This is an absolutely perfect example of framing. It hits all three categories perfectly. The shape and form of this frame is a lovely example of an early twentieth or late nineteenth century frame. In England the classic example would be a ‘Watts’ frame. These are defined as two highly carved floral bands connected by a broad field of gilded wood. This large field would normally reveal the grain of the wood, usually oak. This frame, possibly of Italian origin, is not a Watts frame but incorporates the same structure and Aesthetic Movement sensibilities. It has a band of intricately carved vines and berries running around the outer edge, and the broad gilded field highlights the natural wood grain. The joins in the frame are not mitred (45 degrees) but squared off and deliberately visible, celebrating the craftsmanship behind the work. On the inner edge of the frame, instead of another carved band, simple fine ribs reflect the classical composition of the artwork.

The frame is beautifully proportioned for the artwork. The slip (the inner white frame) is designed to give breathing space between the gilt frame and the painting. Without it the picture can look overwhelmed. The framers have developed a sense of enhanced perspective with a series of steps down from the outside of the frame down into the picture, which helps funnel your vision into the artwork, making you look in closer at the figure reading. Lastly, the pale yellow of the gold masterfully reflects and enhances the yellow tones of the reader's skin and dress.

This frame is the right period for the artwork, is in harmony with the painting, and was a frame designed for an interior of the day. It would work timelessly in any collector’s home.

What do you do if the artwork you have does not have a frame yet? Frame it with all of these aspects in mind, but most importantly choose something you like!

Looking at Lot 5, Contemporary School (20^th/21^st century), Weils of Light, as an example, this is what I would do. First frame the artwork with a slip as well as a frame to keep the artwork open, not enclosed. Choose a pale slip colour that is in harmony with the colours in the painting and certainly not lighter than the highlights (those need to stay in the picture).  I would choose a relatively square profile outer frame because this is in keeping with the abstract aesthetic of the artwork. Perhaps include a bevelled edge, if you want to draw the eye deeper into the picture and feel a little detail would help. Lastly, choose a colour for the outer frame which is prominent in the painting. The colour chosen will increase the prominence of that tone. Therefore, if you like the warmth, choose a yellow brown tone; if you want to highlight the colder tones, choose a cold grey; whereas to make the piece more intense choose a darker colour. The end result will be a framed work that speaks to you, is in keeping with its period, and works in your interior.

The Caversham Picture Framer

Website: www.cavershampictureframer.co.uk

We will be delighted to offer any advice you would like on making your artwork that bit more special. For any help on framing, please get in touch with us:
Email: framing@cavershampictureframer.co.uk
Telephone: 0118 948 1610

Auction Details

This is a Timed Online Auction running from 10-26 August 2022.

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