The Art and Artistry of Fine Framing

by Deborah Davis, as featured in The Private Journey Magazine

The antique picture frame is the stepchild of the art world, a Cinderella who was beautiful, hardworking, and frequently overlooked. Few people, outside of a small circle of experts, were familiar with their long, noble, and colorful history -- or their exquisite craftsmanship. The carefully-wrought, artisanal creations of previous centuries were at the mercy of shifting tastes and trends that could cause them to be removed, replaced, condemned to storage, or, worst of all, destroyed.

Today, the antique frame has stepped into the spotlight. The formulas of the past are being reinvented by artists, museum curators, art dealers, and, of course, custom framers such as Larry Shar, owner of New York's century-old frame atelier, Lowy. "When I started out, the prevailing thinking regarding frames was that they were supposed to decorate, or dress up, art work," Shar recalls.

Shar suggests that yesterday's framing commandments have evolved, and new ways of thinking about the subject are inspiring new ideas and opportunities. "Today's collectors see themselves as innovators," notes Shar. Instead of obeying hard, often outdated rules they want to find more inventive solutions. Informed collectors understand that a carefully chosen frame can express a personal aesthetic, enabling today's owner to partner with yesterday's artist creating a total look. But this opportunity places a weighty responsibility on the collector, who faces the question, what criteria should be used in frame selection?

Shar advises collectors to think about several key points before deciding. First and foremost, consider the piece's history. What kind of frame would have been used at the time it was created? Degas and Van Gogh framed their works in painted wood, although most people associate the French Impressionists with the ornate gilded frames that came later with over- zealous art dealers and moneyed owners. While a collector does not have to abide by styles of the past, the decision to buck convention should be an informed one, with knowledge that comes from understanding what would have been important historically.

Environment is another factor in determining the style and substance of a frame, per Shar. He points out that early frames -- 12th and 13th century altarpieces in Italian churches and chapels -- were architectural and had a definite relationship with their surroundings. Today's frames are lighter and more versatile, but, as Shar says, "art still has to work with its setting." He asks his clients how a piece will be hung, by itself, or in a grouping. "Will it stand out," he queries, "or does it have to 'get along' with others?"

If their spirits – and geometry -- are aligned, frames from one period can work beautifully with art from a different time. Recently, Shar framed several Picassos with 17th and 18th century Spanish and Italian cassatta frames. These "little boxes" were simple and unadorned, characteristics that complimented -- and enhanced -- the modern masterpieces they surrounded. Fortuitous pairings such as this one, the marriage of a 20th century painting to a 17th century frame, result from open minds, engaged conversations, and experimental thinking. Throw away that rulebook and "let's do it right historically, emotionally, aesthetically," says Shar. "We can enhance the visual impact of the artwork without violating the integrity of the piece."

Whether working with an expert, such as Larry Shar, or drawing upon a personal aesthetic, collectors should be inspired to celebrate the extraordinary art and artistry of the frame. Cinderella no more, the antique picture frame is the belle of the ball.

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