Sloppy framing of expensive original art

[Keith L Hewitt]

I have just visited the ART AMSTERDAM - which according to the press release is....125 participants, including 33 foreign galleries, visitors come to see the cream of Dutch gallery world. Catering to the wishes of the art collectors more than ever before

This is where the Dutch royal family, VIPs and curators can buy one day earlier than the rest of us plebs. I expected to see some superb framing, but what a let down.
The majority of the oils had no frames, but those that did were of medium quality. Some were badly fitting with the width of the "channel" of the floater frame varying on each side.

On the water colours where mat board was used, I noticed over cuts and hooked corners.

I dared to question some of the gallerists about these faults and got some interesting (and abrupt!) replies.....

1) The buyer is only interested in the art. They know they can change the mat or the frame.
2) To the artist the mat and the frame are not important.
3) Oh.....so that 3mm line is called an over cut. I've learnt something today.

4) Yes I can see the frame is damaged....but it was a last minute rush!

These pictures had price tags from Euro 2,000 to 20,000 - many over 10,000. I found it very disappointing to see such expensive original art so sloppily framed.
Are the artists or the galleries choosing the wrong framers?
Are the best framers failing to sell their skills to the people at the top end?
Is this situation repeated in USA and other countries?

I'm interested to hear your views and opinions.
(1 Euro = USD 1.60)

 

[FrameMakers]

I would believe what you are saying if it was Artist framed works. I have found for some reason that European preservation framing techniques to be lacking in general. It may come from the fact that on your side of the pond, 200 years is not very old but over here it nearly goes to our beginning.

I also find it odd that most of our "quality" mouldings come from Europe and yet what European framing I have seen is of a much lower quality.
I mean no offense and realize that my comment is painted with a wide brush.

 

[Baer Charlton]

No Dave, you ask a very good point. All of the framing we saw was plebian and spare to say the least (and the samples on several shops walls were not an improvement. Yet here in America, Euro moulding is much nicer and creative.

So why isn't it offered in Europe to the framing community?

As for preservation framing... forget it; I'd just be happy if they would shut the front doors of the Uffizie and make some effort to clean and control the air.

 

[FrameMakers]

I once saw a PBS show that was at a museum in Italy. They were "restoring" a huge painting. It must have been 20'x30'. They had it laying on the floor and were walking on it.

 

[MarkyW]

I once saw a PBS show that was at a museum in Italy. They were "restoring" a huge painting. It must have been 20'x30'. They had it laying on the floor and were walking on it.

Don't you know that restorers have to take a class so that they can walk on the rice paper without leaving a mark - like David Carradine on the TV show Kung Fu.

 

[Candy]

Yes, I see very poor quality framing especially from art framed by artists. They don't want to pay to make it look good. I am trying to change the world by teaching these artists that garage sale frames just don't cut it. I will change the world one artist at a time and maybe one day an artist will come back and say thank you.

Candy

 

[Framar]

Candy - I like your attitude and approach to the education of artists. I have one artist who has followed me since the early seventies, from shop to shop until I opened my own. Last week she told me that when I retire from being a framer she is going to retire from being an artist!

So there is hope.......

 

[Luddite]

WORST EVER!!!

Worst job I ever saw was in an expensive Gallery showing in taipei,Taiwan.Big (40x60" and up)chunky a**ed collage type art pieces,(well they were pieces of something...)on less than 1" thick canvas(?) panels apparently made by carpenters without opposible thumbs: twisted warped wood,BAAAADDD hangers,I think coat hanger/fence wire on screw eyes.....One piece was so warped that it had been DUCT TAPED on a bottom corner to the wall to keep it from bowing and swinging out into the walk way!!!!Another was being wrangled by fishing line wrapped around the big concrete column it was displayed on.No frames... thankfully,couldn`t imagine that! Prices? $10,000 US. and UP,emphasis on the UP..... L. (ow, my freakin eyes)

 

[Cretin75]

Yes, I see very poor quality framing especially from art framed by artists. They don't want to pay to make it look good. I am trying to change the world by teaching these artists that garage sale frames just don't cut it. I will change the world one artist at a time and maybe one day an artist will come back and say thank you.

Candy

Lemme tell you... they do NOT teach mat cutting or choosing the correct colors in art school. Atleast at mine they didn't haha

Don't get me wrong.. I looooove art fairs... but dislike the mats, the mounting, and the frame that they do on there own. Some just use whatever they have... or whatever was free/on sale/at someone's garage sale. Just did 5 in a series.. all had the same triple mat, all the same color (3 greens, same exact color)... except for one.. one of the triples was a different shade of green, customer didn't care and they went with museum glass on it and YOU KNOW that that one with the different shade is going to stick out like a sore thumb. It bothered me the whole time I was fit and finishing it. But they liked it, that's all that matters.

I told one of my guest that loves art fairs too, to see if next time they are able to get the print without the mat/frame, since you're going to change it any way.

Keith--

I noticed the samething when I was at a showing of some car illustrations. All on illustration board, painted with gouache paint.. very cool looking car art... But the frames and mats... Ugggggg, I couldn't take my eyes off of it. They were hideous. And they wanted so much for these paintings. No way.. not with that junky frame and mats.

 

[Luddite]

Yes, I see very poor quality framing especially from art framed by artists. They don't want to pay to make it look good. I am trying to change the world by teaching these artists that garage sale frames just don't cut it. I will change the world one artist at a time and maybe one day an artist will come back and say thank you.

Candy

Depends on the artist,depends on the frame(some real jewels in that dirt),depends on wether or not said artist can execute a finish.We ain`t all Neanderthals......L.

 

[Luddite]

Nice trash....

