artists

[markw]

As framers I am sure that most of us work with a number of artists who spend considerable time money and effort to have their work framed properly. In my experience these artists sell well having gone to the effort of presenting there work professionally.

Then we get the other artists - any frame will do - bang it in - don’t bother about mounting it properly - clean the glass - that’s a waste of time - bit of cheap masking tape - Bobs your Uncle - one finished piece of work ready for sale.

I have just had four pieces of work in to have hangers fitted - all from the Royal Academy Summer exhibition. One had the mount on with the bottom at the top - the next by the same artist had the landscape mount in - trouble is that the picture is portrait. No 3 - a lovely little etching - just thrown into a frame - no mount - you can see the backing board at the edges of the etching, and the last - well that one was ok - but it was the only one with a framers sticker on the back.

You would have thought that at a prestigious and very competitive exhibition such as the Royal Academy summer exhibition one of the entry judges would comment on the dire state of the framing - or perhaps it doesn’t matter?

[mick11]

I recently went to an exhibition of the local art society, some 120 exhibits.
Only half a dozen had been framed to an acceptable standard. Shame really as most of the art was extremely good

[SquareFrames]

Hi,

Like all framers I suppose, we get asked by artists to bang it into a frame, with the hope that if it eventually sells the customer will change the frame to suit themselves. I recently framed a few pieces by an artist for the Patel Society of Ireland, and they basically wanted them banged into a frame, no mounts, no spacers, no nothing, just a frame, back and glass. This society is well respected, and the annual exhibition is always well attended, but I managed to get the pastels at least undermounted and spacers placed. A few extra quid did make such a difference, but it was a chore to get the artist to agree............

To another extreme.....I also was asked to frame a huge pastel for the Royal Ulster Academy annual exhibition, and the painting was 'priceless' as it was a portriat of a family member who had been very ill, but recovered thankfully, so it was irreplaceable. The client was getting it framed on behalf of the artist, and insisted on no mounts, but 3 frames, (all hand finished) at least making the job easier to create the minimum of 3mm distance from pastel to inside of the glass, although as it was so big I recommended at least 5-10mm gap, as there was a good chance the paper would cockle. The client here had a good knowledge of preserving the artwork, and wanted all steps taken to ensure it was.....I wonder if it still would have been the case if the artist had commissioned the framing job??

We have worked with many artists over the years, and at first, I admit fully complying with all their requests, as they knew best, but as my experience and knowledge increased, so did the advice they were given, and thankfully apart from a few that have either stopped painting, or gone else where), they all have followed the advice and are now having their work framed to conservation standards....for the sake of a few extra quid on their bill, they realise that presentation is so important, but some are still set in their ways of presentation with regard moulding colours / styles, i.e. mahogany or gilt, this has taken a bit longer to change, but its happening...slowly!!!!

I suppose this wee tip I am going to share will be like trying to teach your mother to suck eggs, but for those newbies to the art and framing world.......if you find a painting is not selling as quickly as others, do one of two things, or both....change the position in the gallery and or change the frame..normally works wonders!

Steven