Picture Framing Magazine - November 2020

FRAMING PUZZLES: THE LATEST TREND

Creative CMC Designs Picture Lights: Everything You Need to Know

Contents

PFM is a member of:

Volume 31, Number 11

PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders

On the Cover

With people spending more time at home this year than in years prior, puzzles have seen a resurgence in popularity. Puzzles, which can take hours or even days to assemble and carry emotional value, are the perfect candidates for custom framing. For the full story, see page 18.

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 © 2020 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

Photo courtesy of Mark Klostermeyer, MCPF

Features 18 Puzzles: Your Frame Shop's Missing Piece 24 Picture Lights: A Bright Idea for Boosted Holiday Sales

Columns 12 Mat Doctors 28 Successful Retailing Panel 38 Style Snapshot

24

Departments 8 10 32 34 35 36 37

Editor’s Note Industry News Product Showcase Distributor Spotlight Crossword Puzzle Index of Advertisers Crossword Solution

12

18

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.

PFM Publishing

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PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com Bruce Gherman • bgherman@pfm-group.com • 848-444-5202 Kimberly Biesiada • kbiesiada@pfm-group.com • 848-231-3510 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com • 848-231-4082

E X E C U TI V E PU BLI S HE R E D I TO R

CONTRIBUTORS

Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF

B USI N E S S E D I TO R

ADVERTISING SALES

sales@pfm-group.com • 848-444-3058 Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.com CIRCULATION D I RE C TO R O F A U D I E N C E D E V E LO PM E N T

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

A D V E RTI S I N G C O O RD I N ATO R

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WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE A division of Hobby Pubco • www.wcafshow.com

Deborah Salmon • dsalmon@wcafexpo.com Maureen Robertson • maureen@wcafexpo.com TRA D E S HO W C O O RD I N ATO R Gary Coughlin • gary@wcafexpo.com C O N F E RE N C E C O O RD I N ATO R Alan Pegler • alan@wcafexpo.com

TRA D E S HO W D I RE C TO R E X HI BI TO R S E RV I C E S

WCAF EXPO SALES

sales@wcafexpo.com

CONTENTS

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM November 2020

Bruce Gherman

FROM THE EDITOR’S DESK

A

Data shows that most consumers still plan to do their holiday shopping this year, and many want to shop small. Now is the time to gear up to meet the demand.

CONTENTS AD INDEX 8 PFM November 2020

re you and your business ready for the season? With the continued impact of Covid-19 on our everyday lives, small business owners worldwide are hoping the winter holiday months will bring a boost in sales.

Fortunately, it seems most people still intend to make their lists and check them twice; a recent study conducted by Visa* found that 88% of consumers plan to do their holiday shopping this year despite challenges created by the pandemic. Of those, nearly a quarter plan to shop mostly at locally-owned businesses, and more than a third plan to split their shopping equally between locally-owned business and larger retailers.

This is good news for small and micro businesses (SMBs,) the majority of whom (60%) say they are taking steps to prepare for this major sales opportunity. More than a quarter of SMBs expect to extend business hours to prepare for an influx of holiday season sales, followed by digitizing parts of the business operation and investing in physical infrastructure.

If you already have your holiday hours, in-store displays, and online presence ready to go, it might be worth looking at items you can add to your framing orders to further boost profits.

One accessory item worthy of consideration is the picture light. Available in a range of sizes, styles, and finishes, they can make any framing project look truly special, and suppliers say they are often an impulse buy.

See page 24 for the full story, including the experts’ advice on how to sell picture lights to your customers.

Have you been framing many puzzles lately? Data shows puzzles have enjoyed a boost in popularity in the year of social distancing. Mark Klostermeyer, MCPF, makes the case for why you should be offering to show off your customers’ jigsaw masterpieces with custom frame designs (p. 18).

Those stories and more await you in this issue, our second to last of the year. As you ride full steam ahead toward year’s end, I hope you enjoy a happy and healthy holiday season— including a healthy bottom line! * “Visa Back to Business Study Holiday Edition” usa.visa.com/ dam/VCOM/blogs/visa-back-tobusiness-study-holiday-sep20.pdf

Kimberly Biesiada Editor

INDUSTRY NEWS EnCore Acquired by 3A Composites USA 3A Composites USA acquired the Elmer’s and EnCore foamboard division from Newell Brands on Sep. 1, thereby broadening its product offering to the display, graphic arts, and framing markets.

With this expansion, 3A Composites endeavors to integrate the knowledge and expertise of both companies. The resulting combination positions 3A Composites as an industry-leading supplier with a wide range of foamboard products, world-class manufacturing capabilities, and unparalleled customer service. 3A Composites USA looks forward to providing customers the same great service and products during this transition.

For more information, visit 3acompositesusa.com and click on “News” under “About Us.”

bition, titled “Studio Berlin,” was organized by art collectors Christian and Karen Boros along with art curator Juliet Kothe.

Featured artists include established figures such as Olafur Eliasson, Tacita Dean, and Wolf-

Berghain - “Tomorrow is the question”

gang Tillmans and younger names like Shirin Sabahi, Christine Sun Kim, and Sandra Mujinga.

The collaboration between the club and the art world is one of many attempts to preserve Berlin’s nightlife during its forced hiatus.

Berghain closed to the public on March 11, shortly before German authorities mandated the closure of all such businesses.

Framerica Welcomes Kyle Clancy

Famed Berlin Nightclub Reopens as Art Gallery

Kyle Clancy has joined Framerica’s customer ser-

After shuttering for several months due to the coronavirus pan-

vice team, bringing a wealth of knowledge and

demic, Berlin’s storied Berghain nightclub reopened its doors as a temporary art gallery on Sep. 9.

The 3,500-square-meter venue, which includes a dance floor and the Panorama bar, is set to house works from 117 Berlin-based artists through December, according to the company. The exhi-

CONTENTS AD INDEX 10 PFM November 2020

experience to the position. “Kyle has been an outstanding addition,” notes Lisa Olsen, Framerica’s head of customer service. “He made an instant positive impact for our team and our customers.”

PFM

Kyle Clancy

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Overlapping Openings A technically easy and visually effective device that adds to a design.

A

recurring question in the world of custom framing is, what are other ways framers can add decorative

elements to matting without settling for the typical cutout in the top mat? My answer is simple: overlap the items.

