![]() I will not be able to graduate to doing such work myself, as I no longer have the manual dexterity, but I enjoy seeing the details which you are posting of your work. I also think that you are a great encouragement to many smaller framers, who are looking for ways to raise their game in these increasingly difficult current times. ![]() Being someone who makes quite a lot of ready made frames myself, but I don't have the customers for water gilded frames myself, I still have a better understanding than most of the time and commitment and the level of workmanship which you put into these frames. I'm very impressed by the things which you show us on the forum. ![]() With all that done, the prints were tissue hinged onto the museum quality boards and an internal spacer added to separate the prints from the glazing. I think this is because of the lead that was then used in its manufacture. Although hopelessly the opposite of non-reflective, the ripples in the glass actually add life and vibrancy to the art and when cleaned, the glass has an almost crystal-like quality. When I did manage to cut all the glass, the effect on the prints was quite startling. You get the glass squeaky clean, listen to the cutter sing its way down the cut, snap on the line and then watch the split shoot off in a wide arc to the right! Justin lives quite nearby - up a mountain.įor the glass I was able to buy a quantity of reclaimed glass from a dealer in antique frames.Ĭutting antique glass is not for the faint hearted. I was fortunate to have 'justintiime' cut all my boards with great care and accuracy. So much so that even when the frames were waxed and polished with beeswax, the antique effect was maintained throughout.įinally moving on to doing some picture-framing. I wanted the frames to support but not overpower the artwork to have a tone that appears to set them back from the art yet enclose them in harmony with their antique provenance.įor that I used a grey glaze which has a subtle effect on both the gilding and the black shellac. Even with lots of rubbing back, the black shellac was much too black and the gilding too brilliant. Next was to tone them down to match the colour of the antique prints. Now they need fed through the spindle moulder repeatedly until the finished profile is obtained.Īs this is a reverse profile, the pine base is cut to a sloping angle and the overall profile then rebated to match.įor the inner sanded section, I used a R&H pine stretcher and shaped it to the profile required. These two sections are then run though the saws again to finish up as squared rectangular blocks. The pine is then clamped and glued to both sides of the fruitwood board and when dry, split down the middle so you have two equal sections of laminated pine/fruitwood. The fruitwood comes in big rough sawn planks and these have to be pushed several times though the saw to reduce and planed down to a measured size. This is an ebonised profile made up from a shaped slat of fruitwood pre-glued onto a pine base. I'll try to give a brief description of what's involved. Much of my machinery is quite light-weight whereas someone like fusionframer has a more grown-up workshop. Yes, I enjoyed doing it but the sheer quantity of physical work involved is quite knackering. Looking back, there was a terrific amount of work that went into making these. The much later 'Hogarth Frame' that everyone is more familiar with was actually attributed to a framer whose name was Hogarth and its simpler style was widely used for displaying antique prints and mezzotints. This is the type of frame was the historically correct for the period of Hogarth's lifetime.
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