THE GOLD STANDARD: RHONDA FEINMAN CUSTOM FRAMES Creaঞng Gilded Bevels • What’s New With Gilding Size
Contents
PFM is a member of:
Volume 30, Number 7
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover Rhonda Feinman, shown here with dog Bali, has become an industry mainstay over the past two decades as a supplier of custom-made, gilded, closed-corner frames and antique reproduction framing. For the full story on her business's growth and her take on framing's future, see page 24.
Features 12 20 30 32
Gilding Size: What to Know Adair's "Golden Doors" Beckett Wins PPFA OPEN How-To: Gilded Bevels
20
Columns
24 Supplier Profile: Rhonda Feinman Custom Frames 46 Design of the Month
Departments 8 10 40 41 42 44 45
Editor’s Note Industry News Product Showcase Crossword Puzzle Distributor Spotlight Index of Advertisers Calendar of Events
12 CLARIFICATION An article in the June 2019 issue of Picture Framing Magazine titled “Multi-Layered Design Wins PPFA PRINT Competition” inadvertently omitted credit to the artist. The artwork that appeared on pages 4, 26, 29, and the cover should have been credited to James Burghardt. PFM regrets the error.
32
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 © 2019 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.
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PFM PUBLISHING, LLC PRE S I D E N T
6 PFM July 2019
Bruce Gherman
FROM THE EDITOR’S DESK
G
Gilded frames are a stunning product that, when paired with the right artworks, can truly wow your customers.
CONTENTS AD INDEX 8 PFM July 2019
ilding is one of the most beautiful techniques that can be employed in picture framing. In this issue, we take a closer look at gilding from both a technical and a sales aspect, and aim to (hopefully) dispel any intimidation you may feel when considering adding gilded products to your shop’s offerings. Our cover story is a conversation with Rhonda Feinman (page 24), owner of Rhonda Feinman Custom Frames in New York. Feinman has built a reputation as a leading supplier of custom, gilded, closed-corner frames and has long advocated for framing retailers to more fully embrace the high end of the market. She offers insight from a supplier’s/manufacturer’s perspective on how to sell her product and on where she sees the industry heading. Interested in mastering gilding yourself? In his article, Charles Douglas explores the gilded bevel as a great element to add on to your highend framing packages (page 32). Douglas offers a step-by-step guide to creating this value booster. Whether you’re framing photography or works on paper, consider a gilded bevel as a way to tie your design together and
make your client’s work truly special. In her latest article, Lauren Sepp explains the different types of gilding size (page 12). Understanding size will give you a solid foundation on which to build your gilding skill set. Sepp also discusses the latest developments in size and new products being offered on the market. There is plenty more to learn about gilding than what we can cover in one issue. One of the best ways to further your education on this and other framing topics is to attend the 2020 West Coast Art and Frame Expo and The National Conference, Jan. 26-29 in Las Vegas. In the middle of summer, January seems like some vague notion way off in the distance, but it’ll be here before we know it. It doesn’t hurt to plan ahead before the holiday rush!
Kimberly Biesiada Editor
INDUSTRY NEWS Colorado Framer Wins Valiani CMC in Sweepstakes Crescent recently announced that Brian Hart of Frame De Art in Englewood, CO, won a Valiani MatPro Ultra BC in the nationwide Crescent Rewards sweepstakes. Over 1,500 frame shops use the free Crescent Rewards
For more information, call Framerica at 800-372-6422 or visit the all-new framerica.com.
Decor Moulding Announces Summer Brochure Decor Moulding’s Extreme Summer
app to scan Cres-
Savings Brochure is packed with 140
cent matboard to earn
wood styles in varying degrees of dis-
points for rewards and
tress and finishes, complemented by
prizes. Each scan was
its classic compo golds, real wood
an entry to win the Val-
veneers, and floaters.
iani computerized mat
Finishing off the quarterly book-
cutter. “We have been a
was for this expanded search-ability.”
Brian Hart (center) of Frame De Art, Colorado
busy store for over 28 years and have been using a different brand of CMC, but this machine will allow us to step up to the next level,” says Frame de Art owner Brian Hart. “It is amazing what this mat cutter is capable of doing. We cannot thank Crescent enough for having this contest, unveiling the Valiani at our store, and then spending two days to train us. We will do our best to make you proud of all the designs we create for our customers!” “My family and I are blessed to continue to support the custom framing industry for over 117 years,” says Matthew Ozmun,
let are matte blacks and whites, linen liners, and Decor’s full line of stretcher bars. Visit Decor online at www. decormoulding.com/catalogpages.
aspx to see their most current offerings. Orders can be placed at 800-937-1055 or by email at order@decormoulding.com.
Moldurarte Frames Used in International Fashion Show Moldurarte frames decorated the walls of a runway fashion exhibition held at the 2019 Sao Paulo Fashion Week in Brazil. In association with photographer Leo Faria, the walls of the exhibition were transformed with an in-
Executive Vice President of Crescent. “We pride ourselves on giv-
novative, real-time concept. Visitors
ing framers the highest quality machines and materials to allow
watched as frames were assembled
them to put the custom in ‘custom framing.’ We thank everyone
and paired with fashion designers’
who participated in the sweepstakes and we are confident that
photographs. The framed images
Brian and his team will make great use of their new Valiani.”
were ultimately hung for display as
The Crescent Rewards Program is open to independently
part of the exhibition.
owned custom art framing retailers located in the US. The Crescent
“This is the first time a concept
Rewards app is only available for Android or Apple smart devices (including iPad). Framers earn points from every scan and then can select many types of prizes that are designed to help their business grow. More details about Crescent Rewards can be found at www. crescentcardboard.com/rewards.
CONTENTS
Framerica’s recently revamped website already includes faster speeds, custom wish lists, express ordering, product comparison options, and many other options, but company officials note that new search tools now include the ability to view and break down by “all profiles.”
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“Framerica.com has enjoyed more than three times its normal traffic since we relaunched,” notes marketing director Corinne Ferrara. “With that came tremendous feed-
10 PFM July 2019
like this has been presented, makThe frames at Fashion Week
ing the space an attraction seen by many,” says Moldurarte manager
Roberto Pereira. The frames used were part of Moldurarte’s new Leo Faria Signed Collection.
Framerica.com Expands Profile Searching Options
Framerica.com’s new search options
Decor’s Summer Savings brochure
back and requests, one of which
Framerica Celebrates Graduate Pustelnik Beloved longtime Framerica customer service team member Chloe Pustelnik recently earned a bachelor’s degree from Stony Brook University, NY. “Chloe worked full-time and never let her studies interfere with her other responsibilities… all in an effort to better herself,” notes Josh Eichner. “Framerica encourages higher learning as a means of experience and improvement, but that is oftentimes challenging or impossible. Chloe made it happen; everyone at Framerica is over the moon with pride.” PFM
Chloe Pustelnik
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HOW҃TO: GILDING SIZES By Lauren Sepp
M
ordant gilding—or, as it is more commonly known, oil gilding—is a technique in which genuine or imitation leaf is adhered to a sur-
face with an adhesive, or “size.” As the name implies, size was traditionally an oil varnish consisting of linseed oil, resins, and a dryer. Oil size is available in a quick version—which sets up, or “comes to tack,” in one to three hours—and a slow version, which comes to tack in about 12 hours, depending on
Understanding the various types of sizes used in mordant, or oil, gilding is key to getting the finish you want on your frame.
