Picture Framing Magazine - August 2020

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

83 South St., Unit 307, Freehold, NJ 07728 • Phone 732-536-5160 • Fax 732-252-2270

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

B USI N E S S E D I TO R

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

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

A D V E RTI S I N G C O O RD I N ATO R

Jin Dong • ads@pfm-group.com

SUBSCRIPTIONS TOLL FREE: 888-238-0049 pictureframing@omeda.com

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

WCAF EXPO SALES

sales@wcafexpo.com

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

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Vignettes Add An Artistic Flourish to Framing Cuts like these are a creative way to help tell your customer’s story.

D

ecorative cutting is one promise of a CMC, but the typical cutout in the top mat can be a disappointment.

There is just a color behind it, and the effect is seldom very lively. Another recurring problem is that cutouts are usually made as small as possible. With the tight curves and close details necessary to make small shapes, there are either design compromises or cutting problems. The entire project can turn frustrating.

Could there be ways to include decorative cutting in a mat design that break out of

there are some important aftereffects. The

this cutout formula and answer these short-

cutout is suddenly rectangular, making it

comings, visually and technically? Fortunate-

more natural to work it into an arrangement

ly, there are. Over the next year, there will be

as if it were another picture. Once it becomes

a handful of alternative ideas on how to in-

another picture, it no longer needs to be so

clude CMC cut work offered here.

small; understated, yes, but not miniature.

Creating a Vignette

When the cut work can be a bit larger, the cutting problems mentioned earlier are reduced.

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One idea is to turn your cutout into a picture.

There is more room to work, and details can

The mechanics are simple: cut an extra open-

be added to make the shape more appealing.

ing in the arrangement, cut the cutout in an-

A multiplicity of colors is a significant as-

other sheet of matboard, then mount the cut-

pect of any decorative item’s appeal. With a

out behind the opening.

normal cutout, there is the color of the mat

However elementary this may sound,

and the color behind the cutout. The struc-

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Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines.

He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.

12 PFM August 2020

This cutout of the Americas is a cutout of the surrounding water areas. The land areas are left as positive shapes in the matboard. The cutout is 5” high; larger than the usual cutout. With a larger size, more detail can be included to make the shapes more recognizable.

The empty opening in the mat at the upper left is where the map cutout will be mounted. It is 3 x 4.5” high. This will crop the cutout to focus on the significant map areas.

This arrangement is a standard row of openings. Both snapshots are 6.75� high. The three items are 3/4� apart. The map vignette is a bit above the center. It fits naturally as if it was another photo. Maps should show information. The pins and threads trace the route from Alvarado to Oaxaca to Andalusia to Armenia to remind viewers why these photos are important.

ture of vignettes, no matter the size, requires more colors.

stroke extends off to the right and connects with an outer

There will be the color of the mat, plus a new color for the

rectangle that will be hidden under the opening. The in-

cutout, and another for the background.

tent is that the monogram will seem to be floating over

Then, realize that each new color is a new layer, and layers build depth. Look over the photographs of the finished examples to see how dramatic these vignettes are because of the shadows created by the multiple layers.

the background once it is mounted under its opening in the mat.

Two copies of this letter were cut to make this monogram. The darker copy is mounted a little down and to the right for a drop shadow effect. Transforming the decora-

Vignette 1: A Stylized Map

tion into a vignette allows this extra step to add a detail

This stylized cutout of the Americas is actually a cutout

that makes the decoration more visually appealing. If this

of the oceans and lakes, leaving the land areas as positive

monogram were cut as a typical cutout, adding a drop

shapes in the matboard. A normal geographic shape would

shadow would not be this easy.

certainly be designed as a cutout in the shape of the land

The E, like the map, is also designed as a positive

area. However, planning this as a vignette allowed choices

shape. This is not a necessary condition for making vi-

in the drawing program. It was possible to draw the lines

gnettes out of cutouts; it is merely a coincidence of the

that turned the oceans into the cutout shapes instead of

design choices in these examples. With the map, the posi-

the land. Because of this reversal, the layers become more

tive shape made the construction more realistic. With the

descriptive. The land is on top and the water flows under.

letter, the positive shape makes the drop shadow possi-

If a map is included as a decorative element, it helps tell the story of the pictures if it imparts some pertinent

ble. Its alignment is less tedious and the assembled shadowed letter is easier to mount in the mat.

CONTENTS AD INDEX

information. The pins and threads in this map show plac-

Pins and threads will probably not be useful ways to

es and sequence. There are many ways this might be done,

help a monogram tell a story. But why not ask questions

as there are many kinds of information that may need to

about the pictures? There must be some item that could

be shown in a given design. Although a cutout like this

be included with the monogram that would add to the

is a minor point in the overall design, it could be a major

significance of the project. There is nothing in this exam-

one in your customers’ minds as they consider whether

ple, but a handwritten note, an old postage stamp, or a

such an element would improve the presentation.

theatre ticket could all be in the background. The chain

Vignette 2: An Ornate Monogram

of a necklace or a ribbon could be draped around and behind the letter itself, too.

This letter E is adapted from a True Type font. It was al-

The vignettes in these examples include some draw-

tered in the drawing program so that its bottom horizontal

ing program alterations. Remember that these alterations

14 PFM August 2020

are to accomplish some design changes—and to make the vignettes more impressive. But do not lose sight of the fundamental simplicity of this idea.

Do this exercise: Cut a letter or a decorative shape in a piece of matboard. Put it behind an opening. Pick another color for the background behind the cutout figure. None of this requires special effort. If this formula indeed improves the appeal of the cutout, use it alongside a picture or as part The two layers of this monogram are identical, except the bottom curve was altered on the dark layer to make the shadow more dramatic. The bottom stroke of the E is connected to an outer rectangle. This makes aligning and mounting the monogram much easier than handling just a cutout letter. The layers are assembled with the dark shadow 1/8” to the right and about 3/16” lower. The letter is 3” high. The empty opening in the mat at the upper right is where the monogram will be mounted. It is 2 x 3.5” high. Covering the outer rectangle will leave the letter appearing as if it is floating below the mat.

CONTENTS AD INDEX 16 PFM August 2020

of an arrangement. Decorative cuts like these can help tell your customers’ stories a little more artistically. 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.

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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

Remembering Marty Horowitz

By Bruce Gherman and Deborah Salmon

“

On Thursday morning, July 2, my father, Martin Cary Horowitz, left his body, jumped on his Harley, and rode toward his new adventure. David Horowitz, Carrie

Horowitz, and I are heartbroken. He always did exactly what he wanted to do. He lived each day to the fullest (and then some). He was my hero...” was the Facebook post written by his son, Matthew Horowitz. Accompanying the post was a picture of my close friend that I had never seen before. It is a striking image of a much younger Marty that could easily be mistaken for a larger-than-life rock star from the 1970s.

Over the next several days, the post went viral.

Hundreds of comments and shares lead to even more comments, text messages, and phone calls. Beyond the expression of sympathy to the family, a common thread was evident: people wrote about how they were inspired, influenced, mentored, coached, and challenged by Marty.

