much that everyone can play a part in fighting climate change, conserving biodiversity and supporting indigenous communities. Find out more here: https://fsc.org/en/fsc-forest-week.
and been
Zero Deforestation
Trees are harvested responsibly so there is no net loss of forest over time. By nurturing our forests, we can prevent biodiversity loss and fight climate change. By reversing the mass-clearing of forests, they can be properly registered and maintained.
Fair work environment and community rights
Workers are provided with proper training and safety protocols when working for the FSC® and PEFC organisations. Indigenous and local communities are protected, providing over 300 million people globally with food, fuel, medicine and their livelihoods.
Why buying certified products matters
Protecting plant and animal species
Forests host diverse ecosystems that contain terrestrial plant and animal species and certified products support the change from preservation to conservation of these species.
A global alliance
Around the world, FSC® currently has over 50,000+ certificate holders and 1,500+ promotional licence holders, all supporting the protection of 210+ million certified hectares of forest. PEFC’s 55 national and 29 international certificate holders also support the local advancement of responsible forestry nationwide.
Value of certification
Larson-Juhl’s certified products expand the value of certification for both FSC® and PEFC. New solutions are continually being developed to help businesses work with forests responsibly, maintain and enhance forest value, and accelerate forest recovery.
We are incredibly proud to be part of this commitment.
SERVICE
At Larson- Juhl, we are committed to delivering excellent service levels. Our daily UK delivery service offers convenience for framers to receive orders every day of the week.
SUSTAINABILITY
We offer the largest number of FSC® and PEFC products. By choosing Larson-Juhl, you are helping forests and those who rely on them, offering a renewable supply of materials.