the brand and environmental factors like temperature and
not be confused with “water gilding,” which uses gesso
humidity. The “open time” (the amount of time you have to
and bole made from rabbit skin glue.
apply leaf before the size dries) is roughly the same amount of time it takes for the size to come to tack. For example, if a size comes to tack in an hour, you will have about an hour of gilding time before the size dries. One of the benefits of slow oil size is that since it spends time settling out, it gilds brighter than quick size. It is also recommended for exterior projects. Some quick oil sizes cannot be used for exterior projects; check the manufacturer’s label. Quick size is good for small projects or projects that need to be finished quickly. The only disadvantage to oil size is it cannot be burnished with an agate stone like traditional water gilding. However, the sheen of your gilding can be altered by how you prepare your sur-
CONTENTS
face. The shinier the surface, the brighter the gild; duller surfaces produce duller-looking gilding. Today you will also find water-based sizes made of acrylic copolymers and drying additives. Most water-based
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sizes set up in about 15-30 minutes and remain open indefinitely. Water-based size’s strong tack makes it ideal for imitation leaf, but it can also be used with genuine leaf. Also, most water-based sizes are only for interior gilding projects. Water-based size sets up quickly without leveling out much, hence it won’t gild as brightly. This size should 12 PFM July 2019
APPLYING SIZE Let’s go over how to prepare your surface and apply gilding size. To begin with, you want to work in a clean, dust-free environment. Apply your size to a non-porous surface. If you are using oil-based size, you should use an oil primer/ paint or shellac. For water-based size, you should use a water-based primer/paint or shellac. Remember, any imperfections in the surface, such as brush marks, dust, etc., will be greatly exaggerated after the leaf is applied. Take the time to make your surface as smooth as possible. After your primer is properly prepared, it’s time to apply your size. All sizes can be applied by brush, roller, or sprayer. You want to apply the size as thinly and evenly as possible. Avoid pooling in corners and creases. For water-based size, which sets up quickly, it’s important not to over brush the size as it will leave brush strokes. When the size reaches the proper tack, you are ready to gild. Knowing when you have a proper tack takes a little practice. As the oil size begins to dry, it becomes tacky. Tack is the sticky condition of varnish that is no longer wet and cannot be smeared but is not yet completely dry. The proper time to apply the gold leaf is when the size is almost dry.
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Conversely, if the weather conditions are hot and dry, the proper tack will be rapid. Take care to periodically check the tack with the hairs on the back of your hand. If there is a slight pull, the tack is ready. However, if there is a definite tug and/or residue comes off on your skin, it is still too wet, and you must wait. Another technique experienced gilders use to check tack is to draw a bent knuckle across the surface, which will produce a squeaking noise. If this procedure is done too soon, the surface can be damaged, so be careful! Once you have proper tack, you are ready to gild. Leaf is available in basically three forms: loose leaf, transfer/ patent leaf, and rolls. It is extremely thin and must be handled with exceptional care. For the beginner, patent leaf or rolls are easier to apply. Gold is pressed onto a thin, white Size can be applied by brush, as shown here, or by roller or sprayer. When it reaches tack, you are ready to gild.
The open time is dependent upon relative humidity and temperature. If the size is too dry, the gold will not stick. If the size is too tacky, the gold will appear dull or have a drowned look. Determining the proper tack is a matter of judgement and a gilder’s experience. Usually, in a moist, cool atmosphere, the size will take a long time to set up.
CONTENTS AD INDEX 14 PFM July 2019
tissue during the final stages of the gold beating process, and all that is required to apply it is to pick up the edges of the tissue and place it face-down onto the sized surface. Rub the back of the tissue with a clean cotton ball or the side of your hand and the leaf will transfer to the surface. For loose leaf, you need to pick up the leaf with a special brush called a gilders tip. Be sure to overlap the leaf (⅛'') to avoid any holes, or “holidays,” in the gilded surface.
is available in three-hour and 12-hour formulas. These are made from a combination of high-quality resins and turpentine that flows out well and levels nicely. Manetti’s 12-hour size has been used in several noteworthy outdoor projects. In 2016, this 12-hour size was used by Carolina Izzo on the multi-karat ceiling of the Bishop Selwyn Chapel of the Holy Trinity Cathedral in Auckland, New Zealand. In 2017, master gilder Michael Kramer of The Gilders’ Studio Inc. used the 12-hour size on several large exterior fiberglass lions for the MGM Hotel and Casino in Cotai, China. Kramer had accelerated testing conducted on You can buy gold in three forms: loose leaf, patent leaf, and rolls. The latter two are easier for beginners.
Loose pieces may be dusted off with a soft brush or piece of cotton wool. Be careful not to brush too vigorously over the freshly gilded surface, as this may scratch the gold. When you are finished gilding, it’s best to wait until the size cures before top-coating. Most quick oil sizes can be sealed in 1-5 days. For slow oil size, it’s best to wait 3-30 days before top-coating, depending on which size you choose. For water-based size, it’s best to wait two to three
the Manetti 12-hour size to make sure it would last over time and meet his stringent requirements. Kramer said the Manetti 12-hour size held up extremely well during testing. In his opinion, performance-wise, “it’s like the old LeFranc 12-hour size.” When properly applied, both produce a radiant gilded finish. Both sizes should be stirred to combine all components. The three-hour and 12-hour sizes can be combined to achieve intermediate tack times and open gilding times. Both sizes can be used for interior and exterior projects.
days before top-coating.
NEW SIZE AVAILABLE It’s been some time since we’ve had any major news about oil size. Over the past decade, significant changes for gilding adhesives include the re-formulation of LeFranc and Bourgeois’ 12-hour oil size, and the introduction of Dux quick and oil-based sizes, which function like Rolco sizes. It’s with excitement that we announce a gilding size we are now bringing to the US market. This size is produced in Italy for Giusto Manetti Battiloro of Florence. Manetti’s oil size was formulated in 2001 to match the strict quality standards Manetti applies to its gold leaf. Manetti oil size
CONTENTS AD INDEX 16 PFM July 2019
Leaf is extremely thin; it’s important to apply it carefully, taking your time to overlap and avoid any gaps on the frame.
DIRECTORY ADDENDUM The following companies were inadvertently omitted from the 2019 Print Directory under these product categories. In the Product Showcase, the following item did not run with the correct photo. Up-to-date information can also be found on the Online Directory at pfmdirectory.com. To view and print a PDF of this page, visit https://bit.ly/2IVcOEw.
MOULDING GENUINE GOLD AND METAL LEAF ASF - A Street Frames Bella Moulding CMI Moulding Designer Moulding Easy Leaf Products Fox Moulding Frame Specialties
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SHADOWBOX DEEP MOULDING ASF - A Street Frames Barnes Frame & Moulding Co., Inc. Bella Moulding Decor Moulding & Supply Delta Picture Frame Co.