One philosophy of composition holds that an arrangement should appear to be one whole, not scattered pieces. The tactics to accomplish this in a mat design might be for all the items to be in closely spaced orderly rows, or their collective outside borders might form a tidy rectangle—or the items could overlap.

Simply overlapping on the design screen is not enough. Overlapping becomes a viable design device because CMC software can also merge the overlapping items into a single new shape. Every CMC program will have a different term for this merging, and it will function in different ways. In the Wizard software, there is a button to click called Group Selection.

Openings Overlapping a Letter

CONTENTS

Monograms are common in all the decorative

ter be larger. Pieces of it will be missing where

arts. Letters can be such pretty shapes, and too

the openings overlap, and the letter still needs

often in mat design, letters have been relegat-

to be identifiable and attractive.

ed to diminutive afterthoughts at the side of an opening. When openings overlap letters,

Technical Considerations

though, it is almost a requirement that the let-

When items overlap, cutting problems may

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Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines.

He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.

12 PFM November 2020

Think of these constructed ornaments as vehicles for adding color accents.

The trapezoids create angled wide spots at the sides of the reveal that are 0.13'' wide and 2.75'' high.

The bottom layer of the triangles open 0.35'' wide spots in the bottom layer for the blue accents.

Every template library has a dozen straight and curved shapes that can be added as accents like these. This art deco illustration is ripe for this kind of ornament, but it is surprising how universal geometric accents are if the colors and sizes are right.

ware merges the overlapping shapes. This possible overlapping is normally checked by the desire for the letter to remain readily identifiable. Still, be watchful.

The large circle at the left shows a spot that is unrelated to overlapping, but it is a persistent concern as openings and decorative items are arranged. There is a small separation between the tail of the letter and the opening.

These small separations need to be at least 0.2 inch. The overcuts on the back of the mat will continue past the bevel. If another opening is too close, these overcuts might be visible as nicks in the adjacent bevel. Or the overcuts might slice up the narrow strip of matboard between the items, making handling the mat during assembly risky.

Diamonds Linking Openings A row of openings is a daily project. Variations are always welcome. Here are two suggestions: Fanning is a tool that lines up the openings and rotates each item differently to distribute the items along an arc. If there is not a fanning utility in every CMC’s software, there is certainly a rotation tool. The second variation is the overlapping diamonds between the openings. Many different shapes could be used between the openings for various decorative effects.

Top: When openings overlap letters, the letter can be larger. Parts of it will be hidden under openings, and it needs to be identifiable.

This S is 3.75” high—significantly larger than its minimum recommended height of 1.5”. Think of what might be included in the blank areas: more openings, keepsake paper items, handwritten inscriptions.

Bottom: As the items are moved to visualize different arrangements, watch the circled areas. The small circles show spots where angles may become too sharp, the middle size circles show spots where the openings should not overlap the curves of the letter, and the large circle shows a spot where the separation cannot be smaller than 0.2” without causing structural problems.

More Technical Considerations Much like the previous project, there are points to watch as these diamonds overlap (p. 16). The small circles across the top show reminders that overlapped intersections should not generate sharp angles. They also illustrate the reverse of the final point in the previous example; just as the strip of matboard between items needs to be at least 0.2'', the gap in a cut formed by overlapping items—these dia-

arise. In the S project, as with most overlapping projects

monds, for instance—also needs to be at least 0.2''. Once

involving curved elements, there are three things to watch;

again, the overcuts on the back of the mat continue past

the illustration above has circles that point these out.

the bevel. If the gap is too narrow, these overcuts may nick

The three small circles show intersections where an-

the bevel on the other side of the gap.

CONTENTS AD INDEX

gles might be formed that are too sharp to cut nicely. This

The large circles at the bottom show yet another situ-

particular arrangement shows angles that will cut fine,

ation where items need to be far enough apart that struc-

but imagine the letter and the openings moved farther

ture of the finished mat is not impaired. Visually, the bot-

apart. As the openings intersect different points on the

tom corners in a fanned arrangement look best if there is

curves, the angle of the intersection becomes more and

more than the required 0.2'' separation on the top layer.

more pointed. The bevel would become delicate, and it will

In this example, the separation is 0.375'' on the top layer.

self-destruct as it is being cut.

The two mid-sized circles show spots where the sides

Building an Ornament

of the openings should not touch—and certainly not over-

Even with all the letters and silhouette cutouts in the CMC

lap—the curves of the letter. If they do, unsightly flat spots

programs’ libraries, the perfect addition for a particular

would be joined into the curves of the letter as the soft14 PFM November 2020

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Decorative elements can be assembled from tiny opening shapes.

The trapezoids are 2.75” high and 1” wide. The triangles have two layers with a 0.11” reveal. They are 0.35” high and wide. Once all the parts are in place, merge them into one shape.

zoid and a triangle. The trapezoid is a single layer so that it adds a wider vertical area to the sides of the inner reveal.

The triangle is a two-layer opening so that there is a cutout in the bottom layer for an accent color.

Customers would find more things that need framing Top: The three openings and the four diamonds are lined up and fanned in the software. The items are spaced close enough that the diamonds overlap and connect the adjacent openings. For reference, the outer diamonds are rotated 12°, the small openings 9°, and the inner diamonds 5°; gentle fanning to keep the presentation elegant.

Bottom: The center opening is 4'' x 6''; the outer openings are 2.5'' x 4''. The diamonds are 1.25'' x 0.8'' high. The small circles show spots where angles should not become too sharp. The overlapping diamonds must also create a gap of at least 0.2'' in the sides of the openings to avoid cutting problems. These fanned arrangements look better if they are separated even farther; here they are 0.375'' apart.

picture is often elusive. But surprising things can be built using the most basic resources. Think of these ornaments less as artistic expositions and more as vehicles to add and expand spots of color. The programs’ template libraries have geometric shapes galore that can be easily manipulated into the necessary size, shape, and position. Overlapping and merging are then the keys to integrating these shapes into the opening.

