AUGUST 2020
HEART OF GOLD
IDENTIFYING PERIOD FRAMES • GILDING TEXTURED SURFACES
Contents
PFM is a member of:
Volu ume 31, Number 8
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
In this issue, we take a look back at the extraordinary life of Martin "Marty" Cary Horowitz, who died July 2. Horowitz—master gilder, artist, author, educator, and owner of Goldleaf Framemakers of Santa Fe—will be remembered for his invaluable contributions to the industry and larger-than-life personality. For the full story, see page 24.
Features 18 Identifying Antique Frames 24 Heart of Gold: Remembering Marty Horowitz 30 Gilding Textured Surfaces 34 Restoring a 19th C. Frame
12
Columns 12 Mat Doctors 38 Successful Retailing Panel 46 Style Snapshot
Departments 8 10 23 42 43 44 45
Editor’s Note Industry News Crossword Puzzle Distributor Spotlight Index of Advertisers Product Showcase Crossword Solution
30
45
18
Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2020 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.
PFM Publishing
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PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com Bruce Gherman • bgherman@pfm-group.com • 848-444-5202 Kimberly Biesiada • kbiesiada@pfm-group.com • 848-231-3510 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com • 848-231-4082
E X E C U TI V E PU BLI S HE R E D I TO R
CONTRIBUTORS
Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF
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ADVERTISING SALES
sales@pfm-group.com • 848-444-3058 Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION D I RE C TO R O F A U D I E N C E D E V E LO PM E N T
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A D V E RTI S I N G C O O RD I N ATO R
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WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE A division of Hobby Pubco • www.wcafshow.com
Deborah Salmon • dsalmon@wcafexpo.com Maureen Robertson • maureen@wcafexpo.com TRA D E S HO W C O O RD I N ATO R Gary Coughlin • gary@wcafexpo.com C O N F E RE N C E C O O RD I N ATO R Alan Pegler • alan@wcafexpo.com
TRA D E S HO W D I RE C TO R E X HI BI TO R S E RV I C E S
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CONTENTS
PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR
pfmpubco@pfm-group.com
AD INDEX
PFM PUBLISHING, LLC PRE S I D E N T
6 PFM August 2020
Bruce Gherman
FROM THE EDITOR’S DESK
O
Gilding and restoration howtos, period frame identification, and more in our annual gilding issue; also, a special feature on Marty Horowitz
CONTENTS AD INDEX 8 PFM August 2020
n July 2, our industry lost a giant: Martin “Marty” Cary Horowitz, 70, master gilder, frame maker, artist, author, educator, and friend to many. It is fitting that he appear as our cover star in our annual gilding issue, because when most people think of Marty, his exquisite gold leaf work springs immediately to mind. In this issue, PFM publisher Bruce Gherman reflects on Marty’s personal and professional legacies, and just a few of Marty’s hundreds of colleagues share their thoughts and memories. See page 24 for the story. Since it is the gilding issue, we have plenty of content related to the ancient, popular craft. In his latest article, Barrie Lynn Bryant details the step-by-step process for preparing and gilding textured surfaces (page 30). The technique results in a brilliant gold finish while maintaining your surface’s unique texture. Restoration work often goes hand in hand with gilding work. With the help of a suite of easy-to-use products, a nineteenth-century mahogany frame with a gilt liner is revived to its former glory in the latest article from Lauren Sepp (page 34). Before restoration work on a frame begins, however, it pays to know if the
frame in question is an authentic period piece. In “Frame Detective: How to Identify Antique Picture Frames” (page 18), experts reveal how you can determine a frame’s age, style, and authenticity; an enjoyable journey of discovery and potential profit-booster in one. This month also kicks off the first of a five-part series of articles covering PFM’s Successful Retailing Panel, which took place at the 2020 WCAF Expo in January. Artists Frame Service owner, world-renowned educator, and PFM business editor Jay Goltz sat down with former Forbes editor Loren Feldman to candidly discuss the challenges and solutions that have defined his career. Later in the series, you will hear from real framing retailers from around the world as they share their own solutions to problems many business owners face, as well as their secrets to success. As always, we welcome feedback; you can reach me anytime by emailing editor@pfm-group.com. Gilding project pictures welcome!