Studio Moulding Studio Moulding’s Lyra collection was first introduced at the 2019 WCAF Expo in Las Vegas. Lyra offers four refined wood stain finishes with bronze, copper, gunmetal, and silver metallic accents on the outer front edges of two profiles. Call: 800-756-2184 www.studiomoulding.com
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The size works well over shellac,
grees Fahrenheit and 40-60 percent
oil primers, zinc chromate primer,
relative humidity. Do not apply size
and epoxy paint. Manetti oil size can
under 60 degrees Fahrenheit.
be thinned up to 20-30 percent by
Manetti 3-Hour Size reaches tack
volume with turpentine on interior
in two to three hours and will remain
projects. For exterior projects, use
open for two to three hours depend-
the size at package consistency. You
ing on dilution, temperature, and
can apply the size by brush, roller, or
humidity. For exterior gilding, the
spray with a high-volume, low-pres-
size can come to tack in less than an
sure (HVLP) spray gun. Ideal condi-
hour on warm, sunny days. Allow the
tions for application are 65-75 de-
gilded surface to cure for a minimum Brush any loose pieces of leaf off gently with a soft brush or cotton wool.
of three to five days, depending on how much you thin the size before top-coating. Manetti 12-Hour Size reaches tack in 12-18 hours and will remain open for about 8-12 hours, depending on dilution, temperature, and humidity. For exterior gilding projects, the size can come to tack in as little as two to three hours on warm, sunny days. Allow the surface to cure for a minimum of five to eight days, depending on how much you thin the size before top-coating. Do not top coat exterior gilding. Store size in a cool, dry place in tightly sealed original packaging. The percentage of dilution and method of application can significantly affect the working time. Always test substrates, primers, and topcoats to be used with the size before starting your project. PFM
CONTENTS
Lauren Sepp
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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. 18 PFM July 2019
TEN YEARS OF ADAIR’S ‘GOLDEN DOORS’ By Kimberly Biesiada
W
orld-renowned gilder and frame historian William Adair combined his professional expertise, personal activism, and artistic passion to
create a conceptual art project that has spanned 10 years and multiple continents. Adair, former conservator at the National Portrait Gallery and current owner of Gold Leaf Studios in Washington, D.C., is a popular instructor with The National Conference in Las Vegas. After teaching frame history to attendees at the 2010 conference, he spent time driving through the Mojave Desert, revisiting scenery he’d explored 40 years prior while pursuing a BFA in studio art at the University of Maryland. Music lover Adair was listening to Emmylou Harris’s recording of the Gram Parsons song “Sin City” during the drive when some of the lyrics struck him: “On the thirty-first floor, a gold-plated door...” The lyrics and the beauty of the desert landscape inspired him to use his gilding skill set to bring the “gold-plated door” to life. “I thought to myself, ‘I’m going to gild doors. That’s going to
Courtesy of Max Hirshfeld
be my new project, my new artwork,’” Adair said. The project, which became known as “Golden Doors to In-
GILDING AROUND THE GLOBE
finity,” began when Adair received permission to gild the door
Of the doors Adair has so far completed—he estimates he’s
of room eight at the Joshua Tree Inn in California, where Par-
gilded about 20 doors to date—many of them have been put on
sons died on Sept. 18, 1973. The door to the room would become
temporary display in historically significant locations. One such
the first of many to be gilded by Adair over the next decade.
door was displayed on the anniversary of D-Day on Gold Beach,
CONTENTS
Following the trip to Joshua Tree Inn, Adair was asked to
one of the five areas of the Allied invasion of German-occupied
create gilded doors for display at the Joshua Tree Music Festival.
France in the Normandy landings on June 6, 1944, during World
He installed three doors at the site. What started as a straight-
War II.
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forward display turned into something more when attendees
That door was also the first to receive a name. It was
started writing on the doors, some leaving behind meaningful
dubbed Heaven’s Door by a 14-year-old French student who vis-
messages and others simply inscribing their name or a mark
ited the beach in remembrance of veterans who had lost their
like an “X.” Adair realized this kind of interaction between the
lives, including his father, who’d served in Afghanistan.
doors and the public was to be an essential part of the overall project. “It became obvious to me that this is what people wanted to do,” Adair said. “Everyone wants to leave behind their mark, whether it’s with a simple ‘X’ or a statement.” 20 PFM July 2019
“[The student] dubbed it Heaven’s Door because anyone who died in the defense of freedom would be in heaven, in his opinion,” Adair said. Another door that received a site-specific name was the Poet’s Door, which Adair created on Veterans Day at Georgetown
The Golden Doors to Infinity installation and exhibition at Govinda Gallery, Montserrat House, Washington, D.C. April 20-June 8.
The Gilder’s Door in the Mojave Desert at Amboy Crater, Jan. 31.
CONTENTS AD INDEX The Removal of Doubt Door
World War II reenactors on Gold Beach, Normandy, France with 14-yearold Clovis Manu, who dubbed the door Heaven’s Door in honor of the fallen.
One of Adair’s gilded doors was on display in Normandy, France on the 70th anniversary of D-Day.
The Poet’s Door on display at Georgetown University on Veterans Day, Nov. 11, 2010.
Christopher Forbes (left) was the first to write on the Omaha Beach Door on the 75th anniversary of D-Day at the Château de Bailleroy, Normandy, France (center). The Chateau served as a hospital during the war. The door was displayed as a clean, golden slate before its first signature (right).
University. The name pays tribute to revered American poet
inscribed down the edge of one of them. In addition to having
Walt Whitman, who cared for thousands of sick and injured
a chance to leave their mark, Adair thinks people are drawn to
soldiers in Washington, D.C. hospitals during the Civil War.
the doors because of the gold itself.
Whitman visited patients daily in various hospitals through-
“It’s just the way people respond to gold. It appeals to
out the city, spending hours listening to their stories, writing
our instincts; we can’t intellectualize it,” Adair said. “Why do
letters home on their behalf, and bringing them gifts. When
we love gold? It’s eternal, it’s reflective, it gives us a feeling of
naming the door, Adair wanted to allude to the uplifting feeling
warmth. We’re instinctively attracted to it.”
that Whitman’s story inspires while also reminding viewers of
Susie Chorro, who has worked with Adair at Gold Leaf Stu-
the difficult realities many veterans face upon returning home,
dios since 2015, has been helping him gild doors for the project
such as post-traumatic stress disorder.
over the past two years. On their travels, Chorro has also no-
On Adair’s wish list are places like Derry, Northern Ire-
ticed onlookers’ emotional responses.
land—which saw The Troubles, an ethno-nationalist conflict
“I’ve seen people brought to tears and laughter by the
that wracked the country during the late twentieth century—
doors,” she said. “I think it’s because the door can act as a re-
and Sicily, Italy, where his uncle fought during the Allied inva-
flection of the individual engaging with it.”
sion of the island in World War II.
Chorro enjoys seeing the transformation the doors undertake; each one goes from a “beat-up, abandoned, discarded”
AN EVOLVING PROCESS
piece of wood to artwork that carries the messages of those
Gilding each door is a multi-day process. It takes two packs, or
who viewed it. “The people who mark the doors go through a
1,000 leaves, of gold to cover the door’s surface; one pack for
transformation, too,” she said. “They’re guarded and shy at first,
each side. Adair lays the doors flat to gild them, and seals them
but they walk away laughing, happy, and somehow lighter.”
with lacquer before they are written on by members of the public. He likens the process to gilding a wide frame.
AN EXHIBITION AND BEYOND
Adair uses abandoned doors as canvases for his project. “I
On April 20, Adair’s project was showcased in the opening of
don’t start with anything that’s got any value to it at all,” he said.
an exhibition. The exhibition, which ran through June 8, was
“The doors only become valuable when people start writing on
held at the Govinda Gallery at Montserrat House, Washington,
them, because then they become a testament to our time. The
D.C. and allowed visitors to view several of the graffiti- and gold
process reminds me of the Simon and Garfunkel lyrics: ‘The
leaf-covered pieces on display in one place.
words of the prophets are written on the subway walls and ten-
But this isn’t the end for the project. Adair plans to create
ement halls.’ This graffiti that is so prevalent in our society is
31 doors in total, to be installed on an acre of land next to the
part of our time, but has never been done before on a gold door.”
