An Italian Cassetta Frame with sgraffito was prepared for a double-sided work on paper. Using mats and glass on both sides and archivally placing the artwork allows the artwork to be seen from both sides. 23k gold ordains the front and enriches the piece marvelously when struck by sunlight.
Lengthy storage with non-archival means left these works on parchment with stains and creases. Cleaning was delicately carried out with both wet and dry treatments, before rounds of chemistry baths de-acidified the parchments, neutralizing the acids as well as lifting the stains. Some in-paint and repairs of tears was necessary. New archival 8-ply mat in American Marin mahogany frames with UV-filtering glass rounded out the restoration.
This silk embroidery had been on a corrugated cardboard mount which transferred acids and caused staining.
Select chemistry baths neutralized and removed the acid stains. A custom and hand-carved bamboo frame was prepared and gilded with silver metal leaf. To finish the restoration, new archival matting and UV-filtering glass was given.
Here’s an in-depth look at two of our custom frames designed fo Dutch oil paintings. Both are done in the veneer frame style, but as you’ll see, with quite different results.
The first is a Dutch Veneer with Burl panels and carved ripple ornamentation in ebony over red. The artwork is an oil on canvas by Atonie (Anton) Smeerdijk (1885 – 1965).
Carved ripples for framing has quite the background. Japanese tea in the 17th century was shipped in wooden boxes that they carved waves into since it was going over the water. The Dutch reused these boxes to make frames, and this carving motif caught on, and by the 18th century they had invented machines to replicate it. Our approach to it was through the more traditional, hands-on method.
The second is a Dutch High Front with honey-colored Veneer. The artwork is an oil on canvas by Willem Alexander Knip (1883 – 1967).