Kimberly Biesiada Editor
INDUSTRY NEWS Fletcher Business Group Celebrates Retirement, New Hire
this decision, but, as you will doubtlessly understand, our first
After more than 20 years with Fletcher Business Group, Richard
a statement to exhibitors. “We are, however, already organizing
Moros retired from his position at the company at the end of
the 2021 edition and will officially announce the new dates by
July.
September. We can assure you that all events will be held in “Richard has been instrumental in the materials manage-
concern must be the health of our clients,” management said in
compliance with the strictest safety measures, allowing exhibitors
ment department, handling most of the traditional Fletcher
and visitors to meet and work in protected, risk-free environ-
products. We would like to thank Richard for his many years of
ments.”
service and wish him the very best in his future endeavors,” said CEO Jim Welch.
Framerica’s Rob Diers Surpasses 20-Year Mark
The company also announced a new hire, Asad Mazhar,
Rob Diers, Framerica’s head of machinery
who will serve as production planner. Mazhar will work with
design and maintenance, recently celebrated
Yolanda Sirera, director of materials management, to improve
20 years with the New York-based moulding
and expand the operations of the department.
manufacturer.
Mazhar brings over 10 years of experience in supply chain
“Rob is a wonderful asset to our compa-
management. Most recently, he has held the position of vendor
ny,” said co-chairman Gordon Van Vechten.
management specialist at Waste Management in Windsor; prior
“His ability to build and service our proprietary
to that role, Mazhar was in procurement at Fauji Fertilizer Com-
equipment is rivaled only by his work ethic and commitment.”
pany in Pakistan and procurement officer at the International Federation of Red Cross & Red Crescent Societies as well as marketing associate at Core Communications Group in the UK. Mazhar, who has an MBA and a BBA in business administration from Hamdard University in Pakistan, will be located in the company’s East Berlin office.
FamaArt Canceled for 2020 In light of the global coronavirus pandemic, FamaArt 2020 has been canceled, show organizers announced recently. The trade show was originally scheduled for Mar. 26-28 in Bologna, Italy, and was postponed to Oct. 8-10 before ultimately being canceled. Show management cited the pandemic itself and the resulting economic downturn as the reasons behind the decision. “We are truly sorry that we have been obliged to make
CONTENTS AD INDEX 10 PFM August 2020
Rob Diers
For more information, call 800-372-6422 or visit www.framerica.com. PFM
Frame Detective: HOW TO IDENTIFY ANTIQUE PICTURE FRAMES By Kimberly Biesiada “We tried to find out who the artist is, but we have no idea.”
T
hat was the challenge presented to William Adair by one of his recent clients. Adair, a world-renowned frame historian and gilder and
the owner of Gold Leaf Studios in Washington, D.C.,
was determined to discover who had painted the framed antique portrait. Upon further discussion, Adair learned that the portrait originally hung in his client’s grandparents’ home in Southampton, NY. He examined the front and back of the piece, looking for a frame maker’s label, pencil marks— anything that could narrow down his search. On the back of the frame, he found the old backing paper that had begun to rot. “I looked carefully, and I could see through the backing paper that at the center-top of the frame, there was a rectangular buckle the size of a label,” Adair said. Underneath the paper was the original art dealer’s label, which included locations in Southampton and New York City. A quick search revealed that the dealer still ex-
Adair enjoys the investigative work that comes with identifying a possible period frame such as this one, which he is currently seeking information on. Courtesy of William Adair ists today; Adair reached out to them and is in the process of identifying the artist in question. He also found pencil markings that read, “Gold leaf finish—old gold look;” they are what he believes to be the frame maker’s toning instructions to the gilder, indicating the frame might have
CONTENTS
some value. His investigation went from his client having no information on a treasured family heirloom to the client “jumping for joy at the possibility we could find out what the
AD INDEX
artist’s name was,” Adair said. Adair, former conservator at the National Portrait Gallery and a popular instructor with The National Conference at the WCAF Expo in Las Vegas, enjoys this kind of detective work. “It’s an exciting moment,” he said, when
The framed portrait in the top-right photo included a label on the backing paper—an important clue as to its origin. 18 PFM August 2020
such a discovery is made on a piece of art or a frame. “It’s
like meeting a long-lost relative.” Knowing what to look for in these situations can lead to the kind of extra-mile customer service moment Adair described. It can also be helpful when trying to determine the value of an antique-looking frame put up for auction or brought in by a customer for a repair or reframing. There are several ways you can identify a frame’s style, time and place of origin, and approximate value, as well as a wealth of resources you can use for guidance when assessing a possible period frame.
