Framing a small Edward Curtis—Another Carved Corner Design

Recently framed this small original Edward Curtis photogravure of Apache Indians for a couple in Texas. The print had wide margins, but we wanted the effect of framing it close so used a lap-joined flat — kind of a wooden mat, although on top of the glass. We've taken this approach a number of times before.

 Also wanted to show the carved corner design. Both the corner design and the chamfer on the flat, which has 45 degree angled stops, echo the headdresses in the photo.

"Wisdom of the Hands"—Doug Stowe Advocates for Handcraft in Education

For those of you who appreciate the aspect of handcraft in our work, I thought I'd draw your attention to the blog "Wisdom of the Hands" by Arkansan woodworker and teacher Doug Stowe. I learned about it while reading Matthew B. Crawford's Shop Class as Soulcraft. Doug is something of a voice in the wilderness in arguing for more hands-on learning and a return to manual arts in schools—especially in the younger years.

If handcraft is part of the bedrock of an economy (indeed, of civilization), as I argued in my essay "Real Wealth: The Value of Art and Craft in a Debased Economy," it's certainly part of the foundation of learning. I hope you'll check it out and help spread the word about Stowe's sound thinking and important work.

Framing Charles Partridge Adams—Simple Corner Carving

We recently got to frame this early twentieth century landscape by Charles Partridge Adams (1858-1942). At just 10" x 14", it's humble in size as well as subject matter, and loosely painted—all aspects suggesting a fairly simple frame with a bit of carving.

The tree trunks brought to mind the profile we'd come up with a few months ago for Paul Kratter's view of Lake Tahoe, "Twisted Pine Above Emerald Bay," below—a flat with a double reed near the sight edge and a carved flattened ovolo (convex form) at the sight edge—but I thought I'd refine it a little, adapting it to Adams's more "dapple-y" style.  

So I decided to enhance the lines formed by the double reeds. So added a simple pattern of carved stops to the reeds near the corners. I'm pleased with the effect. I'd like to do more with simple corner carving this year.

Framing Contemporary Paintings—Andrij Korchynsky

This recent job offers a simple lesson in two key elements in frame design: line and form.

We just framed this contemporary painting by Ukrainian-American artist Andrij Korchynsky. Despite the loose style, the sweeping lines and angularity of the roofs suggested the form of the profile—a broad flat sweeping up to a scoop and then beveling back. With respect to line, a narrow raised panel at the sight edge, at the same width as the lines defining the structures, adopts the painter's standard. A 1/4" liner oil-gilded with 23 kt gold leaf gives it just the right highlight in keeping with the painting's palette.

The wood is quartersawn white oak with Saturated Medieval Oak stain.

Framing Kevin Courter in Compound Polyptych

A customer recently commissioned Kevin Courter to paint three cottages on his rural northern California property, then had us frame the three 8 x 10's. Here it is:

The idea was to create a frame alive to the soft edges as well as architectural subject matter.

New Yoshiko Yamamoto "Wisdom of Trees" Prints

We've always had a steady flow of orders for framing Yoshiko Yamamoto's wonderful linoleum block prints. She has just announced a new series, "Wisdom of Trees". Beautiful!