Joshua Tree Inn. The doors will end where they began, in the
Some of the doors have so much writing on them that the words overlap, covering each other in layers. It’s hard for him to pin down just a few standout messages he’s read over
desert setting that first inspired Adair in 2010. Why 31? One needn’t look any further than Gram Parsons: “On the thirty-first floor, a gold-plated door...” PFM
the years; some are profane, others profound. He recalls state-
William Adair is represented by the Govinda Gallery, which
ments like “All men with honor are kings, but not all kings have
can be reached at popart@govindagallery.com. To view an expand-
honor,” and “I bet you didn’t want me to write on the edge,”
ed version of this story, see the PFM July digital edition on Issuu.
CONTENTS AD INDEX 22 PFM July 2019
SUPPLIER PROFILE: RHONDA FEINMAN CUSTOM FRAMES
F
By Kimberly Biesiada
or the past 18 years, Rhonda Feinman Custom Frames has manufactured faithful reproductions of historic period frames using traditional carving and gilding
techniques. The Queens, NY-based business also specializes in restoring antique frames. At the helm is Rhonda Feinman, who opened up shop in 2001 and has steered the growth of her business ever since, securing its place as a mainstay in the custom picture framing industry. In an interview with PFM, Feinman discusses her career as a business owner, the benefits for retailers of selling closed-corner frames, and where she thinks the industry is headed. After earning your BFA in art from Parsons School of Design, how did you find your way to framing? I fell into picture framing because I was working in the trade show exhibit industry around the time the Jacob K. Javits Convention Center in New York was being built. It
CONTENTS
had no proper loading dock or loading facility at that time. I said, ‘No way am I staying in the exhibit business if I have to install any kind of large exhibits in that place.’ At that time, a high-end picture frame manufacturer
AD INDEX
offered me a sales job in 1986, which over time expanded beyond just sales. I enjoy the industry because it keeps me in the art business, which appeals to me as someone with a BFA. I’m able to use my art background. It’s an especially helpful tool now, when I’m doing a lot of historically accurate reproductions. 24 PFM July 2019
Feinman with dog Bali inside her Woodside, Queens, NY showroom. Her business, Rhonda Feinman Custom Frames, specializes in the manufacture of faithfully reproduced antique frames and gilded, closed-corner framing.
What made you decide to go into business for yourself? I left my job after 16 years with no plan of what I was going to do after. And after receiving job offers from competitors, I didn’t feel that I was going to be in a much better position than I was in before. I realized the only way to do it was to do it on my own, and do it my way. That’s really what it was about.
I liked the small sector of the industry that I was in, and I was tending to go more toward historically accurate, higher-end work. I was pushing the limits of picture framing, and in order to do it the way I wanted to do it, I had to work for myself. What were some of the challenges you faced when starting your own business? I was fortunate enough to be able to start out by buying another small company called Diego Salazar Picture Frames. When I bought it, there were seven employees; I started with a functioning business that was small enough for me to take it in the direction I wanted to go. I think one of the most difficult things about starting a business is doing it without some financial backing. I had enough financial backing that I was able to do what I needed to do to get the business going. Did you go through the process of applying for a Small Business Administration (SBA) loan? Yes, when I bought my building. I rented for 11 years in Long Island City, which is seeing a lot of development—it’s become tech companies and high-priced condos. When my lease was up, I felt the only way to secure the future of my business was to buy my own building in New York City, and I was able to do it with the help of my bank and the SBA. Can you give any advice to a supplier or retailer who’s looking to get a loan? Really prepare and pay close attention to the paperwork. I did it by myself, without an expediter or anything like that,
Feinman (center) and some of her team of 16 employees. All frames are manufactured in-house.
but there is a lot of financial documentation that’s needed and you really need to know your business financials to be able to do it. Many people have called the process overwhelming and asked me how I could’ve possibly done it myself. When you’re applying, you’re given a checklist of everything you need to provide. You know what you need, so it’s just a matter of knowing where to find all the information within your own business. In order to do that, you have to be attuned to what’s going on financially within your company. You can’t say you’re an artist, so you don’t know about numbers. As
I’m
sure
you’ve
noticed,
there
aren’t
many
female-owned manufacturing companies, or female suppliers in general, in the industry. Do you feel that was among the challenges of going into this business? It honestly never occurred to me that being female was going to make it more difficult or be an issue. I never really thought about that. People have pointed it out to me over the years, but I never thought about it at the time. As my parents’ oldest child, I was never treated as the little girl in the family or anything like that. I was never told by my father that girls couldn’t do something. I threw a football—it never occurred to me that I shouldn’t be able to throw a football. Likewise, it never occurred to me that I was one of the only women in manufacturing. It only occurs to me when it’s brought up in conversation. My staff is also just about half-and-half. I have 16 employees now, and it’s almost exactly half women and half men.
Feinman applied for a Small Business Association loan when looking to buy a building. She’d previously rented for 11 years.
PFM July 2019 25
do it. Doing that allows employees’ work to be more interesting and challenging, pushing the boundaries of what they’re able to do. What types of frames do you sell, and who are you selling to? We sell handmade gold leaf frames, of which a lot of them are historical, antique reproductions. We also do completely custom, so we will make frames to specification. We do conservation and restoration of antique frames as well. Our target market is less than the top 5 percent of the picture framing market. We sell about 60 percent of our Interested in selling closed-corner frames in your shop? Feinman recommends ordering an array of samples to start.
How long have your employees been with you, on average? About 10 years. Four of the seven people who were working when I bought the company in 2001 are still here. What’s the secret to keeping good people? I think it’s important to challenge them. We try and do different things whenever we can, and if a customer asks us for something outside our normal range, we find a way to
CONTENTS AD INDEX 26 PFM July 2019
product to retail framers. The rest of it goes to galleries and institutions—institutions being mostly museums. Are there any out-of-the-ordinary jobs that stand out in your memory? I think the strangest job I ever did was for a frame shop I’d never done business with before. They ordered 10 historical reproduction frames for paintings that included portraits of dogs and pigs in Victorian costume. Some of them were dressed like royalty!
If I’m a framing retailer, how do I get started selling gilded, closed-corner frames in my shop? The best way is to buy samples. I have a lot of people starting out who want the big, fancy, carved frames, but that’s not what’s going to sell right away. You will have to transition from what you have currently into the much higher end, custom-made frames. Having a product mix is necessary. You can’t get four or five samples and put them on a wall that has 1,500 other samples and have them make any kind of presence. Consider getting at least a row of samples; that way you can establish credibility in the product and give yourself confidence in your ability to sell it. Another thing I’d say is: they’re not scary. You know, one of the biggest obstacles to selling [high-end framing] is thinking they’re too expensive and your customer is not going to buy them. They are more expensive than cut-andjoined frames and pre-finished frames, but not that much more. I think that when you’re framing, you should always try and offer your customer the best possible solution to their framing project regardless of cost, and then let them decide whether it’s too expensive or not. If a custom-made
Feinman says the secret to keeping good employees is to ensure the work stays challenging and, therefore, interesting.
gold leaf frame is the right choice, then you’re doing your customer a disservice by not offering it to them. I can’t afford most of my frames, but that doesn’t stop me from making them and selling them. And when somebody says they don’t want to spend a lot of money on a frame job, you don’t know what ‘a lot of money’ is to them.