The ornaments seen in the design on page 12 were constructed using two different template shapes; a trape-

CONTENTS AD INDEX 16 PFM November 2020

if they knew how eye-catching and unique presentations could be. Overlapping is a technically easy and visually effective device that can change the attitude and add color— particularly with multiple-opening projects, when framers are almost always called upon to be the artist. PFM

PUZZLES:

YOUR FRAME SHOP’S MISSING PIECE

This puzzle, featuring a cover image from The New Yorker, was brought in by a couple who worked on it during the extra time spent at home this year. They initially thought of buying a simple black frame for it, but were thrilled to see what a custom design could do.

By Mark Klostermeyer, MCPF

way to reach those millennials who need a push toward

O

custom framing, and it can also serve as an introduction to

is not uncommon for Americans to turn to puzzles during

miring his work.” When you consider the investment your

times of uncertainty, and this year has proven to be no ex-

client has in the piece, both monetarily and in assembly

nce considered the domain of children and se-

the full spectrum of services you offer. In that same Times

niors, puzzles have come roaring back during the

article, one individual mentioned he “likes the feeling he

pandemic as a fun activity for the whole family. It

gets after putting a puzzle together, stepping back, and ad-

ception. The New York Times wryly called puzzles “a tool to save humanity:” a stay-at-home stress-buster that’s familiar and comforting. One game maker has seen US puzzle sales soar 370% year over year with estimated 2020 sales of over $609 million and an annual growth rate of over 6.1%.

CONTENTS

And while jigsaw puzzles have been flying off the shelves almost as quickly as toilet paper, one of the largest groups of consumers are millennials, who are discovering puzzles’ effectiveness for unplugging and destressing away

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from social media or other digital entertainment.

So, what does all this puzzle talk have to do with custom framing? The answer is opportunity! If you have never framed a puzzle in your shop or you haven’t had any come through your door recently, then now is the time to promote this growing category. Puzzles might just be the 18 PFM November 2020

The puzzle was presented with a dark gray fabric mat and a limegreen frame to match the colorful piece without detracting from it.

A dark grey linen fabric from Frank’s Fabrics was used for the matting to offset the bright greens of the puzzle image and frame.

Mod Podge, which is applied like a paint and dries clear, was used to adhere, seal, and finish the puzzle.

time, you can understand why it’s an important object to

as long to assemble as a 500-piece puzzle. When a custom-

them. And if they think their piece looks great lying on a

er brings in a puzzle to be framed, be sure to ask how many

table, then they are going to love the way it looks hanging

pieces are in the project and compliment them on their

on their wall!

accomplishment!

All that time spent putting together a puzzle results

When my shop receives a call from a customer asking

in a beautiful image that has a more personal connec-

if we frame puzzles, the answer is “Of course.” The next

tion to your customer than a typical poster. Generally,

question is, “What is the next step?” We always recom-

your customer will have spent several hours, if not days,

mend the customer glue the pieces together at home, then

assembling their masterpiece; the number of pieces is an

bring it into the shop. This ensures the puzzle won’t break

indication of how much blood, sweat, and tears have been

apart during transit. The best way to stick your puzzle to-

sacrificed to the endeavor. As a rule of thumb, doubling the

gether is by using puzzle glue. Our favorite is the classic

number of pieces quadruples a puzzle’s difficulty—for ex-

Mod Podge, a polymer that contains polyvinyl acetate. Its

ample, a 1,000-piece puzzle will likely take you four times

main use is as a decoupage medium—an all-in-one glue, sealer, and finish. As a glue, you can use it to adhere items to porous surfaces like mat or fabric. As a sealer, it allows you to paint a protective layer over the project to seal the work. As a finish, it adds the final coating to the project.

Mod Podge is available at every major craft store in the US and worldwide. Since it’s like a paint, it is easy to apply. It brushes on white and creamy when wet, then dries clear.

CONTENTS

You should discourage a customer from using diluted Elmer’s glue as a substitute; they are not the same formula and can result in peeling and yellowing over time.

The puzzle shown here was brought in by a young

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couple who are avid readers. They enjoyed putting this puzzle together and wanted a memento of their time spent at home together this year. They described their taste as contemporary and said they wanted a fun look for the framing on this colorful puzzle, which they planned to Applying the Mod Podge to the surface of the puzzle before framing.

20 PFM November 2020

hang next to a set of bookshelves. When they first came

into the shop, they assumed a sim-

molding that perfectly matched the

ple, black frame would be the first

colors seen in the puzzle’s image.

choice since all their other artwork is framed in that way.

While the colors and design of frame mimicked the image, I rec-

Omega Molding recently came

ommended a mat as a visual buffer.

out with a collection called “Mil-

The customer did not want the size

brook” that was a perfect match for

of the piece to overwhelm this area

the image on my customers’ puzzle.

of the room. So, the solution was to

The 1'' square cap wood moldings,

top mount the puzzle on a spacer

which come in eight colorful, dis-

with a narrower 1 ½'' mat under-

tressed profiles, had a rabbet deep

neath. For the mat, we used a dark

enough to accommodate the puzzle.

gray linen from Frank’s Fabrics. We

We settled on a unique, lime-green

ended up dry mounting the fabric around the mounting board using Frank’s Fabric Adhesive. Fabric mats add a sophisticated richness with the linen bringing a sense of depth and subtle texture to the design.

We have found our customers prefer this look over a plain mat, and it allows us to differentiate our designs from those of other shops in the area. The final glazing choice

While there is nothing wrong with a simple black frame, we as custom framers can offer a more unique look by suggesting creative moulding choices like this one.

was Optium Museum Acrylic from Tru Vue. The customer liked its light weight and ability to help eliminate glare, provide clarity, and provide 99% UV protection.

The final framing design ended up being a fairly simple one; however, it provides the appropriate amount of visual support needed for the image. The frame is very colorful and fun, yet the puzzle stands out as the focus of the piece.

There are five points to remember when framing puzzles. First,

CONTENTS

create an example of a finished piece and have it hanging on your gallery wall. Not only will it be a reminder to customers of the service

AD INDEX

you offer, but it could also be a potential sale. Second, give the puzzle a unique look. Avoid inexpensive, While the look of the frame mimicked the image, the dark mat added a visual buffer. The customer did not want the size of the piece to overwhelm this area of the room, so we top-mounted the puzzle on a spacer with a narrower mat underneath.

22 PFM November 2020

black frames. Go with a look that really stands out! Third, try using a fabric mat with a spacer under the

The happy customers with their treasured puzzle, made spectacular by a custom framing design.

puzzle. It is an unexpected look that can really set the piece apart.