BACK OF THE FRAME As a first step, Adair recommends photographing an antique-looking frame when it comes in, including overall shots of the front and back and closeups of each corner. Ideally, the customer will allow you to keep the frame in your shop so you can take your time examining it. In particular, the back, or verso, side of a frame can offer numerous clues to its origin. “The back will tell you more than the front will tell you,” Adair said. “The back of the frame is really how you tell the authenticity.”
GILDING CHART COURTESY OF WILLIAM ADAIR
Pay close attention to any labels or pencil markings that may still be visible, and take note of the suspected age of the wood. Hanging devices can also offer insight: is there old hardware on the frame, and if so, what kind? For example, when hook eyes are placed in the dead center of the side rails of a frame rather than more towards the top, that can indicate it is a period frame. Victorian frame makers often used that hanging method so the frame would tilt forward off the wall, keeping glare off the glass, Adair
METHOD
MATERIAL Gold Leaf
A 19th c. mass-produced frame. Frames like this, with machine-applied ornament, were produced in lengths; less expensive than hand-carved frames. Courtesy of Suzanne Smeaton
CHARACTERISTIC SIGNS TO DETERMINE MATERIAL & METHODS USED
Water Size Burnished
Brilliant Gold Tone
- Very smooth surface due to agate burnishing - Overlapping of gold leaves visible - Bole under-surface visible - Often used on higher parts of frame
Water Size Matte
Subdued Gold Tone
- No overlapping visible, solid gold - Usually coated with delicate glue size solution - Often used in conjunction with burnished gold
Oil Size Matte
Subdued Gold Tone
- Occasionally a thin line visible between leaves - Sometimes contains rough surface due to adhesion of dust particles to size before application of leaf
Oil Size
Subdued Gold Tone
- Tarnishes if not given protective coating - Usually covered with orange shellac to imitate gold leaf - Silver visible in chipped areas
Water Size Burnished
Brilliant Silver Tone
- Overlapping leaves visible - Bole under-surface visible, usually blue or gray color - Also covered with shellac to simulate real gold
Gold Metal Leaf
Oil Size
Brassy Metallic Tone - Sheets of metal leaf supplied in 5'' x 5'' dimension - Usually a visible line between sheets
Bronze Powder
Mixed with Bronzing Liquid or Oil Size and Dusted on Burnished Bronze
Gold Paint Tone Dull
- Usually specks of powder visible under close examination
Rich, Old Gold Tone
- Bole under-surface usually visible - Very smooth surface due to agate burnishing
Gold Paint “ Radiator Paint”
Sprayed or Brushed on
Dull, Gold-Like Tone - Usually quite opaque and very dull - Entire surface same tone; chips easily under pressure
“Treasure Gold” Wax
Rubbed on with Finger or Swab
Dull Gold Tone
Silver Leaf
Special Bronze Powder Used Labeled “Burnish Bronze”
- Used on top of ornaments to cover damaged surface
PFM August 2020 19
Samples of metal leaf (left) and gold leaf (right). Courtesy of Suzanne Smeaton
said. It also may point to the piece being originally hung in a high-ceilinged room. If you see that a frame has been altered, that can be an important clue about its age, said frame historian and consultant Suzanne Smeaton. Smeaton, an acclaimed researcher, educator, and author who has worked with institutions such as The Metropolitan Museum of Art in New York, recently came across a listing for a frame on an auction website that included an overall picture of the verso. “You could tell it was a period frame,” she said. “Two diagonal corners matched one another, and the other two matched one another, but all four weren’t the same. It was obvious the frame had been altered and rejoined.” Any markings on a frame can help an examiner uncover that frame’s backstory. “For example, if a frame comes in surrounding a vertical painting, but when you turn it over you spot holes for hanging a horizontal painting, that can indicate it is not the original frame,” Smeaton said. Both Smeaton and Adair emphasized the importance of keeping books on frame history and styles on hand in your shop. By building this reference library, you can quickly assess a possible period frame’s value and origin. Adair also suggested doing a reverse image search on Goo-
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gle to find related images. Visit www.support.google.com and type in “reverse image search” for a how-to guide.