PFM July 2019 27
The staff of Rhonda Feinman Custom Frames hand-carve wood, cast and apply decorative composition ornament, and gild only with genuine gold leaf to create their reproductions of antique frames. Feinman says time-tested, traditional carving and gilding techniques and materials are used to ensure lasting quality.
A gilded, closed-corner frame isn’t
framing options. You have the battle
Do you think the industry is going
always the best possible solution,
on the low end for the low-cost on-
to continue to go in that direction?
but when it is, it should be offered.
line framing—the plain black frame
I do. I think the high end is going to
and the plain white frame.
get higher, and the low end is going
Have you noticed any big changes
And then when you leave that
to get lower. And in my mind, more
in the industry since you started?
market, you end up getting into the
and more framers are moving to-
Supposedly, the market has shrunk;
much higher end, where people want
ward the high end.
however, it seems to me that the
something really, truly ‘custom’ and
For example, at the last West
higher end has had a lot less shrink-
really special. It seems like that part
Coast Art and Frame Expo in Janu-
age than the middle market.
of the market has not seen the same
ary, I had more new customers than
kind of decrease as the other parts
I had at any show I can remember
have over the last 10 years.
in recent history. I was really, real-
There is less framing in the middle market today than years ago, so you have people looking for economical
CONTENTS AD INDEX 28 PFM July 2019
ly surprised how many people were
new and truly interested and not afraid to sell high-end products. You have to find your place in today’s market to succeed. It doesn’t make sense for an independent framer to try and compete with big box stores or online discount framing; they don’t have the buying power to do it. If fewer customers are coming through the door, you still have to make your overhead. The only way you’re going to do that is by selling a more expensive product, or giving your customer a higher-quality product.That’s where I see the biggest change in the industry. You have to offer your customer a better product. PFM
The business manufactures frames of all sizes, like this 9'' wide walnut frame with a gilded lip for a 105'' x 120'' painting. PFM July 2019 29
Solar Eclipse Design Shines in Competition By Kimberly Biesiada
he first-place winner of the 2019 PPFA Interna-
Madison after U Frame It that expanded to Milwaukee.
tional Framing Competition, OPEN Category, was
When my business partner and I parted ways, I started SB
Sarah Beckett, MCPF, of SB Framing Gallery in
Framing Gallery in the city’s historic Third Ward.
Milwaukee, WI. Her winning piece was designed around
hand-sewn embellishments. Final rounds of judging and
Was this your first entry in the PPFA International Framing Competition? Have you entered other framing competitions in the past?
awards were presented at the 2019 West Coast Art and
My first entry was at the Anaheim show for the PRINT
Frame Expo in Las Vegas.
Competition. I won third place, which was a great sur-
a series of stunning photographs of a recent solar eclipse and made use of fabric-wrapped, embossed matting and
In an interview with PFM, Beckett offers an insight
prise and encouraged me to continue entering. This was
into her background in the framing industry as well as her
my first time entering the OPEN Competition. I have also
step-by-step framing process for this piece.
entered Nelson’s Moulding framing competitions and Tru Vue framing competitions in past years.
How did you get your start in the framing industry?
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I graduated from Carroll College in 1995 with a degree in
What inspired your design?
fine art with a gallery emphasis and history. I tried grad-
My life partner, Eric Hutchinson, and I went to White
uate school, but it wasn’t for me. Back home in Madison,
House, TN, to see a solar eclipse in August 2017. He is an
WI, I was trawling the newspaper job ads and U Frame
amateur photographer, and we have friends that live near-
It on University Avenue was hiring full-time. Denise
by where we viewed the eclipse, so it was an amazing op-
Masters was very kind to take me on and show me the
portunity and a small vacation in one. The photos used in
ropes. I found I enjoyed working with both sides of my
my entry are photos he took that day. We wanted to frame
brain. Some days needed to be bookkeeping and paper-
them for our home and show off his talent.
work-oriented, and other days I needed to design and get messy.
Take me through the steps of the project, from start to finish.
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The photographs were trimmed to fit seven hole openings
What is your current position?
in the mat. The openings followed the horizon line of the
I own SB Framing Gallery in Milwaukee, WI, which I start-
eclipse and were placed in chronological order, accentuat-
ed in the fall of 2007. I was co-owner of a frame shop in
ing the different phases of the phenomenon. Seven holes
30 PFM July 2019
were cut into 8-ply Crescent black rag board—all the same
How did it feel to win?
size with exaggerated bottom weight.
It feels rewarding! I hadn’t entered a competition in a cou-
The matboard was fabric-wrapped using Frank’s
ple of years, and hearing compliments and thoughts from
Fabrics glue and fabric 2344; I chose the fabric because it
my peers has been wonderful. It also is rewarding to frame
mimicked the color of the sky in the photographs. I found
something with no price restraints other than my own as
online a diagram of the star map and planetary positions
well as stretching my creativity. I am also thrilled to have
at the time of the eclipse, enlarged it, and printed it to size
had a collaboration on a project with Eric.
of the mat. Using a hand embosser, the star constellations were embossed into the mat for added embellishment.
Where is the winning piece hanging now?
Crystal-colored seed beads were sewn into the star spots,
The piece now hangs in our home above the 70” television.
and graphite round beads were sewn where the planets were positioned. The mat was then lined on the back with 2-ply rag to
What advice would you give a framer who is considering entering this competition for the first time?
protect the photographs. The photographs were T-hinged
Go for it! The judging offers constructive criticism for you
with Abaca tape to a 4-ply Crescent black rag mat backing.
as a designer and framer, which helps you grow in your
2mm Coroplast was placed behind for support and back-
career. Sometimes we need to get outside evaluations of
ing and to make sure the back did not protrude from the
our skill to get better. It also does help with social media
frame. Optium Museum Acrylic was used as the glazing,
and marketing. PFM
with 1/8” Arlo black spacers to clear the bead’s height. The moulding used for this piece was Bella Moulding
The 2020 PPFA International Framing Competition is now ac-
520376 Pacific Blue Scoop. This frame was chosen for its
cepting entries online. The top 50 pieces from the digital round
color, which mimicked the eclipse light coming through
will advance to the 2020 WCAF Expo in Las Vegas, Jan. 26-29,
the moon and the Earth’s shadow, as well as the scoop
2020. Winners will be announced at a competition reception,
shape that mimicked the shape of the eclipse. Barrier tape
and the first-place OPEN winner will be featured in a future
did not need to be used on the frame, as the photographs
issue of PFM.
were farther than 1
½'' from the wood. Finally, the piece
Entrants have until midnight on July 31 to submit their
was cleaned and fit. I used Tyvek frame backing paper for
pieces for the digital round. For more information and to pur-
this framing package.
chase the print, visit www.ppfa.com. Questions can be submitted directly via email to competition@ppfa.com.