Fourth, use premium glazing.

Puzzles can run into the issue of “double glare”—light reflecting off both the surface of the image and the glazing, making the piece look cheap. Let the vivid colors of the image stand out and be protected with a UV barrier.

And fifth, pull out all the stops with your framing design. Just because a puzzle costs less than $50 does not mean it can’t look like a million bucks on the wall. Design confidence comes across to customers; if you can make a simple puzzle look great, just think what you can do with their artwork! PFM

Mark Klostermeyer Mark is the owner of Design Frames in Falls Church, VA. Mark and his staff offer award-winning frame designs, lacing of needlework, photo restoration, and antique preservation. Mark is also the president of the Professional Picture Framers Association and has previously served in different capacities within PPFA for several years. In 2014, he was honored for his work when he received the Paul Frederick Distinction for Leadership Award at the PPFA Convention in Las Vegas.

PFM November 2020 23

Courtesy of Situ Art Lighting

PICTURE LIGHTS:

A BRIGHT IDEA FOR BOOSTED HOLIDAY SALES

By Kimberly Biesiada

W

ith the winter holiday season fast approaching,

variety of sizes, styles, and finishes and add a “wow” factor

many custom framing retailers are busy order-

to all types of pieces, from traditional oil on canvas to mod-

ing stock, refreshing store displays, and market-

ern digital prints. This month, we spoke with some of the in-

ing the concept of framing as the perfect gift for friends and

dustry’s leading suppliers to learn more about what to look

family. One useful way to boost profits during this time is to

for when buying a picture light, which profiles are popular

promote accessory, or add-on, items to your customers.

in today’s market, and how framing retailers can entice their

Picture lights fit perfectly into this idea; designed to en-

customers to invest in lighting.

hance the presentation of framed artwork, they come in a

COMPARING PICTURE LIGHTS From size to bulb type to power source, picture lights can vary widely. The product that’s right for you will depend on your framing design, the type of art being framed, and your customer’s preferences.

It’s important to consider the kind of light a system is using. Historically, incandescent, halogen, and fluorescent bulbs were used in lighting systems. In today’s market, many systems instead use light emitted from an LED

CONTENTS

(light-emitting diode). LEDs are energy-efficient and do not emit ultraviolet rays that can fade or damage artwork; a big advantage over its predecessors. While early models earned a reputation for emitting cool, bluish light—less than ideal for illuminating something like a painting—LEDs have be-

AD INDEX

come more sophisticated and no longer present the same issues with color.

Today, LEDs offer myriad benefits when used in picture lights, said Jordan Minges, president of Situ Art Lighting in Picture lights are often purchased in a finish that matches the frame, blending into the presentation. Courtesy of House of Troy 24 PFM November 2020

Naples, FL. “LEDs allow us to do a few things. The first is artwork safety; we can do things that are UV- and infrared-safe.

compromise,”

thought when it comes to the visibili-

Minges said. “You can’t have wireless

“Everything

is

a

ty of the light fixture itself: those who

without recharging or changing the

want a light to blend into a frame, ef-

batteries. You can’t have a plug-in with-

fectively disappearing from view, and

out the outlet in the wall. It’s always

those who want a more noticeable light

about understanding your custom-

that becomes part of the framing.

er and what set of compromises they want to make.”

Picture lights come in a range of styles.

Courtesy of Concept Picture Lights

“Almost all our customers want something

discreet,”

Minges

said.

While sizing is not an exact sci-

“They want it to match the frame. That

ence, a good rule of thumb is to find a

being said, it gets down to style and de-

light that is roughly one-third to one-

sign [....] By going with something that

You’re able to get a better quality of

half the width of the artwork. Lights

matches the frame, you have a discreet

light across the board without any of

should be positioned at a 30-degree an-

option. By going with an accent piece,

those downsides. The second thing is

gle to the art to minimize glare.

you have something that’s of high con-

that they’ve enabled us to make fix-

trast and changes a little bit of the feel

tures that are literally fractions of the

STYLES AND FINISHES

size of what they used to be. To us,

Much like picture frames, picture lights

Like Wallace, Minges said he has

that’s the biggest deal. Things are mov-

are manufactured in different profiles

seen “a big pickup” in black fixtures,

ing throughout life to more stream-

and finishes to suit both traditional

while classic finishes like brass and an-

lined designs; we’re trying to make

and modern tastes. While popular col-

tique bronze remain best-sellers.

everything as small as we can. People

ors have remained fairly steady over

want that in their lighting as well. And

time—you won’t find huge demand

SELLING PICTURE LIGHTS

LEDs are absolutely what enables that.”

for fire-engine-red lights—some man-

When you think of picture lights, a tra-

Another factor to consider when

ufacturers have noticed an uptick in

ditional, oil-on-canvas painting might

comparing products is how they are

requests for certain products in recent

come to mind. While lights are certain-

powered. Most picture lights fall into

years.

ly still used for that genre of artwork,

one of three main categories:

of that piece of artwork.”

CONTENTS AD INDEX

Black picture lights are growing in

just about anything that can be framed

Plug-in — Like a household lamp,

popularity, said Sandra Wallace, vice

could benefit from the proper illumi-

this type of picture light can be plugged

president-general manager of Ameri-

nation a light fixture provides, from

into a regular outlet, meaning it can be

can Lighting Brands, Inc. Several light-

mixed-media works to prints on metal.

repositioned fairly easily down the line

ing brands fall under the company’s

if desired. Direct wire — These lights

umbrella, including House of Troy in

are hardwired into a home’s electrical

Hyde Park, VT, which manufactures pic-

feed, resulting in a clean, permanent

ture lights. The company’s nickel and

look. Often requires an electrician

gold finishes remain all-time favorites.

to install. Wireless (rechargeable) —

In terms of profiles, styles old

Lights that use battery power are easy

and new are enjoying popularity; it all

to relocate and can be good solutions

comes down to the customer’s taste.

in places where other power sources

“We have a lot of frame shops that see

aren’t available. No visible wires add a

mostly traditional artwork and really

clean look that’s similar to direct-wire

push our traditional lights,” Wallace

lights, but batteries must be replaced.

said. “But in different areas of the coun-

Each type has its advantages; wire-

try, we see really sleek, slim-lined, mod-

less lights may appeal to customers

ern styles. What’s important is knowing

who loathe the idea of running a cord

your clientele: what kind of people are

to an outlet, while customers who plan

you catering to?”

to have their light on daily may be better served by a plug-in model.