FRONT OF THE FRAME AD INDEX
There are many aspects of the front of a frame that can give you an idea of its age and quality. If you have identified a frame’s style using your reference books, knowing the time period in which that style was used can tell you whether or not it was carved or a wood-and-composition ornament (compo) combination, Smeaton said. For exam20 PFM August 2020
A diagram of a 19th-20th century gilding scheme, which includes chief and slip (liner) mouldings. Courtesy of Suzanne Smeaton A frame sample showing how a 19th c. frame with applied composition ornament appears prior to gilding. From the Olana Historic Site, courtesy of Suzanne Smeaton ple, most nineteenth-century frames are made of wood and composition ornament, while frames made prior to that period were most likely carved. Carved frames in America saw a resurgence in popularity during the early years of the twentieth century. The appearance of cracks along a frame can help you determine whether a frame is carved or compo, according
to Smeaton. Compo reacts differently to temperature and humidity than the wood to which it is affixed; this reaction can cause cracks to appear at regular intervals and at a right angle to the length of the frame. On the other hand, if the frame were carved wood and cracking occurred, the cracks would appear lengthwise with the grain of the wood. Smeaton also advises being on the lookout for any losses on the frame’s surface where you might see what the material underneath is.
Still Not Sure? Ask an Expert Did the research and still coming up with more questions than answers? Industry experts are available to field your questions about the potential authenticity of a specific frame. William Adair can be reached at
goldadair@yahoo.com
Suzanne Smeaton can be reached at
ss@suzannesmeaton.com
PFM August 2020 21
Building Your Reference Library Here are some essential books on frame styles that you can use as reference guides when examining an antique frame. They are listed alphabetically by author’s last name.
• The Frame in America, 1700-1900: A Survey of Fabrication Techniques and Styles William Adair This frame illustrates the distinctive vertical cracking pattern specific to compo. Courtesy of Suzanne Smeaton
• The Art of the Edge: European Frames 1300-1900 Richard R. Brettel and Steven Starling • The Secret Lives of Frames: One Hundred Years of Art and Artistry, Deborah Davis
“One thing I always caution people about is if you see a chip, and you see white, don’t automatically assume that it’s plaster,” she said. “You might just be looking at the gesso layer.” The depth of the chip can help you determine which material you are seeing. Smeaton also advised becoming familiar with methods of fabrication and gilded surfaces to better assess possible period frames. Knowing the differences between oil
• One Hundred Years on the Edge: The Frame in America, 1820-1920, Tracy Gill • The American Frame: From Origin to Originality Gill and Lagodich Fine Period Frames • The Art and History of Frames, Henry Heydenryk Jr. • Looking at European Frames: A Guide to Terms, Styles, and Techniques D. Gene Karraker
gilding and water gilding, or the differences between gold
• A History of European Picture Frames, Paul Mitchell and Lynn Roberts
leaf and metal leaf, allows you to interpret visual clues
• The Art of the Frame: American Frames of the Arts and Crafts Period
when examining a frame’s finish. The color of the bole underneath a gilded frame is often a clue to where the frame is from, she said. “We’re
Suzanne Smeaton • The Gilded Edge: The Art of the Frame, Eli Wilner
all used to seeing red bole, which is typically a French or German frame. Gray was the prevalent color of bole in the United States; because it’s this gray or gray-blue color, peo-
the frame and why it is important to her,” Adair said.
ple don’t understand that they are looking at a clay sur-
His client said her grandparents were the original
face. They sometimes think it’s dirt. That’s where knowl-
owners of the frame; she recalled seeing it on their wall
edge of frame styles comes in.”
during childhood visits to their coastal New Hampshire
DIFFERENT KINDS OF VALUE
home. The frame was passed down to her parents and was going to be discarded by the family following their deaths,
To determine approximately how much a specific frame is
but she’d held onto it, wanting to restore the object that
worth, Adair suggests searching for frames in that same
brought back many happy memories.