PFM July 2019 31
By Charles Douglas
old leaf gilding has worked its way through the ages as a form of decorative embellishment and spiritual symbolism, from its earliest sacred expression in worship of the sun god Ra to the adornment of palaces and temples; from Byzantine icons and thirteenth-century Italian gilded tempera paintings to the works of Austrian Symbolist Gustav Klimt and the contemporary painted works of a growing number of fine artists. Gilding is most commonly thought of as using genuine gold leaf involving various karats of both gold and white gold. However, gilding also includes the use of genuine silver, platinum, palladium, brass, aluminum, copper, and a variety of metal combinations to form specialty leafs such as Moon Gold, Red Gold, Caplain, and others. Gilding has been the predominant form of adornment of frames, from the earliest tabernacles to today’s extensive offerings. But there is also another element that is selectively used in the presentation of works of art: the gilded bevel. Created by forming a 45-degree beveled cut along the sight edge of various ply matboards, the beveled area may be gilded, providing an additional segue between frame and art while enhancing the beauty in the presentation of
CONTENTS
the artwork. There are several different approaches to gilding that use an array of glues or adhesives, including rabbit skin glue, oil size, acrylic emulsion, gum ammoni-
AD INDEX
ac, gum arabic, egg white, garlic, among others. The
Gilded bevels are a great addition to many types of frame designs. Photos by Doug Manelski. Bevels, frame, and artwork courtesy of Artech Fine Art Framing, Seattle, WA.
two methods that are appropriate for gilding bevels are water gilding and mordant (oil) gilding. As a gilder for the past 35 years, I have had the opportunity to explore and provide a variety of approaches to gilding bevels, the most exquisite of 32 PFM July 2019
which is water gilding. Gilders may burnish the leaf on a bevel to a high luster for a bold statement or lightly rub the leaf to delicately reveal the underlying clay bole.
22 KT burnished water-gilded bevel with red bole and medium rub
Water gilding can technically be done on Masonite, although its use is contingent on archival requirements and availability of Ph-neutral board. The gilding, however, responds very well to the hard surface. Another option is 8-ply matboard, which can allow framers to offer their customers an upgrade to their overall framing packages. To offer customers water-gilded bevels, a framing retailer will either need the in-house capability to create them or have access to a frame manufacturer or custom gilder who can. Water gilding matboard uses the same process as gilding moulding, although extra steps are needed to physically stabilize the board due to its fragile nature—especially if the matboard is large. Water gilding steps include: 1. Sizing the gilded area with a 10 percent rabbit skin glue solution;
CONTENTS
2. Applying gilder’s gesso to the surface area to be gilded, extending
approximately
1
Âź''
from the inner edge of the bevel; 3. Sanding the gesso with 320-
AD INDEX
grit sandpaper and a final 600grit light gesso polish, which helps remove the previous sand marks; 4. Applying five thin layers of clay bole for an opaque covering 34 PFM July 2019
color of the bole and gentle over-
THE NEXT FRAMING CHALLENGE
laps of the leaf (toning may also be applied over the leaf, often involving a light coat of raw umber casein to “antique” either gold or white gold, or perhaps a black casein wash over palladium). The alternative to water gilding is mordant, or oil, gilding. This meth-
COMPETE AGAINST TOP
od can involve a wide variety of sizes
FRAMERS FROM AROUND THE
(adhesives). For bevels, the two main
WORLD IN THE NEW PPFA
options are oil size and acrylic emul-
INTERNATIONAL
sion, which is available from various
FRAMING COMPETITION
brands. Incorporating a mordant-gilded Oil-gilded aluminum leaf, toned with airbrushed raw umber tinted shellac
with a color choice that will best complement the artwork; 5. Gilding with a leaf suitable for the art (for example, gold is considered neutral—which is one of the reasons it has worked well in framing for so many years— while white gold, palladium,
“MAKING ART IS MY GUILTY PLEASURE” Created with a computer by Richard Cryer. 5”x7” on 8.5” x 11” paper. Sponsored by The Great Frame Up/ Franchise Concepts, Inc.
CONTENTS
PRINTS AVAILABLE AT THE PPFA BOOKSTORE
WWW.PPFA.COM
AD INDEX
Winner to be featured on the cover of Picture Framing Magazine
Professional Picture Framers Association
36 PFM July 2019
and even platinum are often good
choices
for
black-and-
white photos); 6. Rubbing through the leaf in varying degrees to reveal the
bevel offers added elegance to certain framed artworks and is more cost-effective for your customer than a water-gilded bevel. It still performs the same function as its water-gilded counterpart—gently taking the viewer’s eye into the world of the art. I have found that brass and aluminum leafs work best when mordant gilding a bevel. For those who would like to explore adding this capability to their frame shop, the easiest method would be to use acrylic emulsion size. When applied, it dries to a tack, like oil size: but unlike oil
size, it remains in a tacky (or “open”) state much longer, allowing for a more relaxed gilding process for those with minimal experience. There are unique steps involved with mordant-gilding a bevel. 1. Seal the gilded surface area so the acrylic emulsion lies on top. There are different ways of sealing and providing an underlayer before mordant gilding. One way is to seal off the gilded area from the rest of the matboard so only 1
¼'' around the beveled
A piece of 23 KT Double Manetti gold leaf with some tools of the trade, including a gilders knife and burnisher.
area shows, and then applying
little ‘tooth’ to the surface; then
a squeak, the leaf can now be
a spray enamel primer followed
apply a thin layer of acryl¬ic
laid. When using booklets of leaf
by an enamel paint—whether
emulsion over the painted area
such as composition gold (brass
red or black. Another way is to
and let dry to a tack. Gilding will
leaf) or aluminum, simply open
apply via brush a painted under-
be ready in about 30 minutes, al-
the booklet, expose the leaf, and
coat such as Sepp Leaf’s Gilding
though I have found that I can
lay down sections of the leaf
Workshop Primer in either gray,
come back the next day and still
while rubbing the backing paper
yellow, or red. Although gesso
gild this emulsion quite well. In
as if using transfer paper.
can be used for a smoother un-
all mordant gilding, the longer
4. Allow to dry overnight and shel-
dercoat, it’s possible to mordant
the size dries, the brighter the
lac the leaf. Although I prepare
gild without it, especially if the
gild—so long as the size is still
my own shellac with blond de-
gilding is to be toned.
open to receive the leaf (oil size
waxed flakes and ethyl alcohol,
has a much more definitive time
the Zinsser Spray version is suit-
period to watch for).
able to help guard against oxidi-
2. Once the paint has thoroughly dried, gently buff the painted undercoat with 3M Scotch-Brite
3. When you can drag your knuck-
or ‘0000’ steel wool to apply a
le across the sized area and hear
zation and warming the leaf. 5. Buff the surface with rotten-
PFM July 2019 37
over the gilded mat, revealing only the gilded bevel. Gilded bevels are an excellent way to add value to your frame and mat design presentation while truly setting off the artwork in a special way. I find that they work best with photography and works of art on paper such as botanicals, pastels, and watercolors. PFM 9 KT white gold leaf, water-gilded over red bole with a light rub
stone and cheesecloth to cut the gloss of the shellac and to help create a finished appearance. A raw umber casein wash may now be applied, followed by an additional shellac coat and rottenstone buff. You may also leave it as-is for a simple, modern gilded appearance. 6. Set a fabric-covered top mat
CONTENTS AD INDEX 38 PFM July 2019
Charles Douglas Charles is a gilder in private practice in Seattle, WA, specializing in traditional water gilding, oil gilding, glass gilding, and restoration. His focus is primarily now in the teaching of the gilding arts and holds gilding workshops in his Seattle studio, Sepp Leaf Products in New York, and other locations throughout the US and Canada. He also publishes the quarterly Gilding Arts Newsletter and is an instructor at The National Conference in Las Vegas.
Product Showcase
888 Manufacturing
Decor Moulding
888 Manufacturing Corp. now stocks flat-back, black masking tape with a smooth surface that allows for more adhesive contact for a superior bond. Acid free. Used for sealing frame backs, lining shadowboxes, etc. Quality tape. Available in 1'' and 2'' x 60 yard rolls. Made in the USA.