26 PFM November 2020

There are also two schools of

Black picture lights have been rising in popularity. Courtesy of Situ Art Lighting

Murari Sharma, owner of Con-

at that time, that piques a lot of in-

cept Picture Lights in Gaithersburg,

terest from the customer,” Sharms

MD, has seen his lights being used

said. “Especially because no light ver-

over framed maps and lithographs as

sus having a light—there’s a world of

well as paintings. Much like framing

difference. People notice that right

retailers, picture light manufacturers

away.”

also see an increase in orders in fall

Sharma added that it is “extreme-

and winter as the sun begins to set

ly common” to see repeat customers;

earlier in the day and the weather

once they invest in their first picture

turns colder, sending people indoors

light, they will often want more for

more often.

other artwork on their walls.

“I’ve been doing this for 20 years,

Another benefit of adding picture

and it’s like clockwork,” Sharma said.

lights to your repertoire? They’re of-

“Once the time changes at this time

ten a last-minute purchase, according

of year, sales jump up like crazy. Then

to Wallace. She echoed the impor-

in the spring, when the time changes

tance of having an in-store example,

back and people are spending more

which often prompts customers to

time outside, sales go back down. It’s

realize a light would make their own

very cyclical.”

piece stand out.

This is good news for retailers

“It makes it more personal if they

looking to boost their profits around

actually see something illuminated

the holidays; customers walking in

and realize, ‘You know what? It’s not

the door are more inclined to invest

really expensive. I could afford this,’”

in lighting now than they would be in,

she said. “It is definitely an impulse

say, the middle of summer. In terms

item.”

of generating interest, Sharma recom-

House of Troy offers small dis-

mends displaying an example of a lit,

plays with sample chips that show-

framed piece in your shop. Even more

case their different finishes. The kits

effective than that, he said, is showing

also serve as an easy reference guide

a customer what their specific piece

for retailers to calculate what size

would look like with lighting before

light their customer needs based on

wrapping it up for them to take home.

the size of their art. Situ also offers

“If they can figure out a way to

digital resources for retailers on its

put [the project] under a picture light

website; tools include a size calcula-

Small, discreet fixtures from Situ Lighting

tor and filters to narrow down a few top choices within your desired style.

Minges, who also recommends having an example in your store, said he’s seen a technique that has proven highly effective for one of his retail customers; they lend wireless lights to clients they trust, letting them use it on their artwork at home for a week before returning it. “That’s been an excellent sales tool for them,” he said.

Just like any other framing product, there is an investment required before you can successfully sell picture lights to your customers. If you are looking to grow your profits as you gear up for the holiday season, these fixtures could be the perfect solution.

As Minges put it; “I think the biggest thing is to decide how much you really want to push the product. We have some very small framers who sell three, four, five times as many as larger framers. And to us, that’s a customer who has their sales presentation dialed in. Framers absolutely can sell a lot of art lighting—we see it. But you have to want to.” PFM

PFM November 2020 27

SUCCESSFUL RETAILING REAL FRAMING RETAILERS, REAL STORIES

Jay Goltz

Loren Feldman

President and Founder, Goltz Group, Inc.

Chief Content Officer, 21 Hats; Host, The 21 Hats Podcast

This is the fourth in a series of articles from the Breakfast Panel Discussion at the 2020 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.

Part 4: Marketing Strategies Continued and Financial Advice LOREN: What has your experience been with marketing?

not going to approach those people, but they take their demographics, analyze them, and find you a lookalike audience

AARON: I do some of the same things. I believe in Google clicks. I spend a lot of money on Google clicks.

LOREN: Has that gotten a lot more expensive for you?

that matches the audience you already have.

AARON: You can do that, and you can also put in the demographics you want it to look for. You can also search by region—people are only going to drive so far for framing. So-

AARON: It has, but I manage it pretty tightly. We do art and

cial media is key for me. I dedicate an employee to Facebook

frame, and so I can really target where my clicks are going. I

and Instagram posting for several hours every week. It’s all

do Facebook ads, and then I can go after the age group and

very important.

CONTENTS

who I want to target that is in the region. I do a lot of that.

LOREN: Do you use lookalike ads?

JAY: What are you posting?

AARON: Pictures of successful jobs, who we are, or how

AD INDEX

AARON: I do. That’s been beneficial. I really put a lot of

to take care of your art, your frame—giving tips. You can’t

time into my social media.

always sell, sell, sell. You have to give them a reason to look at what you’re doing. If you’re giving them tips and teaching,

LOREN: Does everybody know what a lookalike ad is? Tell

people will look and share; and if you get a lot of shares, you

me if I get this right. You basically tell them who your exist-

know you’re posting something that’s interesting. There’s a

ing customers are. You can give them a list of emails. They’re

formula where you give a couple tips, and then you hit with

28 PFM November 2020

trying to sell them something, then a few more tips. You

AARON: Do not try this at home. My God! You get the peo-

don’t want them to turn you off on Facebook, which they

ple that are bottom-feeders that take up your time, and then

can easily do. They can either follow you or just have you in

they say, “Oh my God! That’s way too much.” Then, every

the background.

fifth person will come in and do $2,000 worth of framing.

JAY: What percentage of your sales are you spending on

JAY: At half off. Congratulations.

advertising, including paying this person? What percentage of your sales are going towards marketing?

AARON: I’m a $4 million-a-year business. I’m probably

AARON: No, it’s not half off. Groupon does not work like that. You give them the thing for $150, and it costs them $75 to do the framing. They get to use one coupon for one job.

spending $300 a day.

If they bring in three pieces, they can only use one coupon.

JAY: 365 days a year? That’s roughly $100,000 a year,

JAY: Just for full disclosure and to play fair, I think if you

which is only 2.5 percent of your sales.

go back and look, you’re going to find out that one in four

AARON: I am also going after art clients. On my framing

people is not spending $2,000 with you. That might’ve been a one-off.

end, I go six days a week, and I have two-and-a-half framers.

