framemaker wrote:it does not look like a Rose and Hollis or other stock profile to me, maybe wrong though...
Mmmm, I think I'll bring their catalogue home from the shop and have a closer look, perhaps I was a bit hasty. However the two moulding quoted are the one which I use to do something which looks very similar.
Another possibility, is that this is an older frame which has been reworked and refinished. I do this myself and to this end keep an eye on my local auction sales room and even get things from time to time from local charity shops.
A lot of customers will gladly pay for an old frame to be altered and refinished to suit their item for framing and this is not looked upon by these customers as something second rate. This is a popular, well used and financially worthwhile service to be able to offer, but it is more viable in some locations than in others.
framemaker wrote:there will always be people who want to spend money on totally handmade work.
I hope so too! Besides the fact that the work is financially worthwhile, the satisfaction of doing such work is why I enjoy doing it. In all my working life, there is nothing I can think of which even comes close to this sort of work for job satisfaction.
framemaker wrote:Great shame to spoil all the skilled, hard work making the frame by putting the image against the glass.
As you may have guessed, I see a fair bit of this sort of work and a significant propotion of it is far from conservation standards. Even more amazing, some of the most beautifully executed frames are often those with the least regard for conservation requirement.
Not all of these galleries and dealers do their own framing. I have no way of knowing why there is no consideration given to conservation issues, perhaps the gallery owner or dealer has instructed the framer just to make the frame look good, but not to spend any extra on framing to conservation standards.
I suppose, it is just possible that it is a deliberate choice to be being in keeping with the inferior standards of an earlier age. After all, a nice wobbly piece of horticultural glass in an old frame seems to add considerably to the marketablity of many older works.
I'm not joking, I get paid to change the modern glass in an old frame, so that they can have the wobbly stuff. I keep old screw rings, top screw eyes, bits of gesso frame ornamentation, slips and liners, when they come my way and even stock some of the old fashioned cotton based picture cord. When customers get to know about it, they want it on the latest antique acquistion, and will pay to have it done. There are other framers who also does this.
Those who've had a good look at the way that this frame has been executed, may have noticed various "lyrical imperfections" where there is an imperfection showing through the finish. Part of the technique and skill in this work is in how these imperfection are produced without looking contrived and still maintaining the expected level of workmanship. Those who want to learn more will do well to have a good look at the posted pictures. It's a nicely executed job!
I called the customer in to have a look. He told me most had been framed by some very upmarket framers in London.