Pleased to announce the introduction of Alpine, a new line of seven attractive styles in finishes of honey pecan, dark walnut, mahogany, white wash, natural, matte black, and matte white. The eye-catching feature of these styles are their unique thinness. Standing tall and beautiful, and only 5/8'' wide with a rabbet depth of 1 1/4'', this line will complement so many types of art in today’s homes. Their narrow width does not detract from the art’s beauty, and keeps the overall outside frame dimensions to a minimum, allowing for groupings on tight walls. Order corner kit #CS-SK to get these styles today.
Call: 888-338-3318 www.888mfgcorp.com
Call: 800-937-1055 www.decormoulding.com
Delta Picture Frame Co. This is a new shadowbox moulding from Delta. Featuring a beautiful gloss finish and available in black or white. This moulding is 1'' wide and 2'' tall. For samples and pricing, please call the office. Delta has added many new items to its product line; view them all by visiting their website. Call: 800-327-5482 www.DeltaPictureFrame.com
Framerica Framerica’s Chalked Collection, a “cerused” line of woods, now includes Salvaged Natural. The company notes that Salvaged Natural is true to its name, featuring a mid-range white oak with back-lit chalked graining. The Chalked Collection is available in profiles ranging to 3''. For more information, visit the all-new Framerica.com. Call: 800-372-6422 www.framerica.com
Global Art, Inc.
Larson-Juhl
Global Art, Inc. is proud to showcase its quality metal frames for signage and display. Easy to load and swap out content, these frames are great for businesses, restaurants, or anywhere else there’s a need for updateable professional displays! Front-loading frame options are also available. Visit Global Art’s website for the full selection.
Inspired by the landmark bridges of Madison County, the Madison collection reflects the finishing of rustic wood to tie together any natural space in the home. Call: 770-279-5222 www.larsonjuhl.com
Call: 866-310-4278 www.globalartphotoframes.com
CONTENTS AD INDEX
Michelangelo Moulding
Omega Moulding
Michelangelo is pleased to introduce four new special styles: three are silver leaf, and the fourth a light speckled silver. The size range is 2 ¾'' to 4'' and the styling of each is classic, elegant, and transitional. Stock is available in all styles for sampling or ordering.
The Bijoux Collection is ideal for small works, pieces with delicate details, and decorative works of art. Handmade in Italy, these items display the fine details of artisan finishing showcasing a subtle hammered silver leaf surface with soft brush lines and highlighted on its outside edge in six colors. Bijoux is an attractive framing solution that enhances elements of color within the art as well as illuminating and uplifting an overall design. See the entire collection online today.
Call: 877-422-8812 www.michelangelomoulding.com
Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com
40 PFM July 2019
Penny Lane Publishing
Sepp Leaf
Introducing pallet art from Hollihocks Art. Penny Lane’s wood products are printed on 1/4'' Baltic Birch Plywood, are made in the USA, and come ready to hang. Contact a sales representative by phone or by emailing info@pennylanepublishing.com for more information. Stock code: HH105PAL
Looking for a beautiful shellac or an ebonized finish? Turn to Liberon’s Black Polish. This is a pre-made black shellac. A generous 3-pound cut, it can be thinned with alcohol if needed. This would create an exceptional finish for wood frames. Traditionally applied with a pad. Imported by Sepp Leaf Products. Available through Talas.
Call: 800-273-5263 www.pennylanepublishing.com
Call: 212-219-0770 www.talasonline.com
Universal Arquati Universal Arquati is excited to present the new Charcoal collection. This collection consists of six profiles in a charcoal-gray painted finish. This contemporary yet warm offblack tone is the perfect alternative to matte black. Samples of this collection are available now! Please contact a local sales representative or UA by phone or fax (661-3626263), and view the entire collection at Universal’s website. Call: 800-668-3627 www.universalarquati.com
CROSSWORD CHALLENGE
ACROSS
DOWN
1 5 8 10 11 12 13 16 17 21 22 23 25 26 27 29 31 33
1 It’s used to protect a gilded finish from flaking or tarnishing 2 Non-disclosure agreement, for short 3 Naughty kid 4 Measure of hardness of sandpaper 5 Top for a pot 6 Framing brothers, being shut down by Michaels 7 Picture enclosure 9 Link 12 Points against 14 Auction offering 15 Rubbed off 16 Dirty or spotty after exposure to air 18 Agree with a gesture 19 Copper symbol 20 Cleaning cloth 23 Objet d’art 24 Descriptive word for a gilder’s mop 25 Tree with pink flowers 26 They are worn to prevent fingerprints while gilding 28 Come off, as a gilded finish when not protected 30 Colored 32 Drinks that can be hot or cold
Vital prep work for gilding Ultrathin sheet Gilding is an ___ Put on a second coat Bollywood superstar, Ashwarya Arrive Type of gold Applied pigment so as to replicate age Ancient civilization famous for its gold Gold purity measures, abbr. . Causes to flow from a container Sound system, abbr. Color in some gold such as Rosenoble Project or job Raised Name for a work of art Fall month, abbr. Tool for applying adhesive when gilding, 2 words 34 First letter in value 35 Produced 36 Brushes away excess leaf
SEE PAGE 45 FOR THE SOLUTION
PFM July 2019 41
Distributor Spotlight
CONTENTS AD INDEX 42 PFM July 2019
Have a question or comment? Tell PFM what you think. Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com
PFM July 2019 43
Index Advertiser
Page
Advertiser
Page
888 Manufacturing Corporation ..............................................................14
Jack Richeson & Co. ................................................................................42
888-338-3318
800-233-2404
www.888mfgcorp.com
www.richesonart.com
Active Sales ............................................................................................42
Michelangelo Moulding ...........................................................................15
800-937-2255
877-422-8812
www.activesalesco.com
www.michelangelomoulding.com
Alpina Manufacturing, LLC ......................................................................42
Miter Master ...........................................................................................42
800-915-2828
800-446-6622
www.fastchangeframes.com /www.bannergrip.com
www.qualitysaw.com
Arlo Spacemaker Products, LLC................................................................29
Omega Moulding Company ...............................................5, 16, 22, 43, 45
800-332-2756
800-289-6634
www.reevesextruded.com
www.omegamoulding.com
Atlas Saw & Tool .....................................................................................21
Picture Framing Magazine.......................................................................17
800-843-3826
800-969-7176
www.atlassaw-tool.com
www.pictureframingmagazine.com
Capax-Frame It ......................................................................................14
Picture Woods Ltd. ..................................................................................29
800-942-2729
800-321-6522
www.capax.com
www.picturewoods.com
CMI Moulding .........................................................................................42
Pro Tapes & Specialties............................................................................23
301-476-7440
800-345-0234
www.cmimoulding.com
www.protapes.com
Craft Inc. ................................................................................................36
Professional Picture Framers Association ..................................................36
800-827-2388
732-536-5160
www.craft-inc.com
www.ppfa.com
Decor Moulding & Supply ..................................... 22, 33, 34, 41, 43, Insert
Quality Saw ............................................................................................26
800-937-1055
800-446-6622
www.decormoulding.com
www.qualitysaw.com
Designer Moulding..................................................................................38
Rhonda Feinman Custom Frames ...............................................................6
800-634-0032
800-297-1566
www.designermoulding.com
www.rhondafeinman.com
Engelsen Frame & Moulding ....................................................................42
Sepp Leaf Products .................................................................................34
800-422-6731
800-971-7377
www.engelsenframe.com
www.seppleaf.com
Fixons ....................................................................................................42
Superior Moulding Corp. .........................................................................43
714-526-3455
800-922-7914
www.fixons.com
www.supermoulding.com/www.zelanto.com
Foster Planing Mill ............................................................................18, 42
Tru Vue ....................................................................................................9
323-759-9156
800-621-8339
www.fosterplaningmill.com
www.tru-vue.com
Frame Specialties ....................................................................................28
Universal Arquati ................................................................................7, 35
800-777-3165
800-668-3627
www.kooltack.com
www.universalarquati.com
FrameReady ...........................................................................................42
Wall Moulding ........................................................................................47
888-281-3303
800-880-8315
www.frameready.com
www.wallmoulding.com
Framerica.................................................................2, 3, 4, 16, 43, 45, 48
West Coast Art & Frame Expo ............................................................11, 13
800-372-6422
800-969-7176
www.framerica.com
www.wcafshow.com
CONTENTS
FrameTek ...............................................................................................38
Wire & Cable Specialties ..........................................................................37
800-227-9934
800-824-9473
www.frametek.com
www.wire-cablespecialties.com
Frank’s Fabrics for Framers .....................................................................42
Wizard International ...............................................................................19
888-332-2749
888-855-3335
www.franksfabrics.com
www.wizardint.com
AD INDEX
Gluefast Company ..................................................................................42
Yiwu Zhongshang Exhibition Co. Ltd. .......................................................39
800-242-7318
+86 579-8551-6697
www.gluefast.com
www.cafexpo.net
Hoffmann Machine Company ..................................................................42
Z Hardware ............................................................................................43
866-248-0100
800-880-9315
www.hoffmann-usa.com
www.zhardware.com
House of Troy .........................................................................................27
Ziabicki Import Co. .................................................................................27
800-428-5367
262-633-7918
44 PFM July 2019
www.houseoftroy.com
www.ziabicki.com
(Continued from page 46)
easel-back attached.