‘Devastating loss,’ ‘beloved,’ ‘an amazing man,’ ‘passionate,’ and ‘a huge loss for the industry’ were some of the many thoughts expressed.

His accomplishments included frame maker, master gilder, artist, educator, book author, business owner, and magazine contributor. In addition, he was a friend to many. With this Facebook post came the realization that he touched an entire industry unlike anything I’ve seen before.

SANTA FE AND A VISION CONTENTS

Goldleaf Framemakers of Santa Fe started out much smaller than its current 7,500-square foot facility. In 1988, Marty and his former partner, Lou Tilmont, came to New Mexico and started a frame business. Already a recognized master

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gilder, frame maker, and gallery owner with an extensive resume, he made the difficult choice to leave New York due to health concerns. Santa Fe had one of the fastest-growing art communities in the US. Galleries were numerous, and well-known artists were establishing residency there. But Marty wasn’t going to be just another frame maker; he had a 24 PFM August 2020

Gilded horses at Caesars Palace, Las Vegas, NV

plan to become the frame maker in Santa Fe. Over the next several years, Goldleaf Framemakers

a cart, went out on the streets of Santa Fe, and served hot dogs with a smile. That was Marty; he did whatever it took.

expanded. His partner left the industry, and Marty relocated the business. He bought a building downtown and began

GROWING UP FRAMING

a massive redesign to create a space that rivaled the best

Both of Marty’s sons, Matt and David, started to work in the

Manhattan showrooms.

gallery as soon as they each turned 13—and not by choice.

The new space, completed in 2005, has an art gallery, an impressive framing design studio, and a state-of-the-art manufacturing facility. Some of the highlights include a 75-

They learned from the ground up, cleaning bathrooms, emptying trash bins, and sweeping floors.

After college, Matt’s interest in art restoration took him

foot wall of hand-carved gilded samples organized by

to New York, where he landed a job in the conservation

historical period, ceiling heights that range from 10 to 14

department at Julius Lowy Framing & Restoring Company.

feet, and two custom-fabricated design tables. The largest

In 2010, he returned to Santa Fe and opened a conservation

table measures 4’ x 10’ with a glass top.

department alongside his father at Goldleaf Framemakers.

Things were not always easy, and there were tough

After David finished college, he also joined his father.

times. During a downturn in the economy, I received a phone

“The next nine years felt like a residency leading to a doctor-

call. As always, it started with his signature enthusiastic

ate in frame history, gilding, finishing, gallery management,

greeting; “Hey Bruce, It’s Mar-dee!” As if we were kids and my

and more,” he said. “If there was one standout message from

best friend wanted me to come out to play. We talked about

working with my father, it would be that no problem was

the state of the industry, the dip in retail sales, and the chal-

too big, no task too daunting, and that perseverance is of the

lenges of owning a business. Marty declared, “I’m going to

utmost importance.”

sell hot dogs.” I questioned, “Kosher, I hope? Is this going to

Marty’s daughter, Carrie, is the youngest in the family,

be in your gallery?” If this exchange happened with anyone

and her brothers don’t seem to recall her having to sweep

else, it would have been just sarcasm. Not so with Marty.

the floors. “Carrie is the one who inherited my father’s love

This was his plan to make it through hard times. He bought

of people and his innate salesmanship,” Matt said. “We were

PFM August 2020 25

thrilled when she came to Las Vegas to work in the booth.”

They explained that the shop felt more like an educational facility than a retail environment. New clients would be invited to take tours and see the frame making process.

Artists would stop by to ask questions about gilding techniques and how to incorporate gold in artwork. Peers and students were always welcomed and enjoyed Marty’s hospitality.

Today, all three siblings are in Santa Fe. Matt owns his own business, Revive Art Restoration. David runs Goldleaf Framemakers, continuing Marty’s legacy. Carrie, a professional makeup artist and esthetician, moved back from New York and assisted her father during his illness.

THE BEGINNINGS OF A BOOK In 1997, Marty called me with a great idea; he wanted to write a book on water gilding. There was no other book available that extensively covered the topic. This proposed book would provide the readers with a clear understanding of the materials and techniques needed to become proficient in the craft. For those who do not know, there are a lot of stories of frame makers’ secret recipes for gesso, clay, finishes, glue, and how fiercely they guarded them. Marty had the willingness and confidence to share his methods; when you could substitute chicken fat for linseed oil or when to use an empty Manischewitz gefilte fish jar (but only the 24-ounce size). His only requirement was that this book would be a collaboration, and I would have to come to Santa Fe. I spent a week with Marty and Lou, photographing the step-by-step process. I recorded the instructions as well as the stories, jokes, advice, and everything Marty had to share.

It was a great learning experience for me. His extensive knowledge and ability to succinctly talk about the process made the editing easy, but more importantly, inspiring. His passion sparked my creativity, and I started frame making in

Marty instructing one of the many gilding seminars at the WCAF Expo and National Conference. my studio shortly after returning home.

An Introduction to Water Gilding was first published in 1998, and true to his word, the book accomplished everything he set out to do. Twenty-two years later, thousands of books have been sold, and we are about to release the fourth edition. It remains the definitive book on water gilding.

VIVA LAS VEGAS During the planning for the first WCAF Expo and National Conference, Marty suggested a hands-on, two-day water gilding seminar that he would teach. It was important to him that every student have a completed frame to take home. The challenge was converting a meeting room into a gilding workshop. Sponsors jumped on board, and all the frames, tools, gold leaf, and other materials were ordered.

That left Marty’s “miscellaneous” list to be purchased at a local store, packed, and shipped via truck to Las Vegas.

It was the most embarrassing shopping experience of my life. At checkout, my cart held 48 small jars of Vaseline, 10 boxes of cotton squabs, 20 chains cut to 12” lengths, varying sizes of pots, numerous bottles of rubbing alcohol, bags of cotton balls, and Band-Aids, to mention just a few items.

The hotel had no idea what was ahead. They were used to PowerPoint presentations, not gilders who removed the tablecloths, covered the floor with plastic, requested large trash bins around the room, and access to water, jars of

CONTENTS

chemicals, and tools. We had to schedule in drying time, insisting to hotel management that no one can enter the room, it really was not in need of cleaning, and nothing bad was going to happen to their hotel.

AD INDEX

Marty and Yozo Suzuki arrived minutes before the start of the first class. They reminded me more of members of the headlining act then educators. During the next two days, I checked in with them frequently, and what I found was

A rare photo showing Marty’s entrepreneurial spirit, his hot dog stand, and his Harley.

26 PFM August 2020

shocking. No one wanted to break for lunch; they stayed well after the scheduled end time and followed Marty to the bar

for after-hours conversation and drinks.

Marty taught water gilding seminars at the WCAF Expo for over 20 years. He was more than a popular instructor; he was the ultimate entertainer. He developed a loyal following that reminded me more of dedicated fans than framers.

