Question Old Gilt Frame Identification/Dating

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Collectibles Unlimited

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I am going to be selling this & was wondering if anyone could help by giving me a date range & style name of the frame.

uuuu.jpgIMG_3054.jpgIMG_2967.jpg
 
I wouldn't use the word Gilt.

Taking a stab and sayin 70s standard mass market moulding.
 
I'm guessing 60's to 70's and rematted in the last 20 years. The brads used to join the miters look 70's and we know moulding can sit in a back room for a decade before it is all gone. Suede mat indicates it was changed at a later date.
 
The frame is from the late 1950s and maybe framed then or the 1960s...

My guess is the mid-late 1960s. Not past 1973.

The "suede mat" isn't.. and I'm guessing it is suede or more likely felt
glued down to probably pebble cream/white board.

The frame was imported by Italian Moulding out of Los Angeles, but they
shipped all over the country. It was carp goop even then. The pattern was
pulled from a pattern that was pulled from a pattern that.... and with each
casting and recasting..the pattern becomes a mottled blob instead of the
nice cut Renascence Baroque pattern it was trying to emulate instead of
mutilate.

The picture may have been brought back as a poster from someone visiting
Cortona..... or it was a poster from New York Graphics.

Throw it up on Ebay and anything over $10 is a win. IMHO

BTW: the original is just as uninspiring... but the colors are nicer.
 
Found it.

P5020394.jpg


This was after many composite views..... but the image is still not great..... this is
what I was having to deal with... other than the docent that was yelling from the
front desk "no photographs, no photographs"..... at least I didn't walk over and
stroke the frame like some other tourists did....

The glare is from a west facing window...

P5020398.jpg


The frames in the Uffizzi were in even worse shape.
 
Baer Charlton said:
The frame is from the late 1950s and maybe framed then or the 1960s...

My guess is the mid-late 1960s. Not past 1973.

The "suede mat" isn't.. and I'm guessing it is suede or more likely felt
glued down to probably pebble cream/white board.

The frame was imported by Italian Moulding out of Los Angeles, but they
shipped all over the country. It was carp goop even then. The pattern was
pulled from a pattern that was pulled from a pattern that.... and with each
casting and recasting..the pattern becomes a mottled blob instead of the
nice cut Renascence Baroque pattern it was trying to emulate instead of
mutilate.

The picture may have been brought back as a poster from someone visiting
Cortona..... or it was a poster from New York Graphics.

Throw it up on Ebay and anything over $10 is a win. IMHO

BTW: the original is just as uninspiring... but the colors are nicer.
Click to expand...

It sounds like you hit it right on the nose. Thanks :) I have large framed print that I can't find any information on. Do you recognize it? The corner has the initials "A.B. on it.

nnnnnnnnnnnnnn.jpg
 
Collectibles Unlimited said:
It sounds like you hit it right on the nose. Thanks :) I have large framed print that I can't find any information on. Do you recognize it? The corner has the initials "A.B. on it.

View attachment 15097
Click to expand...

Although sarcastic, David is correct.... It won't fetch much.
And the $20 wouldn't be for the print.... it would be for the
1920s gilt frame. (I'm guessing that if there are any chips
out of the corner pieces.... the compo below is chalk white..
which would make them plaster of paris - - not the more
durable compo.)
The panel in the scotia body is hand carved to give it that
water wave ripply effect.

The problem is the shipping.... that is what will drive t he price
down... $60 of shipping can be a deal killer.

and BTW.. Tin Eye turns up nothing on the image. Could be
northern euro or Brit isles...
 
Art history nerd alert.
The print in the frame of the first question is the Annunciation Fra Angelico did for the San Marco monastery in Florence. Since it was for the interior of a monastery he made it much duller than the Annunciation he did in Cortona.
 
And here I was just thinking he had just clipped the feathers different.

Thanks...

I couldn't remember where the other two Annunciations were.
 
VictorianFramer said:
Well, you can't go having bright colours and gold leaf in a monastery, might interfere with the quiet reflection ;)
Click to expand...

Never been to an Orthodox monastery have you?..... LOL

Lassa is amazing for all of the tincture and chromatic color .....
then... there is the shrine of the Bode tree..

In the cathedral de Seville keep your dark glasses on when you go in...

I think the vow of poverty went something like.... I vow to keep all
but the church impoverished.
 
Baer Charlton said:
Never been to an Orthodox monastery have you?..... LOL

Lassa is amazing for all of the tincture and chromatic color .....
then... there is the shrine of the Bode tree..

In the cathedral de Seville keep your dark glasses on when you go in...

I think the vow of poverty went something like.... I vow to keep all
but the church impoverished.
Click to expand...

A very loud AMEN is now being said
 
Baer Charlton said:
Never been to an Orthodox monastery have you?..... LOL

Lassa is amazing for all of the tincture and chromatic color .....
then... there is the shrine of the Bode tree..

In the cathedral de Seville keep your dark glasses on when you go in...

I think the vow of poverty went something like.... I vow to keep all
but the church impoverished.
Click to expand...

Yeah but I think all the ostentatious stuff is in the locations where more of the general public can see it, sort of a way for the patrons who commissioned the artwork to show off their glitz. As you get more into the area where only the monks go the paintings get less and less flashy. At San Marco, there's a really flashy Medici-commissioned Fra Angelico at the entrance, and then the Annunciation is at the top of the stairs where the monk's cells are (I think, or it's inside one of the cells). It's true that the most opulent stuff you'll ever see is in ecclesiastical settings, thank goodness for Catholicism, keeping art historians busy for centuries!
 
NOW you're starting to understand religion. . . well, "the church" at least.

Back in the early days.... it was more like a Amway meeting.....
tuff to get converts, even tougher to get ones to spend money.

The church (especially a cathedral) is all about a powerful hypnotic modality.

The high ceilings, huge doors, giant paintings, gold everywhere you look, and
seating for hundreds.... was all about overwhelming the senses and forcing
people into a hypnotic trance . . with the music to drive them deeper, and the
sermon delivered at the deepest level..... and before we let you up.... we pass
the hat.

Now the austerity of the chambers has it's own affectations... but we'll leave the
gory details for when it gets closer to the end of October, and we have a set
of fattened children at . . .

emmm never mind.
 
Gee, Baer... I was aways under the impression that the beauty of a church was more about providing an environment that fostered prayer and meditation... a place where community could gather and worship together... a sacred place where art and architectural talents are combined to help inspire people to live a more full and meaningful life.


What did I know? Thanks for setting me straight.

:icon11:
 
Dave, that could be had at the local pub, or in a Fellowship.

What I was describing was the use of an architectural artifice

What you are describing is the intent of a supportive group
that is brought together by a common belief system - much like
the gathering of a Wicken in a clearing, or a family (well, in theory).

Or the idea of somehow providing a way to safely hold an image,
that can be hung on a nail to display it for public purview. I was
talking about the 10" Louie XVI Grand Rococo water gilded frame.
 
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