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CURRENT COLUMN

Seeing in Different Ways: A Liz Magor Backpack Project
Seeing in Different Ways:
A Liz Magor Backpack Project

Why Paper Discolours (Part 2)
Why Paper Discolours (Part 2)

Why Paper Discolours (Part 1)
Why Paper Discolours (Part 1)

Mending a Tear in an Aboriginal Drum
Mending a Tear in an Aboriginal Drum

Distortions and Dimensional Changes
in Paper (Part 3)
Distortions and Dimensional Changes
in Paper (Part 3)


Distortions and Dimensional Changes
in Paper (Part 2)


Distortions and Dimensional Changes
in Paper (Part 1)

After treatment
Oscar Cahén: Innovative Conservation
for an Innovative Artist

Structural
Rigid Water Gels: New Treatment Options for Paper Conservators

Structural
Structural Remedies for Canvas Paintings

Digital
Organizing and Preserving Collections - Part 4: Digital-based Material

Photos
Organizing and Preserving Collections - Part 3: Photo-based Material

Organizing and Preserving Collections - Part 2: Paper-based Material

First Steps
Organizing and Preserving Collections - Part 1: The First Steps

Natural Dyes
The Use of Natural Dyes in Textile Conservation

Butterfly
A Relocation Project

Challenges of Preserving Contemporary Artwork

Preserve Your Investment through Art Conservation

A Project Completed: Heritage Preserved

Old and New Methods for Cleaning Paintings

I Can See Clearly Now – Or Can I? Part 2

I Can See Clearly Now – Or Can I?

The E.J. Hughes Mural: An Expanded Project

Is She or Is She Not an Emily

Treating Art with Sensitive Media

Malaspina Mural: An Update

For the Artist: Testing Your Materials

Conservator as Art Historian

Alum Sizing and the Art of W.J. Phillips

Treatment of an Elizabeth Keith Wood Block Print

Structural Treatment of an Emily Carr

The Treatment of a Monumental Wall Hanging

Changing Images

Preserving a Rare Record

Gold Leaf: Imitation and Genuine

The Case Against Canvas Backings

Heritage Colours: Research Discovers Original Colours

Lighting Your Art: Balancing Seeing and Protecting

The Double-Sided Emily Carr Painting

Choosing a Period Picture Frame

How to Identify a Picture Frame

Stretching Canvas and Restretching Artwork

Mounting Textiles

Aging Paintings:
Some Causes and Effects

Chine Collé Prints

What's Your Favourite Color?

Backing Removals

Rips, Holes and Tears

Filling in the Gaps

DIY – Preventative Care of Paintings

Frame it Right

Fire, Water and Smoke-Damaged Paintings

Inherent Vice

Saturated Problems:
A Water-Damaged Painting

Moldy Paper

Conserving Time

Conserving Paper: Dos and Don'ts

Repair of Textiles

Conserving Wood

Rescuing Endangered Murals

Repairing Acid-Matte Burn

Art Services & Materials
Exhibition Openings & Events


Conservation Corner Back

Choosing a Period Picture Frame

by Brian Dedora
Pacific Conservators

THE VERY FIRST THING when choosing a period frame is to find a fine art framer. Fine art framers will have a selection of samples to match the historical styles of the four main European art-producing nations: Italy, Spain, France and England.

Classic Frame

Classic frame

Modern Frame

Modern frame

If you cannot find such a framer locally, jot down the dates and country of origin of your art to see if there are frames that match the period at a public gallery. I would suggest visiting the European collection in a public art gallery and closely observing the frames. Then visit your framer to look for similar styles.

Canadian consumers will readily find French, Italian and especially British picture frames in their local framing shop. American consumers, on the other hand, will find French, Italian and Spanish with no hint (because of the Revolutionary War) of British frames.

Prior to 1900 frame design was based on a repertoire of heavily decorated styles developed during the Italian Renaissance. From 1900 onwards frame styles were essentially the substrates of these heavily decorated frames with the ornamentation stripped away. It was the 1930s Art Deco style that added angular shapes to the framing catalogue.

A mix of these styles travelled into the 1950s, where classical framing, which is based on a compilation of three elements (plate, lip and cap), gave way to two elements (plate and lip) in order to achieve the modern look. The illustrations are typical examples of classic and modern frames that you will find at your framer or in public gallery collections.

For more information visit the FACTS (Fine Art Care and Treatment Standards) website at www.artfacts.org.

Last issue: How to Identify a Picture Frame
Next issue: A Conservation Project

 Fri, Feb 1, 2008