They returned to Las Vegas year after year to take his class again. Hundreds of attendees have taken his classes, and even more attended gilding events and visited his booth. He was unconventional in his teaching methods, and everyone loved him for it.

THE MASTER GILDER Like most of us, Marty’s first career choice was not framing.

He originally wanted to pursue the goal of becoming an art professor. Life happens, and Marty was redirected. Gold became his medium and he aspired to become one of the best. Achieving that goal, he was well-respected as a master gilder and frame maker. His reputation went beyond the framing industry.

His other commissions included building domes, architectural elements, artwork, and sculptures. One of the

Marty and the Santa Fe installation team with the Golden Grenade.

Here is what I do know. Marty loved people and made many friends from all walks of life. He had a talent for seeing potential, even when they could not see it for themselves. I do not know what the motivation behind the War Room Collection was, but the result was very Marty. He saw beauty where no one else could and brought it to the surface. He had the audacity—or chutzpah—to make it art.

projects he was most proud of was the collection of golden horses perched above the entrance to the Caesars Forum Shops in Las Vegas.

While working on his art, he rediscovered ancient gild-

THE MIDAS TOUCH “A young artist needs a break; someone with the vision to recognize potential, someone with the courage to endorse

ing materials as well as experimented with new methods.

undeveloped talents,” said Yozo Suzuki, who worked with

His artist statement read, “I conceived and produced my

Marty for many years. “Marty did that for me and many

first gilded artwork in 1970. From that point forward, I was

others. He was also my friend. I have so many stories and

committed to both the material and the simple elegance of

memories of our adventures together, including our many

the minimalist form.”

trips to Vegas to teach hundreds of students how to gild. He

Marty loved everything gold. He created some of the

taught us to be fearless gilders and bold, sensitive, complex,

most fascinating gilded dimensional art. He enjoyed a suc-

and conscientious finishers. Just one of Marty’s gifts to all of

cessful career as an artist, showing in prestigious galleries

us, his students.”

and public places, and his work is part of many private collections.

CONTROVERSY IN GOLD In 2004, Marty created the “Golden Grenade.” This gilded sculpture stood six feet tall and was valued at $80,000. First displayed at the Linda Durham Gallery, Santa Fe, then in Chicago at Art in the Park, it traveled to Arkansas while on loan to the Museum of Contemporary Art. Although well received, it also sparked a lot of controversy. It was politicized, vandalized, restored, relocated, and ultimately crushed in 2010.

In its new form resembling modern cubism, it has returned home. Asked to explain the piece, Marty said, “It’s a work of art. The interpretation is up to you.”

With Marty’s passing, our industry has experienced a tremendous loss. Like the great frame makers of the last 50 years, such as Robert Kulicke, Abe Munn, and Henry Heydenryk, his contributions have left an indelible mark on contemporary frame making and design. His passion for gold transcended frame making and was evident in his art.

Through his artwork, he brought gilding to another level. His love of people and his desire to share his knowledge coupled with his larger-than-life personality made him unique. His smile was infectious and his laugh slightly sinister. Marty was an adventurer: fearless, colorful, and generous, all at the same time. Without a doubt, he had a heart of gold.

He will be missed by all of us who were fortunate enough to have known him. PFM PFM August 2020 27

An Industry Remembers MARTIN CARY HOROWITZ 1949-2020 JUST A FEW THOUGHTS AND MEMORIES FROM COLLEAGUES, ASSOCIATES, AND FRIENDS ✦

✦

Bill Adair, Gold Leaf Studios e always used a dirty gefilte fish jar for his gilding liquor, and we chuckled about the schmaltz making it a better lay for the gold.

Giovanni Bucchi, Ennio Restorations Inc Marty was elegant in a way...

While most try to be noticed He was not going for that.

He was to be Remembered That’s elegant with a stride That shows no effort Or fear A natural

H

When the Society of Gilders couldn’t get the fireman’s award from a locked office at the Admiral hotel in Cape May New Jersey, Marty said, ‘I’m from Brooklyn, show me the door.’ In two shakes of a lamb’s tail, we were in the office, got the award, and made the evening news, all thanks to Marty.

I will remember Marty for many traits, but mainly his kindness. In his life, he loved selflessly by teaching and mentoring countless artists in search of direction.

CONTENTS

“Frame maker, master gilder, artist, educator, book author, business owner, and magazine contributor; he touched an entire industry unlike anything I have ever seen before.”

✦

Rhonda Feinman, Rhonda Feinman Custom Frames ccording to Charles Prendergast, artist and frame maker and often paraphrased by Marty Horowitz, artist and frame maker, gold leaf is “like a half-solidified piece of sunlight.”

On July 2, we lost a bit of that sunlight.

A

Marty, The Gold Guy, was my big brother. Though not biological, he was my big brother in every sense of the word. A mentor, a supporter, a teacher, a collaborator, a customer, and most of all, a good friend, he was always there for me.

Whether the gesso was cracking because of too much humidity, or cracking for too little humidity, or the Italian gold had beating marks, or the German gold had too many patches and tears, Marty was generous with his knowledge, even if he was stubborn about using that disgusting, greasy asphaltum for Spanish finishes. When you were with Marty, it was always a good time.

We had so many laughs together in New York, in Taos, in Santa Fe and especially in Las Vegas. He was a truly genuine and unique character and I will miss him so much. ✦

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Heidi Knodle, Cadre, The Fine Art of Picture Framing met Marty 20 years ago after taking his classes. When I opened my business, I immediately knew I wanted him to be one of my main vendors.

The quality of his frames was beyond anyone else’s; it looked like he poured gold over them.

I 28 PFM August 2020

We had a collaborative relationship. We developed a language amongst ourselves to describe how we wanted a piece to look, using our own terminology. I learned a tremendous amount from him on how to make a frame truly unusual with different wearing and patination. He really loved making unique, custom pieces, and we’d work together to come up with new, different designs.

He loved not only gilding, but finishing. I remember when he went to Italy and was blown away by the frames he saw in the Palatine Gallery at Pitti Palace. He loved making Italian frames after that; French, too. I didn’t sell a lot of Taos frames, so he would make those styles for me. I worked with him because there was nobody like him. He had ‘the touch.’ When he gilded a frame, it really looked like solid gold—not ‘mud,’ as he would say. He trained an amazing staff that will continue his legacy. He was a huge influence on my business, and he was a dear friend. ✦

Paul MacFarland, Art Preservation Resources arty made things. Regardless of what he was doing outwardly, somewhere in his head, he was making art—the real stuff. I knew and worked on projects with Marty for more that 30 years, but in all that time, every time I talked to him he was always the same stand-up guy.

He had a brilliant empathy for the situations of others, he listened, he planned, and followed it through with a personal style that could include a bit of cursing, shouting, and those menacing arched eyebrows. And of course, a cigarette and the paint thinner he enjoyed at the end of his workday. Marty was always Marty, and he liked being Marty. His work and legacy will be continued, and he will always be loved and remembered. What else is there? I will miss him.