The frame and backing selected for the shadowbox
Tom and Linda preferred to keep the painting in orig-
complemented the painting and original frame without
inal condition, if possible. We decided to fit the original
taking anything away from its character, properly preserv-
frame with premium glass over the portrait and fabric lin-
ing and protecting it. Tom and Linda were delighted with
er, holding it in place from the front, and conservation rag
the result, and so were we. PFM
board from the back.
Crossword Challenge Puzzle Solution
We encased the entire framed portrait in a shadowbox frame. The frame selected was Larson-Juhl’s Allegra #319712. For the backing and spacers, we used a fabric mat that almost exactly matched the color of the original liner. The original framed painting was elevated with cushioned bumpers to provide pressure against the rag board backing and to give enough floated space to prevent excessive pressure against the wire easel-back. This was secured with small screws through the backing and into the back of the original frame.
CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (WEST ISLIP, NY) offers a hands-on, 4-day course. One-on-one and advanced classes offered. Visit www.abcschoolofpictureframing.com or call 800-810-8849. AMERICAN PICTURE FRAMING ACADEMY 2- and 4-day Basic and Advanced classes feature technical, business and design training. Call 888-840-9605 or visit www.pictureframingschool.com. ART TO BE FRAMED (MT. SHASTA, CA) is an instructional and educational custom picture framing retreat. One-on-one instruction, beginners through advanced. Visit www.artrobeframed.com or call 530-926-3609. ARTISTIC EDGE GALLERY & FRAMING offers a four-day, hands on, one-on-one class that is tailored to attendees’ individual needs. The class tackles both the artistic skill and business sides of running a gallery or custom frame shop. Call 916-482-2787 or email kathy@artisticedgeframing.com for more information. B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, 2-day Oil Painting Restoration Workshops with an experienced conservator. E-mail: blhaymondsupply@pacific.net or visit www.blhaymondsupply.com or call 707-462-4221. CHARLES DOUGLAS GILDING STUDIO (Seattle, WA) offers a 3-day intensive in
traditional water gilding with an experienced professional. Call: 206-795-8376 or visit www.gildingstudio.com. COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL). Call 800-3303263 or 954-581-2444 to register and for class schedule or visit www.completeframers.com.frame tutor school (Alberta, Canada) offers a 3-week course (90 hours) hands-on professional training. Weeks 1 & 2 Basic; Week 3: Advanced (Design & Specialties) Call 800-268-0897, e-mail: penny@frametutorschool.com or visit www.frametutorschool.com. SEPP LEAF (New York, NY) offers 1-week traditional water gilding, glass gilding, and Kolner Gilding Method classes. Special water gilding class on gilded bevels Sept. 17-19, 2019. Visit www.seppleaf.com or call 212-683-2840. Gilding Classes offered by gilder Charles Douglas at Sepp Leaf Products in New York and other select cities throughout the US. Special water gilding class on gilded bevels at Sepp Leaf Products Sept. 17-19, 2019. Visit www.gildingstudio.com to sign up. VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day Basic classes and 1-day advanced class. Visit www.valleymoulding.com or call 818-7695656. PFM July 2019 45
DESIGN OF THE MONTH By Norman Ringdahl, CPF
Reframing a Louis XVI Portrait
O
ne of the things I enjoy most about working in the framing industry is the vast diversity of artwork that
comes into my business, The Prints and the Potter Gallery in Worcester, MA, for framing and preservation work. Such is the case for two of our most avid collectors, Tom and Linda, whose collection ranges from historical pieces, watercolors, and drawings to more modern pieces like a Cubist lithograph by Picasso. The couple recently brought three pieces to us for framing: a tiny watercolor street scene, a graphite drawing landscape, and an eighteenth-century portrait of King Louis XVI.
mounted the portrait was. The portrait brought in by my clients was likely given to a friend of the court. The portrait was originally mounted under glass and surrounded by a narrow gold frame. The portrait and gold frame were then mounted to a fabric backing, which was finally fit into
The miniature portrait of Louis XVI ap-
a fancy period-carved wood outer frame. The
peared to be a watercolor on ivory or porcelain
artwork was in excellent condition when my
and was painted in the eighteenth century. The
clients brought it in.
portrait depicts the king in a red coat display-
The frame came to us in fairly good con-
CONTENTS
ing the Star of the Order of Saint Esprit. The
dition—especially
the
delicately
detailed
choice of clothing, as well as the commonly
crown carving at the top. There was a section
painted pose of the subject, suggests this piece
of missing beading that needed to be replaced
was based off a master image—or that the king
and toned to match the original. The corner
had several painters working at the same time.
miters needed some touching up as well. The
These miniature portraits were given as gifts
bigger problem was that the original fabric lin-
to friends, courtiers, and diplomats who were
er, which was in fair condition given its age,
friendly to the court, among others. An idea
had fallen out of the frame with no apparent
of the level of esteem in which the recipient
method of attachment. A further complication
was held can be gleaned by how elaborately
came from the frame having an original wire
AD INDEX
Norman Ringdahl, owner of The Prints and the Potter Gallery (Worcester, MA), has been designing custom framing and showcasing fine art and unique American crafts to his customers since 1974. In addition to his accreditation as a Certified Picture Framer from the PPFA, Norman received his BFA in painting from Rochester Institute of Technology. When he can find time outside the gallery, he continues to pursue his love of painting, in particular the ever-changing New England landscape. 46 PFM July 2019
(Continued on page 45)
Ringdahl reframed his client’s miniature portrait of King Louis XVI in a shadowbox with a fabric mat that closely matched the original liner.
