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While most of the paintings posted here have been fitted already with custom frames (and the retail price would include the frame), a few are without a frame. They may be purchased as-is, or with a specially ordered frame. I prefer frames with "closed" corners. Because the molding is assembled in raw wood before the finish is applied, the mitre seams on the completed frame are sealed or closed. As you can see from the images posted on this page, it is a classy, professional look that enhances any painting.
Choose from custom hand-carved gold or silver
metal leaf moldings, or splurge on genuine 22K gold leaf. One of my favorite
finishes is a dark, hand-rubbed mahogany finish that can be applied to
any molding. Many wildlife paintings are complemented well by faux barn
wood style (also called “western distress”) frames—with or without a panel
or lip of gold. You can soften the transition from frame to painting
with a natural linen or silk-covered liner. Or keep the entire look ultra-simple
and modern with a narrow strip “float” molding in natural or stained solid
maple.
I order frames from several of the finest custom frame makers in America,
and can often obtain a discount not typically available to a retail
purchaser. I will be glad to help you find the perfect frame for your
painting. Please browse the accompanying images, and feel free
to contact me for further information.
To contact any of these framers directly, you will find appropriate
information on my page of links.
These are the real thing: custom handcrafted frames with burnished 22k gold leaf and carved corners. Framemaker Paul Goodnow is a true artist. There is nothing like these; but they do not come cheap. Note that the sides of the frame are finished with a flat brown paint—a significant savings compared to an entirely leafed frame.
Chatham Pond, July,
oil/linen/board, 12"x16"; This is one of my favorite moldings offered by framemaker Steve Bell at America West Frames, shown here in a lightly antiqued gold metal leaf. I particularly like the simplicity of the profile, as well as the stepped inner lip, which, when combined with a narrow linen liner, creates a wonderful pitched window that leads you into the painting. When used to frame a stretched canvas (instead of a panel), this molding and liner combination requires a customized 'skirt' (also called a 'back-up') around the perimeter, which adds slightly to combined 4" width.
Another perfect frame for a small plein air study: a simple, gold metal-leaf frame with a flat gold liner (overall width of the combination is about 3”). This can be finished with silver metal leaf, as well, in a shiny finish, or stained to a pewter-like tone. The inner edge of the liner panel can be scooped (as on this frame), or a clean bevel. Unfortunately, this is my own custom combination of moldings offered by this framer, and recent price changes have made this combo too pricey for the small paintings on which I think it looks best.
East Greenville Barn
oil/linen, 16"x22"; A classic Whistler-style frame, which offers a bit more depth and dimension than moldings with a flat panel. I have ordered this frame with the lightly stained finish that you see here, and also in bright gold, or stained to a deep bronzy color, which works well on snow scenes, as well as green mid-summer landscapes.
Falls
Mill, Tennessee, oil/linen/board; A custom solution from framer Craig Hackman: rather than use a linen or gold liner to create some breathing room around this painting, we created a floater frame out of a classic 3½” gold molding. Craig designed a shallow 'box' that is painted black and mounted on the back of the frame to create a dark well in which the canvas or panel can appear to float. This backing can be added to any frame, and offers a unique approach to finishing certain work that resists the confines of a typical frame.
This is a gold metal leafed frame with hand carved corners, and a scooped profile, giving an elegant, custom look. Available "ready-made" in common stock sizes, or it can be ordered as a custom made frame; the width of the molding shown here is 3½”, although the same framer now offers this style only in a 4" profile. Summit offers other hand-carved moldings in traditional plein air styles, as well, including the Arts & Crafts design shown below..
A classic Arts & Crafts frame design with hand-carved corners; this style is a full 4” wide, with a flat panel and carved details on the inner margin, as well. Available in stock sizes, or as a custom order. The finish on this example is an antiqued silver (aluminum) metal-leaf, which, in my opinion, looks good on very few paintings, but I do think it looks perfect on Pond Light, November.
A simple, inexpensive custom frame with a hand-rubbed “rosewood” finish. This molding is barely 2” wide, and works particularly well on smaller paintings. The warm palette and tight composition of this painting called for a raw silk liner, as well. Steve Bell's rosewood finish is one of my favorite framing solutions; it works well with many hard-to-frame paintings, and it can be applied to nearly any frame molding.
Spring Seep, Woodcock,
oil/linen, 14x17½;
frames LEFT: by America Frames West (Arizona); RIGHT: by Skor Frames (New Hampshire). This painting, which has been published and exhibited extensively during the past five years, has earned two frames for itself. Actually, I was unhappy with how it looked in the tawny barnwood frame on the right. There is nothing wrong with the frame itself; it just did not display the painting as well as it could be shown. I felt the image needed more of a formal look, and a more defined edge. The hand-carved, dark rosewood frame from Steve Bell, with a bisque-colored raw silk liner is perfect. And I think it is instructive to see how different the same painting can appear in these two frames.
LEFT: Early Snowfall,
Hairy Wodpecker, oil/linen 16"x20"; RIGHT: Sheltered
Jay, oil/linen/board, 14"x12" A rustic, distressed finish is the perfect compliment for many wildlife paintings. Here are two frames, both with a "western distressed" finish. Although different in profile and finish, each is the perfect match for its particular painting. The warm hues of the sunrise in Early Snowfall needed warm colors in the frame, and a 22k gold leaf panel. For the cool hues of Sheltered Jay, I chose a "driftwood" color and 12K white gold. Note also that this particular molding is reversed from typical profiles—the outer edges recede from the painting, rather than protruding in relief, while the heavier molding on the woodpecker is a more classic profile.
A distressed barn wood style frame is also often a good solution for landscapes that do not look right with gold or silver leaf. In this case, the 3” molding is finished in a warm gray; the gold panel is 18K “lemon” gold, and the 1” liner is wrapped in raw linen. This frame is a near-perfect match for the tonality and colors of the foggy landscape; silver or gold leaf would have competed with the subtle hues of the painting. Since this photograph was taken, I have painted the natural linen liner on this frame to match exactly the greenish-gray of the painting and frame; I will post a new image soon.
An example of a distressed barnwood frame without gold leaf—an economical option when ordering this style molding. In this case, the finish is a warm tan, which perfectly harmonizes with the colors of the painting, and which is nicely set off by the narrow linen liner. A gold panel on this frame would have detracted from the overall color harmony.
This is one of the simplest, most economical framing solutions available. It matches nearly any painting, but tends to look good only with spare, modern décor and white walls. I use these “floater” frames when hanging my work in certain gallery settings. The advantage of these natural maple moldings–other than the low cost–is that the entire painting remains visible, from edge to edge, with no loss of the margins behind the rabbet of a frame molding (this style frame is attached from behind the painting). Note, however, that in some cases, this type of frame will accentuate any imperfections in the sides of the panel or stretched canvas. This style of molding is available in natural maple, stained wood, and black; it also comes in a deep profile to accommodate heavyweight canvas stretchers.
Morning on the Flats--Snow
Buntings, oil/linen, 24"x34"; From the simplest style to the most ornate frame I have ever ordered: a massive, custom molding designed by Steve Bell at America West Frames for a major show piece. The painting is on a heavy stretcher, so the molding also is backed up, creating a substantial 3" frame depth. Is it overkill? Perhaps. The scooped panel is finished with a rubbed gold metal leaf over rosewood on textured gesso. Overall, I think it may detract from the delicacy of the image. But it certainly did draw attention when the painting was on exhibit last year! I may try to refinish the panel myself with a subtle gray patina that will better harmonize with the cool hues of the snow. If I do, I will post 'before' and 'after' images here on the website. We artists often have to be framers, too!
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