P.S. Marty may have been a better dancer than me, but not by much.

M

✦

Peter Sepp, Sepp Leaf Products lost a dear, lifelong friend who just happened to be in the same gilding world as me.

I

“Marty-Marty, Petey-Petey” would always be the start of our conversations. I can’t remember how far back we go, but I know it was from the beginning. No words can describe how much this loss means to me personally. An icon and a legend who will be missed by all that touched him. The good times and fond memories will always be cherished and remembered.

The highlights of Marty’s career and his association with Sepp Leaf will never be forgotten.

We remember the early days of Sam Flax, Frames Unlimited, and his association with David Rothman and later Lou Tilmont. Marty was instrumental with the growth and development of Sepp by his involvement with trade shows, Society of Gilders, product development, and consulting. During the 1990s, Sepp hosted vendor events, and Marty was always part of our family. His dedication and love for the industry were unprecedented. Marty was the know-it-all guy and had no hesitation to share his knowledge with anyone. Marty was never employed

by Sepp Leaf, but he sure was our best salesman. Whenever a new gold leaf or any gilding product was considered, Marty was asked to approve it for us first.

We and all those that knew Marty will miss him.

There will never be another. Marty was a true New Yorker, transplanted to Santa Fe over 30 years ago. It was said that “you can take Marty out of New York, but you can’t take the New York out of Marty.” We all are deeply saddened by the loss of our dear friend and icon. This industry will never forget Marty Horowitz. Our sympathies go out to his family: Peggy, Carrie, David, and Matt.

One of the last photos of Marty. He is pictured with his son David at Goldleaf Framemakers of Santa Fe.

✦

Dennis Yares, Yares Art Projects consider Marty an iconic figure that illuminated a room as he did my life and that of my gallery.

We never engaged in disagreements but rather entered into a realm of respect and encouragement through times characterized as glorious as well as within moments of adversity. Trials and tribulations became distant memories when we flourished together in our arena of art. I am ever grateful to have known a man that heightened my spirit and brought a measure of joy and laughter to my being. I will miss Marty terribly and my waking moments will embrace a void that cannot be renewed, for Marty is irreplaceable, for Marty dispelled uncertainty, for Marty was a survivor, for Marty was a brilliant light of talent and the purest of wisdom, an uncompromising vocal angel that will ever be graced with a throne of authenticity and truth. I hope that the dreams we shared on earth will further abound in heaven when we again meet. Until then, his spirit reigns eternal.

I

✦

Steve McKenzie, McKenzie Design arty Horowitz was a real force in the framing and art world as well as inspiration to his friends. He was always willing to share his knowledge and passion. I did business with him but also treasured our friendship. He gave me my very first art show at Goldleaf Gallery of Santa Fe. When we made art together he was incredibly encouraging. He attacked life with gusto, living it to the fullest and always inspiring me. I will miss him and his laugh dearly. I lift a gilded martini to Marty and his life.

M

An iconic photo of some of the gilding greats, taken at the Gild-Off at the first WCAF Expo: (L to R) Max Munn, Larry Neuberg, Bill Adair, Marty Horowitz, Peter Sepp, and Fred Solomon.

✦ PFM August 2020 29

Preparing and Gilding Textured Surfaces

By Barrie Lynn Bryant

A

s usual, my wife was right about how I should design

trim material helped break up the design, and using three

my frame for her 19” x 39” oval-shaped drawing, “The

types of gold on the frame added dimension to the overall

Twisted Swarm.” While shopping at a local Goodwill

framing package. I used Giusto Manetti 22K deep gold for the

store, she handed me a bundle of tightly-woven mesh trim

spandrel, Wehrung & Billmeier 22K moon gold for the sight

material and said, “Use this.” I said, “What on Earth for?”

edge surrounding the spandrel, and a 2” roll of Hastings &

A few weeks later in my studio, I discovered how to ad-

Co. 23K for the main frame legs. Both the Manetti and Hast-

here the 1 ¼” wide material to my frame and then gild it.

ings golds have a typical appearance, with the higher-karat

That discovery opened the door to abundant new frame de-

product being slightly richer. The moon gold, which is an al-

sign possibilities using gilded, textured surfaces.

loy of gold and platinum, has a softer, fainter appearance.

To use the three effectively together, I situated the

CONTENTS

HOW GOLD INSPIRES DESIGN

moon gold element between the spandrel and main frame

Since my wife treads the unconventional, she often chal-

legs. Since I planned for the spandrel and main frame legs to

lenges me with more than framing just the typical square

be textured surfaces, I designed the moon gold surface to be

or circular artwork. Such was the case with “The Twisted

polished smooth. These juxtapositions broke up the monot-

Swarm.” Since this oval-shaped artwork would be paired

ony and helped focus the viewer’s eye on the artwork.

AD INDEX

with a rectangular frame, I cut a spandrel insert that defined and followed the contour of the art.

PREPPING THE TRIM MATERIAL

The large, triangular shapes of the spandrel were an im-

To plan the details of the design, I drew everything to scale

portant factor in creating the overall design, as I didn’t want

using ⅛” grid paper. The frame for this piece measured 28”

the result to be overpowering. Especially when gilded, a wide

x 48”, so I taped together four 11” x 17” papers and graphed

surface area could’ve been too much. The weave in the mesh

the frame out at half-scale, or 14” x 24”.

30 PFM August 2020

Graphing helps me see the geometry of a frame and es-

warm glue solution. Using my favorite 1” flat Gold Taklon

tablish all the measurements involved in its making. Since

brush, I also primed the spandrel surface on both sides

I was planning to adhere 1 ¼” trim material to add surface

with rabbit skin glue before applying the mesh trim strips

texture all over the spandrel and main frame legs, graphing

one by one, side by side.

also helped me plan how many strips to cut, how long to

I wrapped each of them over the sight edge and pressed

cut them, and how to configure their layout. With my plan

them firmly to the bevel and underside of the spandrel. I

mapped out, I began the texturing process by preparing to

used a standard hair dryer to help evaporate the water and

adhere the trim material to the spandrel first.

stiffen the glue so the mesh wouldn’t buckle up and delaminate from the surface. Using a shrink packager heat gun will

PREPPING THE GILDING SUPPLIES

also work, but too much heat on animal glue will blister it.