It’s a part of my business that I’m building up. There’s a big

AARON: That is true, but everybody has to understand

marketplace for high end. Every now and then, if I want to

that business is not coming in 12 months a year. You have to

go fishing for new clients, I’ll take a risk and do a Groupon.

look at your downtime and go after those empty months, be-

Sometimes that’s tough.

cause you cannot lay people off for one-twelfth of your year.

JAY: Do not try this at home!

You have to keep busy all the time, so you have to project. On my books—probably your books, too—I’ll know when my off

PFM November 2020 29

times are. After 30 years, I know when

care of them. I do things fast for them.

I’m weak on sales. I will program that

We don’t pay them, but we have a good

into my budget, and I will go fishing for

relationship. I only work with custom-

new clients. The clients are just not go-

ers that appreciate what I do. I can hand

ing to find you. You have to find them.

them off to somebody else who can sell

Sometimes, you have to make some

them something when they don’t ap-

gutsy moves. Sometimes you have to

preciate me. As far as the good clients,

waste some time to fill up your bank

we have a good relationship. They want

account, but most of the time it works.

me to do well. I want them to do well.

We’ll tag them, they’ll tag us. That gets

JAY: Most of your business is clear-

us great results.

ly art. If you only have two-and-a-half framers and are doing $4 million in

JAY: Great. Thank you.

sales, it must be mostly art.

LOREN: Come on up. You guys are AARON: We do about $400,000-

here to talk about our next segment,

500,000 of outside sales, but then I have

which is finance. Want to introduce

a big gallery that they have to frame for.

yourselves?

If you tie that in—framing the art that I have in the gallery—it’s probably dou-

HOWIE: I’m Howie Rumjahn, one of

ble that of what I make from framing.

the owners of the Rumjahn Gallery and Framery in Evansville, IN. My wife is the

JAY: Very good. Last question. Have ei-

other owner, but she couldn’t here be-

ther of you had any success with using

cause she’s taking a class this morning.

influencers through social media?

JILL: I’m Jill Warlick, and I own InfanAARON: I have not.

try Gifts and Military Frames. I also have a photography studio that feeds

MEDI: We do a ton of that. One of

all of that. My husband and I are out of

the things that we invested in is, we

Fort Benning, GA, and we have a mili-

brought a content creator into the

tary-related business.

shop. The content creator comes in for five hours Mondays, Wednesdays, and

JAY: Interesting. Tell us about your

Fridays. All he does is takes pictures of

finance experience.

either work, what we’re doing in the

CONTENTS AD INDEX

shop, or sometimes he’ll go out to job

HOWIE: We bought the frame shop

sites where there are installations and

about four years ago. It was owned by

take pictures. We work with a lot of in-

a couple who wanted to retire, and they

terior designers, and those are our in-

didn’t have kids who wanted to take

fluencers. We have some of them that

over the shop. When we bought it, they

have over a million followers, and some

had been trying to sell it for about five

of them that have 250,000.

years, but they had let the business dwindle because they were just show-

JAY: Do you reward them?

ing up and going through the motions, but not trying to grow it. The business

30 PFM November 2020

MEDI: We reward them by working

was actually shrinking. They sold it to

together. I give them good deals. I take

us for $60,000. With that, we got all the

equipment, but we found out quickly

same spot for 38 years, but those old

a mat cutter, so we went to the bank

that the equipment was aging. I don’t

customers, again, they literally were

three years ago. It’s a small town, so

really think it was worth $60,000. We

dead or they were not framing any-

we have a good relationship with our

also got their client list, but most peo-

more. We decided that it wouldn’t be

bank. We said, we need a mat cutter,

ple on it were dead or gone.

that much of a risk to move the entire

can we have a loan for this? We didn’t

business, because we had the equip-

have to do much; I told them what it

JAY: How much volume was the store

ment. We’ll start a frame shop from

was, and they said they could secure

doing at this point?

scratch. That’s how we looked at it.

the loan against the device itself.

I came to the next show, talk-

HOWIE: At that point, I think it was

JAY: Because dead people don’t care

ed to the Wizard staff at their booth,

$120,000 a year, maybe. They were try-

where your frame shop is.

bought a 9000Z, and started paying

ing to sell us the building, too, but we

$300 a month on it. We got to keep our

didn’t buy the building, because we

HOWIE: Exactly! The mat cutter we

cashflow. My wife started pushing out

wanted to move to a location down-

inherited was a Wizard 5000. My wife

these really awesome designs; which,

town that was a growing area. We

was learning the trade, and so I said,

going back to marketing, you should

bought the business, not the building.

“This is good. You can use that until

be putting stuff on Facebook that peo-

you outgrow it, because you’re not

ple cannot get from the big box stores

doing any fancy framing.” After a year,

or anything else. That’s what sets you

we quickly found out that it wasn’t

apart, and we were not able to do that

HOWIE: We did move. In fact, essen-

sufficient for the designs Tina wanted

prior to getting the 9000, so that ma-

tially, it’s a startup. We consider it a

to push out there.

chine was a really good investment

JAY: Did you move?

startup, because we had no legacy cus-

We were still growing. We didn’t

tomers. This business had been in the

have thousands of dollars to sink into

on our part. Debt can be helpful. PFM PART 5 COMING NEXT MONTH.

PFM November 2020 31

Product Showcase AccuMount Tools

AccuMount Tools

The Keyhole Companion marks keyhole slot fastener locations on the mounting surface (ex. wall), eliminating the need for measuring or generating templates. The tools mount in the keyhole slots, allowing the object itself to be used as its own template. Available on Amazon.

The T-Screw Companion marks T-screw locations on sheetrock/ wood. Self-centering tool can mount on T-screw bracket while frame is hanging. Pushing on the frame at the location of the tool marks the T-screw location with a divot (pointed depression). Available on Amazon.

Call: 408-867-3030 www.accumounttools.com

Call: 408-867-3030 www.accumounttools.com

Decor Moulding & Supply

Delta Picture Frame Co.

Introducing Nantucket, a beautiful new line of six nautical-inspired rustic wood styles available in two widths of 1 5/8'' and 2 1/2'', with a rabbet height of ½''. The eye-catching feature of the Nantucket collection is the accent rope inlay which complements the distressed wood tones of rustic white, rustic brown and rustic gray.