CONTENTS
style on eBay. Checking the selling prices of frames similar to yours will give you a good idea of its real value. Of course, value isn’t always monetary; sometimes it
“Establishing that is important,” Adair said. “The initial meeting with a client should consist of establishing the connection between the frame and the person or people.”
AD INDEX
is emotional. And that is often the case when a customer
No matter a frame’s price tag, it pays to know how to
brings in a heirloom piece for restoration. Adair recalled
assess and identify antique frames for your business. With
a recent meeting with a client who had a beat-up 1920s
these tools and resources, you can better identify the hid-
frame, its varnish crackled “like it’s been in an attic for 100
den treasures that come through your door, build a loyal
years,” all but one corner broken.
customer base, and enjoy discovering untold stories. And
“Instead of saying, ‘Why are you bringing this to me to repair? It’s hardly worth $100,’ I asked her to tell me about 22 PFM August 2020
you may make a nice profit, too! PFM
CROSSWORD CHALLENGE Across 1 Most common surface to be gilded 4 Technique of applying a high-carat gold-mercury amalgam to a bronze object 7 Distribute over an area 8 Gold layers 11 Chemical ending 13 Type of cloth used to clean gilded frames 15 Low relief decoration applied to build up
Down 1 2 3 4 5 6 9 10
a surface that can be gilded 17 Cut at an angle 21 Mt. Blanc is one 22 ____ skin glue, may be used as a coating prior to gilding 24 It’s been used as the traditional ground for gilding frames 28 Relating to objects where only some surfaces are gilt, 2 words 31 Polish
12 14 16 18 19 20 21 23 25 26
33 Fall down slightly 34 Color of some gold 27 29 30 32
Essential for use in any spray gun painting A gilt surface does not ___ Very thin sheet of gold Above Capable of being bent and shaped, like gold Appreciated Cloud locale ____ gilding can produce a beautiful surface coating of matte gold English princess Regret Covered thinly with gold leaf Hospitals for the military, abbr. Weight measurement Falls, as a liquid Ventilating Exposes Spanish for sun One of the materials used in the specialty glue and priming mixture used prior to gilding Container “___ take a look at it” A couple of __, shucks!
SEE PAGE 45 FOR THE SOLUTION
PFM August 2020 23
Product Showcase Decor Moulding
Framerica
Introducing Soho, a new line featuring six large, black-and-white gloss mouldings in very contemporary profiles. Widths range from 1 1/2'' up to 3'', and rabbet heights from 7/8'' up to 1 3/4''. Soho: classic beauty combined with contemporary profiles and glistening finishes. Order corner kit #CS-SOHO to get these high-demand styles on your walls today.
Framerica’s exclusive Concrete textured finish, an architectural stone gray, is now available in 3'' wide moulding. “Specifications for our Concrete collection have skyrocketed,” notes VP Josh Eichner. “We had requests for it to be made available in our 66 profile, so it was a natural progression.”
Call: 800-937-1055 www.decormoulding.com
Call: 800-372-6422 www.framerica.com
Framing Fabrics
Giò Designs
Macao: 58'' wide, 100% cotton. One of the most important contract fabrics being used in the picture framing Industry today, available in seven basic colors: Artic, Black, Bleach, Cream, Muslin, Oyster and White. Sets of fabric corner samples available upon request. Now accepting orders online; please visit Framing Fabrics’ newly designed website any time of day.
Add a splash of color to your photo frame selections! This summer, Giò Designs is introducing six vibrant, metallic colors in their slender K344 profile. In addition to black, gun metal, and pewter, these fun frames will now also be available in blue, green, orange, pink, purple, and red. Seven photo frame sizes will be available, including 3x3, 3x7, 3.5x9, 4x6, 5x5, 5x7 and 8x10.
Call: 800-832-2742 www.framingfabrics.com
Call: 800-674-3344 www.giodesigns.com
Michelangelo Moulding
Penny Lane Publishing
Filling another space in the widening floater market, Michelangelo has developed a new series of brawny barnwood mouldings in six, very realistic wood finishes; three variants of brown and three of gray. This new series will join Michelangelo’s other floater collections shortly; please send your orders for samples via the website.