Arguably the best technique for preparing wood surfaces

Blistering can be a worthwhile distressing technique to ex-

for gilding involves mixing, making, and using your own

plore with gilding, but was not appropriate for this frame,

glue and shop-made gesso. One of my favorite things to do

as I wanted to establish a uniform, seamless field of rippled

is to make what Marty Horowitz of Gold Leaf Frame Mak-

texture on the spandrel surface.

ers of Santa Fe calls “tea glue.” (Rest in peace to our men-

I set the spandrel aside so it could dry overnight and

tor, Marty, who died on my birthday, July 2.) I combined

continued applying the primer coat of rabbit skin glue and

26 grams of rabbit skin glue pebble to 10 ounces of warm

mesh trim to the main legs of the frame, which was much

distilled water in a wide-mouth jelly jar, stirred it a little

simpler than working with the spandrel. Before setting this

before putting a lid on it, and set it on a sunny windowsill.

aside to dry overnight, I also primed the smooth part of my

After several hours in the sun, the pebble completely

frame where the moon gold would go with the glue solution.

absorbed the water and, with stirring, dissolved to make a

While using the glue for an extended period of time

solution. I made three of these at once so I could use one

during priming and texturing, keeping the solution at blood-

as a primer and the other two for gesso. In this case, I also

warm temperature required heating it with the double-boil-

used the glue for adhering the trim material to the spandrel and frame legs. One note on this method: be careful not to overheat the rabbit skin glue solution, as doing so will ruin its strength. I never let my glue temperature rise higher than 45 degrees Celsius (113 degrees Fahrenheit) and keep a close eye on the temperature of the liquid in each jar.

With the warm glue solution taken off the windowsill, it was time to make gesso with two jars’ worth of solution, some gilder’s whiting, and a little denatured alcohol. I poured the glue into a small mixing bowl, sifted in two cups of whiting, and carefully stirred to combine. I transferred that mixture back into the glue jar by pouring it through a fine mesh strainer, mashing down any lumps that appeared.

The mixture was then poured through the strainer again to transfer it into a new, clean jar.

Finally, I added a tablespoon of denatured alcohol and stirred lightly before sealing the jar with a lid and setting aside for later use. (If you do not plan to use your mixture within 24 hours, store in the refrigerator.)

GLUING THE MESH TRIM Borrowing from my knowledge of making fabric-wrapped mats, I laid out my pre-cut strips of mesh trim along the edge of my spandrel and submerged two of them into the

Gilding a frame with a textured pattern offers customers that “wow” factor when framing certain artworks.

PFM August 2020 31

Loosely knitted or tightly woven lace and trim fabrics create unique gilded surface textures.

Straining shop=made gesso made with rabbit skin glue and calcium carbonate (gilder’s whiting).

Attaching glue-saturated fabric strips to spandrel by starting at the center and working outward.

er method. To do this, I filled a sauce-

this process several times once the

gilding method for this entire frame

pan with water, placed it on a portable

previous gesso application was near-

instead of completely water gilding

stove burner, submerged the jelly jar in

ly dry, careful not to apply too much

it or using the methods in tandem.

the hot water, and paid close attention

gesso overall, since I did not want to

Coloring underneath oil gilding can

to the glue solution’s temperature. I re-

fill in the unique textured effect.

either be with traditional clay bole,

moved it from the hot burner when it

The gessoed spandrel and main

Dux Paint Co. Burnish Sealer, casein

reached about 100 degrees Fahrenheit.

frame legs’ surfaces were inspect-

paint, or pigmented shellac. I have of-

ed for blemishes and non-uniform

ten found it necessary to use a light

GESSOING, SURFACING, COLORING & GILDING

appearance and lightly sanded in

sealing coat of shellac over whatever

places with 320-grit fine mesh sand-

colorant I use besides the pigmented

Back to work on the frame in the

ing paper to smooth the dry gesso. A

shellac because it keeps the oil size

morning, I warmed my cold gesso

textured surface such as this can also

from absorbing into the surface and

using the double-boiler method just

benefit from being lightly rubbed with

unevenly coming to proper gilding

like I did for the glue solution. Once

a damp, lint-free cloth or sponge. Be

“tack.” (Using a light coat of shellac

it reached the appropriate tempera-

careful not to rub too much; rubbing

means not putting very much on the

ture, I removed it from the burner and

with water can remove gesso very

surface, and using a thin cut of shel-

began applying it to the spandrel sur-

quickly, as there isn’t much there.

lac means the solution has more sol-

face and then the frame. I repeated

I chose to use the mordant size oil

vent alcohol in it by volume.)

CONTENTS AD INDEX Applying several uniform coats of gesso without overfilling and obliterating the fabric texture.

32 PFM August 2020

Pulling karat gold leaf directly from the book of gold with a gilder’s tip.

Black bole ready for gilding with moon gold. Juxtapositions break up monotony and pique visual interest.

Shaping the untempered standard spandrel by ensuring the curve never straightens along its continuous path.

Due to the odd shape of the art, this project required the use of the palm and faith guided Dexter mat cutter.

For the “Twisted Swarm” frame, I

Once I accomplished the main

colored the spandrel and main frame

gilding and patched the holidays, I

legs with yellow ochre casein paint.

set the project aside for about a week

Once that dried, I applied a light coat

to allow all the surfaces to properly

of shellac to seal it. Since I wanted

cure and harden before sealing them

the smooth part of the frame to be

with a light coat of shellac. The rule

ultra-smooth, I prepared a black clay

of thumb about sealing gilded surfac-

bole mixture of rabbit skin glue with

es is that applying anything on top of

Selhamin cone clay that I had finely

gold makes it look a little less gold-

ground and wetted. I applied the bole

en—sometimes even dull.

as if I were preparing to water gild

I encourage you to experiment

this surface. The elasticity in the glue

with gilding textured surfaces like

combined with the clay just establish-

this one. It can offer a new dimension

es an almost plastic surface on which

to your gilding repertoire and, when

to gild. I sealed it with a very thin

added to the right project, can provide

cut of shellac, which I applied with

that “wow” factor your customers are

a shop-made pad instead of a brush.

looking for. PFM

That gave me ultimate control over how much shellac would actually be spread on the surface, and it worked very quickly with a single pass.

I used Dux Paint Co. Slow Set Oil Size and worked with this in three stages. The very light coat I applied came to proper tack in eight hours and stayed open for four hours. Since the surfaces were not large, I waited a few hours once the size reached proper tack before gilding. The longer you wait to apply gold to the surface, the brighter and more radiant the gilding will be; but wait too long to gild and the size might not have any tack.

Barrie Lynn Bryant Barrie is a multidisciplinary artist with innovations in frame design, woodworking, gilding, digital imaging, and photography. He began designing and making picture frames for his wife’s artworks in 1995 as a means to save money. When he discovered gilding in 1999, he broke open his piggy-bank, spent all of his savings on karat gold leaf, and began gilding some of the frames for her art on his own. Together he and his wife have won more than 100 cash awards in juried art shows throughout the US as well as seven grants from Wyoming Arts Council (four for development in gilding practices). Attend Barrie’s classes to learn how to go “all-in” on your projects and to experience what colleagues refer to as “infectious enthusiasm”. See Barrie’s website at merglennstudios.com and Instagram @BarrieLynnBryant.