Ha,not all discards are bad examples. got this out of the trash! Antique,very heavy all wood,original centered ring hanger. Had been set out next to a dumpster,was given to me. I had to resculpt/repair most of the Laurel leaves,then do a total refinish..And make/fit the painting. Not all artists do a lousy job.Yeah I get kinda huffy,dang it...This is my job wer`re talking about. L.(yes it has a spacer)##

 

[JRB]

I have a hunch that it is probably more of a cost issue. I have noticed that many Europeans that come into my shop for framing, have an awfully tough time with the price of it. Or it could just be that Europeans do not hold picture framing in very high esteem, as in the case of it being very secondary to the art or the environment where it will be displayed. I don't know for sure, I do know that when I hear that accent, that it is going to be a no sale or a very tough sale.

John

 

[Kirstie]

No Dave, you ask a very good point. All of the framing we saw was plebian and spare to say the least (and the samples on several shops walls were not an improvement. Yet here in America, Euro moulding is much nicer and creative.

So why isn't it offered in Europe to the framing community?

As for preservation framing... forget it; I'd just be happy if they would shut the front doors of the Uffizie and make some effort to clean and control the air.

I only saw evidence of controlled air in the Vatican Museums. And of course you are right Baer. The Italians would think we in US frame shops are absolutely nuts with our classes and articles about air flow in the frame environment, and our arguments over alpha cellulose vs. cotton. Archival Coroplast? Biodegradable foamcore? We are so over-the-top here it is sometimes laughable. Their art treasures are painted on wood, for heaven's sake and sit in drafty old churches. In Florence statues are in the open air and exposed day and night to motorcycle exhaust. Still, we must make a lot of Euro for Italian moulding manufacturers and they can laugh at us and with us all the way to the bank. I've never been to the Milan frame shows, so maybe they are just the same. Maybe if we had been in the burbs we might have seen upscale frame shops in Italy.

We got home with the small frame we bought in Venice, the one we plan to use for something other than housing the ordinary etching it contains, and found that the etching was fitted in with wood strips nailed into the side of the frame on the back of the art. Moreover, the closed corners had no evidence of any form of staple or pin. They look like they were just glued together. We are taking it to work for repair.

 

[Jay H]

The Italians would think we in US frame shops are absolutely nuts with our classes and articles about air flow in the frame environment, and our arguments over alpha cellulose vs. cotton. Archival Coroplast? Biodegradable foamcore?

I guess this makes me Italian.

I'll bet this issue is a matter of scale. An artist or art owner is showing several pieces and putting to much in the framing could eat up any return. At least thats the case with art a bit lower down the food chain that what you're talking about.

I had gallery at the end of my block. The suggestion you got about owners not caring about the framing is true much of the time. Anybody buying a piece of art for a few grand isn't going to hesitate to put a few hundred more dollars in a new frame. That was my experience anyway.

 

[Kirstie]

Well exactly, Jay. That's why we have developed products and services for artists to help them keep the frame cost low while still being able to exhibit the art. As a framer it is my job to help the artist look at the bottom line and determine whether the art framed will be sold with the frame as part of the art to be kept by the customer, or just a utilitarian 4 pieces of wood to get the art on up in the exhibit. Selling framing for resale takes having some low cost resources for the artist.

Regardless, you get my drift about how we in the US (and Canada, Australia, New Zealand) can go ga ga over preservation when often it much of it is unnecessary for what is being framed. But that's an old discussion, and I am certainly pleased that here we have such a plethora of choices. This must say something about the strength of our industry.

 

[evartpat]

I get alot of artists in to frame their pieces for shows or exhibits. In the area I am in (Seattle area) the artists I deal with are fairly well educated about the types of materials to use. I would say 98 percent of the artists I deal with want conservation matting and mounting without me having to convince them. They are more resistant to the use of uv glazing which is understandable since it is pricey. I am just pleased that even their concerns with resale, they at least do the basics. Where my effort is needed is in the design aspect...(color choices, frames, etc.) I find it interesting that there is 2 extremes. Wanting the "white/black mat- black frame on everything regardless of what it is... or going crazy on color that overwhelms the art. Being an painter myself helps me to convince them to consider other options. I relate my experiences in selling my work and considerations on where to spend the money. I try to stress the importance of good presentation.

 

[framermike]

artists and framing

"Reality is for those unable to handle science fiction." Howdy neighbour Pat! Not wishing to frankenthread, but what do they do when the fiction becomes reality?

I try to stress the importance of good presentation.

Usually I find that only artists need this to be pointed out; most other customers get it.

We are in the "art packaging industry". Certainly we do what we can to preserve, but mostly we want to present or package the art in the best way possible.

One particular artist I have worked with for twenty two years (since we opened) and for sure he "gets it". He wants his art to hang on his customers' walls looking the way he wants the art to look, because he knows that each piece is an advertisement for him. He doesn't sell anything unframed and is happy to spend to "package" his art the way he wants to get the look he wants. That way, his art goes from his studio/gallery straight to his customers' walls. Nobody has to get stressed out making more decisions involving extra spending on reframing.

I wish more artists would have a lightbulb moment and "get it".

Mike

 

[Jim Miller]

...we in the US (and Canada, Australia, New Zealand) can go ga ga over preservation when often it much of it is unnecessary for what is being framed... I am certainly pleased that here we have such a plethora of choices...

Yes, Kirstie. It's all about having the choices, isn't it? Maybe the most important choices are the framer's definitions of "necessary" and "unnecessary".

 

[Slim Chance]

One of my favorite jobs is the client who brings in something they've just bought, and they know it needs to be reframed. The transformation from the old el-crappo frame and mat to my beautifully designed and crafted presentation always knocks them out, and I feel like I have saved a nice piece of art from a dreary fate.