New artwork by Imperfect Dust! Contact a sales representative by phone or emailing info@pennylanepublishing.com for more information. All artwork is also available on canvas and wood products. Select images are also available as large format giclée prints. Stock code: DUST646
Call: 877-422-8812 www.michelangelomoulding.com
Call: 800-273-5263 www.pennylanepublishing.com
Sepp Leaf
Studio Moulding
Liberon Gilt and Frame Repair materials. Made in France and England with oldworld quality and tradition. Look for this name when seeking the best quality possible. The product range includes waxes, gilt cream and varnish, touch-up sticks, French polish, and ultra-fine steel wool. Imported by Sepp Leaf Products. Available at Frameware, Decor Moulding, Valley Moulding, Glue Products, and Talas.
The new Willow collection expands the natural beauty and lines of real wood. The timeless feel of Willow lends use to current market trends in home decor. Add the traditional beauty of Willow by contacting your regional sales manager for samples to display. Call: 800-262-4174 www.studiomoulding.com
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Call: 800-582-5608 www.framewareusa.com
AD INDEX
Superior Moulding
Universal Arquati
Superior introduces Skyfall: two profiles, four unique, multicolored mouldings with a textured and glossy finish. The modern finish on this series complements modern farmhouse designs that are so popular today. These mouldings work great with landscapes, from oceans to mountains, and the profiles pair well to create stunning double frames. Request a color catalog online or call for samples and pricing.
Introducing a new size to Universal’s successful gesso-free line, ¾'' x ¾'' Italian Prime! This Italian-made moulding features open grain, high gloss, and matte finishes in a variety of colors. This profile is economical, gesso-free, and great for many uses with small pictures, inner frames, and photography. This product is now in stock! Please contact your local sales representative to get a sample set.
Call: 800-922-7914 www.supermoulding.com
Call: 800-668-3627 www.universalarquati.com
44 PFM August 2020
(Continued from page 46) ture and is one of the earliest frame designs. Used for altarpieces
throughout. The frames were usually gilt or polychrome wood;
or devotional paintings to give the feeling of a shrine, the frame
sometimes they were made of walnut and parcel-gilt. Sgraffito,
was originally carved out of the same piece of wood as the panel
punchwork, and marbleizing techniques were also used.
painting that it surrounded. The first examples of these frames were made as separate entities from paintings dating from the
What design departures might be seen on some frames of this
fifteenth century in Italy, and the design continued to be used
style? The tabernacle frames that were used in England and
into the sixteenth century. Beginning in the 1860s, Lawrence Al-
America at the end of the nineteenth century usually had a flat-
ma-Tadema and Frederick Lord Leighton designed tabernacle
ter profile and simpler design than the Renaissance tabernacle
frames for their paintings; Alma-Tadema was most likely the first
frames. The pediment was often left off and fluted pilasters were
and also signed his frames. English Pre-Raphaelite artists such as
frequently used instead of columns. A finer cast composition or-
Edward Byrne-Jones began to use tabernacle frames as well on
namentation replaced the earlier technique of pastiglia, and the
their mythological works around this time. The idea was to cre-
gilding was usually a bright burnished gold.
ate the illusion of a window or door to another world. Tabernacle frames were also used in America at the end of the nineteenth
What type of artwork would this frame most likely house?
century. The frames fit in well with the Renaissance revival style
Stanford White designed tabernacle frames for friends such as
that was popular at this time. The tabernacle frame designs that
Augustus Saint-Gaudens and Abbott H. Thayer. Frequently de-
Stanford White created were some of the most beautiful.
signed for portraits of angels, these frames can be viewed as a sort of gateway to the afterlife. PFM
What are the defining/common characteristics of this style? In the Renaissance, the frames usually consisted of an entablature with or without a top pediment supported by pilasters or col-
“Best of PFM� takes a look back at some of the magazine’s most popular articles on frame history as it celebrates its 30th
umns over a predella or base. The design could be simple or very
year in publication. This article appeared in its original format
ornate with detailed incised, carved or pastiglia ornamentation
in the April 2011 issue.
Crossword Challenge Puzzle Solution
PFM August 2020 45