PFM August 2020 33

ADVERTORIAL

Restoring a Gilt-Lined, Nineteenth-Century Mahogany Frame

By Lauren Sepp

O

ver the years, we

slightly open corners, but was

have received many

stable. There were chips and

calls

picture

losses to the gesso on the edge.

framers looking for products

Starting with the gilt lin-

to perform light restoration on

er, I lightly wiped the surface

antique frames that come into

with an ultra-soft cloth to re-

their shops. I am pleased to say

move the dust. The gesso chips

that there are several solutions

and losses were filled with

available from Liberon Prod-

a high-quality spackle that

ucts for just this purpose.

sands easily. I let the filler dry

from

Liberon is an established

completely, sanded it lightly,

wood care brand based in the

and sealed it with a thin coat

UK. The company has been

of shellac. You can also seal a

manufacturing

high-quality

repair with a base color like

materials for protecting and

red; this liner was gilded over

restoring wood surfaces since

sealed gesso, so I left it white.

1912. Their product range has

It was then time to paint

continually evolved to meet

the repairs. Liberon offers two

the

technical,

performance,

and aesthetic requirements of today’s consumers.

This nineteenth-century mahogany frame, which includes a gilt liner, was recently restored with the help of several Liberon products. The result: a beautiful frame ready to be used again.

In this article, I will walk

products that I used in this stage: gilt varnish and cream.

Gilt

varnish

is

a

sol-

vent-based gilt paint that is

you through the restoration of a nineteenth-century ma-

applied with a paintbrush. The varnish has a thick consis-

hogany frame with a gilt liner using a group of Liberon prod-

tency that covers well. This material will dry to a hard gloss.

ucts. Such frames were popular choices for oil paintings and

All six colors can be intermixed to achieve a variety of tones.

prints.

Allow to dry for three hours before applying further coats.

CONTENTS AD INDEX

I separated the frame body from the liner to make

Gilt cream is a wax-based gilt finish that is easy to apply

it easier to work on. The first step in the restoration is to

with a cotton cloth or a small brush. Gilt cream is a great

check the corners to make sure they are stable. If they are

product for strengthening weak, worn gilding by applying a

loose, they will have to be glued back together. This frame

thin layer. Allow to dry for five hours, then leave the natural

was stable, but the corners had separated slightly, which is

matte finish or buff to a shine. It’s best to apply several thin

typical for frames of this period. It was decided to leave it

coats as opposed to one thick coat.

as-is. The mahogany body had dulled over time, with a lot of

I started with gilt varnish for this liner. For the best

wear showing on the outer edge of the frame. The liner was

match, I mixed a few colors together. I applied the varnish

basically clean with just a light layer of dust. The liner had

to the repaired areas using a small artist’s brush. After it

34 PFM August 2020

COUNT DOWN

TO A BETTER BUSINESS

10 MOUNTING METHODS FROM CHRIS PASCHKE

7 PRESERVATION FRAMING FROM HUGH PHIBBS

4 FRAMESHOP CREATIVITY FROM JOHN RANES II

1

9 A LOOK AT FRAME HISTORY FROM WILLIAM ADAIR

8 PROVEN SALES STRATEGIES FROM JARED DAVIS

6 MAT DESIGN FROM BRIAN WOLF

5 MARKETING TOOLS AND TECHNIQUES FROM GINGER HARTFORD

3 RETAILING TIPS FROM KEN BAUER

2 STRAIGHT TALK ON BUSINESS FROM JAY GOLTZ

PICTURE FRAMING MAGAZINE The Number One Source For Everything Framing!

www.pictureframingmagazine.com For more information contact 848-444-3138

frame and other worn areas, then waited a few hours for it to dry completely.

Once it was dry, it was time to apply the finish. One of my favorite products to use for this is Liberon’s Easy French Polish, a shellac designed for beginners to polish small items and carved woodwork. Use a good-quality lacquer brush or cloth to apply a thin coat to the surface. Let dry for a few hours before applying

The original frame before restoration work began

The frame’s original gilt liner before repairs

additional coats. The other option is to use Liberon’s Special Pale French Polish, a light-colored, de-waxed

dried, I mixed the same colors of the

ficial scratches, haze, and blooms and

shellac that brings out the wood’s

gilt cream and applied a light coat to

rejuvenates highly-polished surfaces.

natural grain. I am used to padding

blend it all in. To help hide the repair, I

It is often considered the “secret” in a

on shellac, so I chose the Pale French

took a razor blade and cut some gesso

restorer’s arsenal!

Polish. I loaded my pad with shel-

cracks in the repaired areas to match

Since the surface was dull and

lac, and starting in one corner of the

had no signs of wax or polish on it,

outer edge of the frame, I worked

The last step is to fill the miter

I went straight to the burnishing

my way around the frame, applying

joints. Liberon offers a wax-based

cream. Shake the container very well.

the shellac with even pressure only

gilt filler stick that is perfect for cor-

Soak a cloth with burnishing cream

to the areas that were dyed. I let the

recting gaps in miter joints, making

and rub vigorously, going with the

shellac dry for an hour, then applied

small repairs, and filling nail holes in

grain where possible. Let dry for two

two additional coats.

gilt picture frames. All six colors are

to three minutes, then buff the sur-

To fill the old nail holes on the

intermixable and won’t shrink or fall

face to a beautiful luster with a clean

sides of the frame, I used Liberon’s

out when hardened.

cotton cloth.

Wax Filler Sticks, a wax fill for re-

the cracks on the rest of the liner.

Break off a small piece, work it in

The next step was to tone the

pairing small to medium-size holes,

between your fingers to warm, then

worn raw wood areas of the frame.

cracks, gaps, and deep scratches.

press the wax into the miter joints us-

I used Liberon’s palette wood dye, a

Choose from 16 wood colors, in-

ing a spatula. Smooth down the wax

line of water-based dyes for coloring

cluding white and ebony. Shave off

and buff off the excess with a cloth.

bare wood, for this task. I chose the

a piece of wax and knead in your

This product can also be used/sculpt-

appropriate color and applied with a

fingers until warm and soft. Apply

ed to replace small missing carved

brush to the worn outer edge of the

to the nail hole, smooth out with

Using a razor blade to cut matching gesso cracks into repaired areas

Burnishing cream can be buffed in to restore a frame’s luster

elements.

CONTENTS

After that, it was time to start on the mahogany frame. The first step was to revive the surface. Liberon makes two products for this: wax

AD INDEX

and polish remover, a non-aggressive, strong cleaner to remove dirt, grime, dust, smoke, and old layers of wax from antique furniture without damaging the original finish; and burnishing cream, which removes dirt, super36 PFM August 2020

ing and protecting the wood from dryness. The best way to apply the wax is with a soft steel wool such as Liberon’s 0000 steel wool. Simply dip the steel wool into the wax and gently apply to the surface of the frame.

Let dry for 20 minutes, then buff.

And there you have it; a beau-

Wax Filler Sticks can be buffed in to fill cracks, gaps, holes, and scratches

tiful frame ready to be enjoyed for many more generations! PFM

Lauren Sepp Lauren, who is Vice President of Sepp Leaf Products, is the third generation in her family business which specializes in gilding products for the trade. After receiving her B.S. in Merchandising from the University of Delaware, Lauren joined the company in New York City, where it has served as a local and international resource for gold leaf and related materials for over five decades. She enjoys bringing traditional and innovative products to market, and helping picture framers around the world create beauty with gold leaf.

a spatula, and buff with a rag. You can also use the company’s Retouch Crayons. The crayons are made from carnauba wax for filling shallow scratches and small nail holes. Simply rub the crayon into the scratch or rub to fill a hole.