Order corner kit #CS-NAN to get these six styles on your wall immediately.

B5925 is a 1 ¾'' black moulding with a raised silver lip. You will find this moulding matches a wide variety of art and photography. For samples and pricing, please speak with your sales representative or call the office.

Call: 800-327-5482 www.deltapictureframe.com

Call: 800-937-1055 www.decormoulding.com

Framerica

Michelangelo Moulding

Ocean Blue is the newest addition to Framerica’s Solids Collection. “Blue is both trendy and timeless,” notes VP Josh Eichner. “We worked with various interior designers to perfect our ‘Ocean Blue.’” Ocean Blue is a Framerica exclusive.

Michelangelo recently launched an abbreviated series of tall, stemmed mouldings. Due to the trade’s favorable acceptance, they are adding three more finishes to the 331 Wood Series. In addition to gold leaf, silver leaf, gun-metal gray, and black, they now have brown barnwood, bronze, and white finishes.

Stock available for sampling.

Call: 800-372-6422 www.framerica.com

Call: 877-422-8812 www.michelangelomoulding.com

CONTENTS AD INDEX

Omega Moulding

Penny Lane Publishing

Edge by Omega Moulding is a collection of multi-use, modular mouldings that can be used to create standard traditional frames or to serve as floater frames for graphic arts media such as face-mounted acrylic prints and other panel-mounted work.

Available in both black and white finishes (wood mouldings) and in aluminum (extruded metal).

Christmas artwork from Imperfect Dust! Contact a sales representative by phone or by emailing info@ pennylanepublishing.com for more information. All artwork also available on canvas and wood products. Select images are also available as large format giclée prints. Stock code: DUST729 “Fresh Cut Christmas Trees.” Size: 12'' x 12''. Retail price: $12.

Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com

32 PFM November 2020

Call: 800-273-5263 www.pennylanepublishing.com

Sepp Leaf

Superior Moulding

Mixol Universal Tints. Do you need to tint grain/wood filler, putty, paint, stain, wax, shellac, lacquer, or poly? Turn to Mixol for your custom color needs. Mixols come in 33 colors, plus three metallics. They won’t dry out or harden in your shop.

They tint water, solvent, and quality oilbased products. Imported from Germany

by Sepp Leaf Products. Available at www. rockler.com.

Superior introduces Tempest, one bold profile in six industrial finishes, reminiscent of aged metals. The wedge profile and distressed metallic finishes work well on modern art as well as contemporary oil landscapes. Request a color catalog online or call for samples and pricing.

Call: 800-922-7914 www.supermoulding.com

Call: 212-219-0770 www.seppleaf.com

Tru Vue

Universal Arquati

Optium Museum Acrylic is now available in smaller, single-sheet sizes, making it easier for you to offer the best glazing for any project. Suggested retail pricing is available, and product is stocked coast to coast. Request a sample kit, find a distributor, and get complete details at tru-vue.com/ optium.

Introducing a new size to Universal Arquati’s successful gesso-free line: ¾'' x ¾'' Italian Prime! This Italian-made moulding’s new profile features opengrain, high-gloss, and matte finishes in a variety of colors. This profile is economical, gesso-free, and great for many uses with small pictures, inner frames, and photography. This product is now in stock! Please contact your local sales representative to get a sample set.

Call: 800-282-8788 www.tru-vue.com

Call: 800-668-3627 www.universalarquati.com

PFM November 2020 33

Distributor Spotlight

Quality Saw & Knife is now part of Connecticut Saw & Tool. Contact us for all your picture framing saw blade and sharpening needs. www.ctsaw.com info@ctsaw.com

800-404-1220

CONTENTS

Have a question or comment?

Tell PFM what you think.

AD INDEX

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

34 PFM November 2020

CROSSWORD CHALLENGE Across

Down

1 Surface onto which paint or another

1 Handheld tool to hold things together

medium is placed 6 Just put on the market

2 Uneven 3 ____ floater: frame that features a

8 Objective 9 GiclĂŠe, for example

drop edge that is wider at the face than the lip

10 Place into service 11 Tiers

4 Any chemical whose pH level is below 7 5 Additional item

12 Couple 14 Hard wood

6 Type of adhesives to use with acid-free substrates, 2 words

16 Fast 18 Glossy fabric

7 Tool used to loosen and tighten nuts 13 ___ core mat

19 Fastener 21 Type of mount board

15 Go downhill on snow 17 Material that is used on some

22 Kind of paste used for hinging adhesives for affixing an artwork to a backing or mat

mounting boards 18 ____ colored boards

24 Detroit's state, abbr.

25 ____ rag foamboard

20 Racket 21 Front areas

26 Heavy-duty, tightly woven fabric 28 Apple computer

23 # corners in a usual frame 24 Numerical calculations

29 Dined 30 Fasten 31 Orange-yellow color

26 Limit 27 Hoover, informally

SEE PAGE 37 FOR THE SOLUTION

PFM November 2020 35

Index Advertiser

Page

Advertiser

Page

AccuMount Tools .......................................................................35

Frank’s Fabrics for Framers .......................................................22

408-867-3030

888-332-2749

www.accumounttools.com

Active Sales ..............................................................................34 800-937-2255

www.activesalesco.com

Alpina Manufacturing, LLC ........................................................34 800-915-2828

www.fastchangeframes.com /www.bannergrip.com

Arlo Spacemaker Products, LLC..................................................35 800-332-2756

www.reevesextruded.com

www.franksfabrics.com

Global Art.................................................................................17 866-310-4278

www.globalartinc.com

Gluefast Company ....................................................................34 800-242-7318

www.gluefast.com

Hoffmann Machine Company ....................................................34

Artist Supplies & Products..........................................................34

866-248-0100

262-797-8101

House of Troy ...........................................................................27

www.gilderspaste.com

ASF - A Street Frames ...............................................................34 800-805-7655

www.astreetframes.com

Capax-Frame It ........................................................................10 800-942-2729

www.capax.com

CMI Moulding ...........................................................................34 301-476-7440

www.cmimoulding.com

800-428-5367

www.hoffmann-usa.com

www.houseoftroy.com

Jack Richeson & Co. ..................................................................34 800-233-2404

www.richesonart.com

Michelangelo Moulding .............................................................11 877-422-8812

www.michelangelomoulding.com

Concept Picture Lights ...............................................................33