The black ebonized panels on the frame also needed some attention. Liberon’s Black Patinating Wax, an extremely deep black wax for adding aged highlights or disguising repairs on old worn surfaces, was used here. This product is perfect for hiding scratches and giving the ebonized panels a nice shine when dry. Apply with a cotton rag or use a brush to work into the surface.

Let dry and buff. You can also use a black Retouch Crayon to fill deeper scratches.

Finally, a finish coat of wax was applied to harmonize the surface.

Liberon’s Black Bison Paste Wax is a blend of fine waxes for nourish-

Fill shallow scratches and small nail holes with Retouch Crayons PFM August 2020 37

SUCCESSFUL RETAILING REAL FRAMING RETAILERS, REAL STORIES

Jay Goltz

Loren Feldman

President and Founder, Goltz Group, Inc.

Chief Content Officer, 21 Hats; Host, The 21 Hats Podcast

This is the first in a series of articles from the Breakfast Panel Discussion at the 2020 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.

Part 1: The Three Stages of Entrepreneurship LOREN: Hello, everyone! I am Loren Feldman. I’m really

really build a business. That’s what I enjoy so much about

happy to be here, in part because I always welcome the

being in a group like this, and I’ve really enjoyed getting

opportunity to grill Jay Goltz. I also just want to tell you,

to meet a few of you, and have conversations with you,

I’m really happy to be here because this is actually what I

and participate in this right now.

CONTENTS

love most about my job. That surprises a lot of the people

Why do I understand what my other colleagues don’t

I work with. Working at Inc., and at Forbes, and the New

understand? What do I understand about running a busi-

York Times, I’ve worked with some of the smartest busi-

ness? In truth, probably not that much. I’ve never done

ness journalists in the world. Few of them really under-

it myself, although I’ve been covering it for a long time,

stood why I enjoyed my job covering entrepreneurship

but I’ve learned a lot covering it, and a lot of that started

and business ownership.

when I met Jay almost 15 years ago now at Inc. I quickly

AD INDEX

To them, all they saw was, “Isn’t that just small

realized that Jay’s kind of a dream come true for a jour-

business?” To them, the only word they really heard was

nalist, because he’s willing to share things that a lot of

small. “Why would you care? Why do you find this in-

people aren’t willing to share; specifically, all the mis-

teresting?” They think the important stuff happens on

takes he’s made. In fact, not only is he willing to share

Wall Street or in Silicon Valley. What they don’t under-

them, it’s almost like he can’t help himself. He’s almost

stand, many of them, is that yeah, people on Wall Street

bragging about them. It’s not a humblebrag. They’re not

and in Silicon Valley take risks, but they’re taking risks

fake mistakes. They’re the real mistakes, but he feels it’s

with other people’s money. They’re not out there putting

important to talk to people about what it really takes to

themselves on the line every day doing what it takes to

run a business. I’ve learned a tremendous amount from

38 PFM August 2020

Jay, and I think I’ve probably seen a slightly different side.

jobs. You’re taking care of customers, and you just have

I know you all know Jay well from coming to this event.

to stick to it. The last stage is having the resolve to keep

You’ve seen him talk about framing; maybe you went to

at it, because it’s not always easy. After 41 years, I have a

his talk on pricing. I have a slightly different view, I think,

completely different attitude now. I just deal with stuff.

because I’ve talked to him more about the overall experience of entrepreneurship and building a business.

LOREN: Let’s go through those stages for you a little bit.

I’m hoping that talking about that a little bit today

Let’s talk about the startup. I don’t know if people here

will help you see this in a slightly different light. I’d like

have heard you talk about this; what was your mother’s

to start with one of the first things I learned from Jay,

reaction when you decided to open a framing shop?

which is that he believes there are three different stages in the building of a business. What are those three

JAY: My father fought in World War II, came home, and

stages, Jay?

went to work for my grandfather. They had a dime store, and my father worked hard his whole life. For those of

JAY: I actually came up with it when I got interviewed

you who don’t know what a dime store is, Google it. It

by Inc. magazine, and I really believe these are the three

looked like a Ben Franklin store, but it wasn’t. It was

stages of entrepreneurship. The first stage is startup.

called Jay Neil, after my cousin and me.

You’re excited, you’re going to make all this money, you

My mother was excited that her son was going to

figured out how you’re going to do it all. When I was in

college and was going to get an accounting degree and

this stage back in the 1970s, people thought you were

be a professional. I, after junior year, hated accounting.

an idiot if you started your own business. You were sup-

I really liked framing; my friend’s father opened a frame

posed to go to law school or something. Now, if you’re an

shop, and I was there learning it with him. We started

entrepreneur, you get a parade. Now, you tell someone

selling artists the frames, and I really liked it. After a very

you own a business and you hear, “Oh, that’s going to do

torturous senior year, I decided I’m going to go into the

great!” You get all this positive reinforcement.

frame business, and I can assure you the last thing in

Then after six months or a year, you move into the second stage of entrepreneurship; you go from startup

my mind was, “I’ll show you; it’s going to be great.” I just wanted to make a living, and I thought it would work.

to throw up. The throw up stage is, wait a second, that

Every person I talked to in school was asking me,

person I hired who I thought was going to be so great

“When are you sitting?” Meaning, when are you sitting

is an alcoholic, and the supplier I had that was going to

for the CPA exam? I’d say, “I’m not. I’m thinking of go-

give me some great prices just went out of business, and

ing into the frame business.” They would just scrunch up

my competition that I thought was so stupid is suddenly

their faces and go, “You’re going to waste your degree?” I

dropping their prices and going after me. You start to find

heard that a hundred times.

out that business just isn’t that simple.

About 25% survive this stage, if they’re smart and

LOREN: And your mother?

they keep working at it and the concept they started actually works. Then maybe after five or 10 years, you move

JAY: I finally go home, and I decide I’ve got to tell my

into the grow up stage, which is figuring out what busi-

mother. I said, “Mom, I’ve decided I’m going to open a

ness is really about. You start to understand that what-

frame business.” She sighed and said, “You went to

ever the problem is, it is what it is. That’s the first thing.

school for four years, and you ended up like your father.”

There is just some stuff where it is what it is, and there’s

I was numbed at that. It really didn’t bother me, really. I

no point in arguing and complaining about it. And that

hid it for the whole year. It didn’t really faze me.

feeds into the second thing you learn, which is: deal with it. After a while, you start to do that in business. You just

LOREN: I want to get to the fun part, which is the throw

have to figure out how to get around the problem and

up part. Quickly tell us, you started up, and the business

deal with it.

grew much faster than you expected. It surprised a lot of

It’s important to remind yourself of that, and that

people, including you.

you’re on a good and noble mission. You’re providing PFM August 2020 39

how to manage. My father had one employee. He had my grandparents there, my mother, my aunt, and one employee, Edna. My father couldn’t help me with management.

I had to figure the whole thing out, and it was extremely stressful growing the business.

LOREN: Correct me if I’m wrong, but I think you actually started to figure out why you were succeeding, why the store was growing, at this event.

JAY: Yes. I can absolutely remember the moment. I was 27 or 28 years old. I was standing in the aisle at the WCAF Expo, and there were two guys standing there, probably in their fifties. When I go to a trade show and I’m talking to

JAY: Third-floor, walk-up loft. Not a great strategy for re-

people, it’s usually about, “Did you see the new molding

tail business, but it was $200 a month. I figured if it doesn’t

line, the new saw, the new computer?” These two guys

work, I’ll sell the inventory. The first year I did $120,000.

were really having an intense conversation. It was like

Then I did $240,000, then $480,000. Then I hit $710,000, and

this: “You think that’s bad? I had some lady last week, she

it kept going from there. I was really surprised, and so was

wanted me to...” Blah, blah, blah. They were comparing

everybody else. The suppliers that were selling to me were

who had the worst customers.

surprised. It was extremely stressful, because you have to

At that moment, I figured out why I was successful. I

remember, I’ve never had a full-time job. I’ve never learned

realized customers were a pain to them, that they viewed

CONTENTS

Have a question or comment?

Tell PFM what you think.

AD INDEX

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor or E-mail to info@pfm-group.com

40 PFM August 2020

themselves as a kind of artist and the customers were just a thorn in their side. I had worked in my father’s dime store since I was seven years old, and I always took care of customers. I liked taking care of customers. That was the secret sauce behind why I was growing like that while others struggled. I was always into taking care of customers, and the idea of going to a national trade show and wasting your time there complaining about customers was really just a shock.

I believe the people who are successful in the frame business are customer-driven, and the people who think that they’re artists, and that those pesky customers will just have to wait…I think those days are over. Customers want and expect to be taken care of.

LOREN: You grew quickly, but you still went through a throw up stage.

JAY: I went through the throw up stage for 10 years. I really did. It was brutal. Then, I had 10 employees, 15 employees, 20 employees, 25 employees...

LOREN:

Along

the

way,

you

would get used to managing five employees, and by the time you figured that out, you had more.

JAY: Yes. I was always two years behind. As soon as I figured out how to manage 10 employees, I had 15.

As soon as I figured out how to get 15, I had 20. It was brutal. I went to the doctor at one point; I actually thought I had an ulcer. It was absolutely stress. I was completely stressed out for years. PFM PART 2 COMING NEXT MONTH. PFM August 2020 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM August 2020

Index Advertiser

Page

Advertiser

Page

Active Sales ..............................................................................42

Hoffmann Machine Company ....................................................42

800-937-2255

866-248-0100

www.activesalesco.com

www.hoffmann-usa.com

Alpina Manufacturing, LLC ........................................................42

Jack Richeson & Co. ..................................................................42

800-915-2828

800-233-2404

www.fastchangeframes.com /www.bannergrip.com

Capax-Frame It ........................................................................16 800-942-2729

www.capax.com

CMI Moulding ...........................................................................42 301-476-7440

www.cmimoulding.com

Decor Moulding & Supply ..................................10, 17, 23, 40, 45 800-937-1055

www.decormoulding.com

Designer Moulding....................................................................21 800-634-0032

www.designermoulding.com

www.richesonart.com

Michelangelo Moulding .............................................................11 877-422-8812

www.michelangelomoulding.com

Omega Moulding Company .......................................9, 10, 40, 45 800-289-6634

www.omegamoulding.com

Picture Framing Magazine.........................................................35 800-969-7176

www.pictureframingmagazine.com

Rhonda Feinman Custom Frames .................................................6

Easy Leaf .................................................................................20

800-297-1566

800-832-2742

Sepp Leaf Products ...................................................................37

www.easyleafproducts.com

www.rhondafeinman.com

Engelsen Frame & Moulding ......................................................42

800-971-7377

800-422-6731

Studio Moulding, Inc. ................................................................15

www.engelsenframe.com

Fixons ......................................................................................42 714-526-3455

www.fixons.com

Foster Planing Mill ..............................................................41, 42 323-759-9156

www.fosterplaningmill.com

Framerica............................................ 2, 3, 4, 10, 16, 40, 45, 48 800-372-6422

www.framerica.com

FrameTek ...........................................................................33, 42 800-227-9934

www.frametek.com

800-262-4174

www.seppleaf.com

www.studiomoulding.com

Tru Vue ......................................................................................7 800-621-8339

www.tru-vue.com

Universal Arquati ........................................................................5 800-668-3627

www.universalarquati.com

Wizard International .................................................................13 888-855-3335

www.wizardint.com

Gluefast Company ....................................................................42

Z Hardware ..............................................................................42

800-242-7318

800-880-9315

www.gluefast.com

www.zhardware.com

Goldleaf Framemakers of Santa Fe............................................47

Ziabicki Import Co. ...................................................................42

800-873-5525

262-633-7918

www.goldleafpictureframes.com

www.ziabicki.com PFM August 2020 43

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

CONTENTS

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

Style

BEST OF PFM

SNAPSHOT

By Lisa Wyer

A look at a frame, its characteristics, and history What style frame is this? A tabernacle frame designed by Stanford White and probably made by the Newcomb-Macklin Company. There is a continuous anthemion design applied to the frieze, repeated at the bottom on the predella. A Greek key motif surrounds the sight molding of the frame. This frame is finely crafted and decorated with cast composition ornamentation; it is gilded with 23k gold leaf and burnished to achieve a bright, lustrous finish.

Where is it from? There is a label on the verso which This tabernacle frame was designed by Stanford White and probably made by Newcomb-Macklin.

This frame is decorated with cast composition ornamentation, gilded with 23k gold leaf, and burnished for a bright, lustrous finish.

reads, “Portrait of a Lady/Artist, Abbott H. Thayer Owner, John Gellatly/Return to 34 West 57th Street New York City.” Painted in red on the verso, s.l.10214 is a reference to a Smithsonian Loan; stencils on verso #24465, 4104110 are consistent with framing practices of the Newcomb-Macklin Co. There is a painting currently in the Luce Foundation Center at the Smithsonian American Art Museum by Thayer, “Portrait of a Lady,” that was gifted by John Gellatly and is a size that would fit this frame; it was exhibited at the Boston Museum of Fine Arts in 1900 and in Philadelphia in 1902. It is likely that this frame was created for or used for this painting at one time.

We can only speculate as to how the painting and

What time period is it from? It was most likely made just before 1900.

frame became separated. Interestingly, this painting

CONTENTS

is framed now in another Stanford White tabernacle

Who was instrumental in developing this style

frame of the same design but with different gilding.

frame? The design of the tabernacle or aedicular frame was originally derived from classical architec-

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46 PFM August 2020

(Continued on page 45)

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