Omega Moulding Company .......................................7, 16, 33, 37

800-711-1573

800-289-6634

www.conceptpicturelights.com

Connecticut Saw & Tool .............................................................34 203-318-4302

www.ctsaw.com

Decor Moulding & Supply ..................................15, 16, 31, 33, 37 800-937-1055

www.decormoulding.com

Designer Moulding....................................................................23 800-634-0032

www.designermoulding.com

www.omegamoulding.com

Picture Woods Ltd. ....................................................................23 800-321-6522

www.picturewoods.com

Rhonda Feinman Custom Frames .................................................6 800-297-1566

www.rhondafeinman.com

Ten Plus....................................................................................19

CONTENTS

Encore Products Inc ...................................................................21

888-944-8899

800-873-4868

Tru Vue ......................................................................................9

www.encoreproducts.com

Fixons ......................................................................................34 714-526-3455

www.fixons.com

Foster Planing Mill ..............................................................29, 34 AD INDEX

323-759-9156

www.fosterplaningmill.com

Framerica............................................ 2, 3, 4, 10, 16, 33, 37, 40 800-372-6422

www.framerica.com

800-621-8339

www.tenplusframes.com

www.tru-vue.com

Universal Arquati ..................................................................5, 25 800-668-3627

www.universalarquati.com

Wall Moulding ..........................................................................39 800-880-8315

www.wallmoulding.com

FrameTek .................................................................................30

Wizard International .................................................................13

800-227-9934

888-855-3335

36 PFM November 2020

www.frametek.com

www.wizardint.com

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reeds can be flat, slightly rounded, quarter round, or half

sign was influenced by the summer “cottages” of the very

round in profile. Panels between bands of reeds could be

wealthy in Newport, RI. It was specifically built to house

very small or quite broad. Sometimes there were just two

his enormous art collection, which also included works by

or three bands of reeds; other times as many as six. Degas’

other late nineteenth-century masters such as John Singer

reeded frame, first seen in 1880, had a very broad, flat panel

Sargent, Thomas Dewing, Childe Hassam, Winslow Homer,

from the sight edge with just a few reeds at the other edge of

and John Twachtman.

the frame. He also experimented with wide reeds and using reeds in step patterns. Degas frames can also have a wide

Additional comments and/or anecdotes. Whistler, while not

rounded face, fully reeded. He painted many frames white,

the first artist to design his own frames, was the first to de-

pale colors, and darker greens.

sign his exhibitions. Rejected by both the British Royal Academy and Paris Salon and always an iconoclast, he pioneered the

What type of artwork would this frame most likely house?

idea of the sparse gallery. He was the first to paint the gallery

Whistler used this type of frame for both portrait and land-

in light, soft colors to reflect the tonality of the paintings. Paint-

scape paintings. Its simple and elegant lines are both clas-

ings were hung with space around them so that each could be

sic and contemporary and allow it to work with many types

viewed alone and as “art for art’s sake.” At that time, the Acade-

of subject matter and painting styles.

my and Salon exhibitions had paintings hung from baseboard to ceiling, with little space between. Ahead of his time, Whistler

What furnishings/interiors styles accompanied this

has had tremendous influence on how we see, frame, show,

style of frame in their time? This frame was owned by

and live with art today. PFM

Charles Lang Freer, an industrialist who made his fortune

“Best of PFM” takes a look back at some of the magazine’s

building railroad cars who was also an avid collector of

most popular articles on frame history as it celebrates its

Whistler’s work and Asian art. His home in Detroit was a

30th year in publication. This article appeared in its origi-

22-room Queen Anne shingle style, built in 1890. The de-

nal format in the December 2010 issue.

Crossword Challenge Puzzle Solution

PFM November 2020 37

Style

BEST OF PFM

SNAPSHOT

By Rhonda Feinman

A look at a frame, its characteristics, and history What style frame is this? It is commonly known as the Whistler frame.

Where is it from? This frame was perhaps made in London by Frederick Henry Grau from patterns designed by American expatriate artist James

the same time as Whistler, Edgar Degas and, lat-

Abbott McNeill Whistler (1834-1903).

er, John Singer Sargent also experimented with

What time period is it from? Most likely, this

reeded frames.

frame was made in the late 1880s to 1890s. The

What is the defining characteristic of this style?

small size of the painting indicates that it was

The Whistler frame consists of a series of thin

painted by Whistler after 1879. Later in his career,

reeds alternating with flat panels. The reeds vary

he almost exclusively used gilded frames where-

in width and quantity throughout the width of

as, early on, his frames frequently had painted

the frame, with the clean lines creating patterns

patterns in the flat panels.

of light and dark. Widths of the flat panels also

Who was instrumental in developing this style of frame? James Whistler began to design frames around 1865 and was influenced by the British Pre-Raphaelites, the Aesthetic Movement, and his friendship with Dante Gabriel Rossetti. The mid-nineteenth century Pre-Raphaelites believed in the use of honest materials, no longer using ornate Victorian plaster patterns. The profiles of picture frames began to flatten, enabling the frame to merge the art with the surrounding

CONTENTS

wall. They would gild directly on wood, allowing the grain to show through. Rossetti often used flat, reeded designs in his picture frames. Around

vary to affect the tone and play of light. These frames were sometimes gilded directly over wood, showing the pattern of the wood grain, softening the gold rather than having the reflective surface of burnished gold over a gesso ground. The tone of the gold varied to harmonize with the colors of the paintings and integrated the design of the frame and painting. Whistler felt reeded frames were dignified and worked well to link the painting to its environment.

What design departures might be seen on frames of this style? Whistler’s frames vary in the pattern of reeds and flat panels. Groups of

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Rhonda Feinman is the owner of Rhonda Feinman Custom Frames, Inc., in New York. The company specializes in authentic, handmade antique-reproduction picture frames. Feinman is a consultant to many well-known art galleries and museums regarding reproduction framing and restoration of antique frames. She has been in the custom framing business for more than 20 years and has a Bachelor of Fine Arts from Parsons School of Design, New York.

38 PFM November 2020

(Continued on page 37)

This Whistler frame is reeded but also features a wide, flat panel. The dimensions of the frame in relation to the art embody Whistler’s belief that the size of a painting was not a reflection of its importance.