BOURNE
ORIGINAL ANTIQUE FRAMES
Bourne Frames holds a large stock of fine antique frames for paintings, drawings and prints dating from the 16th to the 20th centuries and including British, European and American examples. Historically, frames have been discarded according to changes in fashion and often replaced with inferior choices; original frames were destroyed in many cases, sometimes burned to retrieve the gold.
We specialise in identifying and sourcing an appropriate frame for each painting taking into account historical period, style and aesthetic; ideally, we aim to find a frame which corresponds closely to what would have been the original. Whatever the choice, we can supply photomontages by email or hard copy to illustrate your painting in a range of complementary frames. Frames can be adapted to suit. A wide network of contacts in the UK and overseas supports our frame search service.
REPRODUCTION FRAMES
When it is not possible to find an original period frame of the right size and style, we can supply a reproduction frame. We can copy existing frames or offer a pattern and finish from among our samples.
Based on research and experience and, where possible, copied from original examples, we design and run mouldings from which we make frames from all periods. We specialise in frames for Raeburn, Melville, Whistler, Fergusson and Dutch 17th century paintings. Our work is to be found in public and private collections in the UK and overseas.
CONTEMPORARY FRAMES
For 20th and 21st century paintings, we can supply hand-finished frames. We design and run many of our own profiles and can copy existing frames. Frames can be finished in gesso, paint, gold or metal leaf. Each frame is made specifically for the painting in question; profiles and finishes can be chosen from our range of samples in any combination, adapted from similar examples or created for the project.
FRAMING
Conservation framing and mounting is one of the most effective ways of preserving works of art on paper; equally, poor quality framing and mounting not only fails to protect but can be the cause of permanent damage.
Many factors can affect the health of an object: UV light, both natural and artificial; extremes of temperature and humidity; atmospheric pollution; pest infestation; poor storage, hanging or handling can all have detrimental consequences, but damage can be prevented or minimised through good conservation practice.
Light damage is cumulative and irreversible. High UV levels cause pigments to fade or darken; paper degrades and becomes brittle, yellow, brown or bleached. Changes in colour take place imperceptibly and, by the time they become apparent, are permanent and cannot be treated. The only prevention is to glaze with UV-filtered glass or acrylic and to keep the object out of direct light and heat; in particular, avoid hanging paintings in a south-facing light, over radiators and fireplaces or on the interior of external walls.
High humidity levels can cause pest infestation, mould growth and staining of the paper, including ‘foxing’, which appears as scattered rust-coloured spots. High temperatures increase the rate of paper deterioration, resulting in brittleness and darkening.
While the museum recommendation for a temperature of 16-19?C and relative humidity of 45-60% may not be achievable within a domestic environment, it is advisable to try to keep temperature and RH as stable as is practicable.
Paper, mounts, back boards and supports made from unpurified wood pulp create an acidic environment which damages paper and pigments.
Pressure-sensitive tapes (for example, masking tape and Sellotape) should never be used. The adhesive bleeds into the paper creating staining and in a short time the tape becomes difficult or impossible to remove.
MATERIALS
All our mounting materials are acid free. Mount board is 100% rag board, made from cotton fibre; backboards are Meridian High Density board which is acid free and buffered. Tapes are gummed rather than pressure sensitive and of archival quality.
We supply plain or decorated mounts in a range of depths: enhanced mount options include washline, incised, lettered, paper-covered and Peploe bar.
Although clients may choose to use standard glass, we would normally offer a product from our museum-quality range: most of our glass products are water white, which does not alter the colour and tone of the watercolour or paper by throwing a green cast; glass and acrylic is available with UV-filtered and non-reflective properties.
FRAMES
Like a painting or watercolour, a frame or gilded object can be irreversibly altered and its historical, sentimental or monetary value affected by treatment carried out by the untrained hand. Use of any kind of proprietary gilt creams and waxes (Goldfinger) or gold (bronze) paint is not advisable and can permanently damage beautiful original gilding.
Bourne Frames offers a full service from housekeeping advice through conservation treatments to full-scale reconstructions of damaged frames. We carry out structural repairs, consolidation of structural and surface elements, cleaning, reinstatement of carved and compo ornament, regilding and removal of bronze.
PAINTINGS
Our conservators are well-practised in all aspects of paintings conservation and provide a service which includes structural treatment of works on all supports, linings, cleaning and retouching. We adhere to the principle of minimum intervention and always recommend the conservative route as a starting point.
Accredited by ICON, our conservators will undertake with confidence the most complex and challenging tasks and will work with other specialists on multi-disciplinary projects.
We provide condition reports and treatment recommendations, in the studio or on site, for the purposes of conservation, remedial treatment, valuation or purchase at auction. Clients are given a report and estimate in writing before the commencement of each project.
WORKS ON PAPER
Accredited by ICON, our paper conservators provide the full range of treatment for watercolours, drawings, prints and other works on paper. This includes treatment of discoloured paper, foxing, physical damage and loss, removal of acidic backing boards, tapes and adhesive residues.
OBJECTS
We can treat objects in a range of media including gilt or polychrome wood, metal and plaster. (image here of giltwood putti)
PLAQUES
We make picture plaques, hand-lettered on gilt, gessoed wooden tablets in a range of scripts, colours and finishes to suit frame and painting. We can also supply plaques engraved on metal. (image here of gilt, lettered plaques)
GILDING AND CARVING
In addition to gilding frames, we gild sculpture, artefacts, furniture and objects in a variety of materials, including wood, glass and metal, for interior and exterior purposes. We carve replacement pieces and ornament for frames, sculpture and objects.
HANDLING
Period frames should be handled with great care. Use close-fitting cotton or latex gloves when lifting or carrying frames because moisture and oil from the skin will damage the gilded or painted surface of the frame.
Lift a frame with both hands at the sides and, ideally, ensure that there are two people available to carry the frame to its location. Support the frame beneath; do not put pressure on the joints by carrying the frame by its top member alone.
ADVICE AND RECOMMENDATIONS
Hanging
A considerable portion of the remedial work we carry out to frames, paintings and objects is the consequence of unsafe hanging techniques. Most common is the practice of hanging a painting using one centrally-placed hook and string or wire stretched between two fixings on the frame. We do not recommend using this method. Even specialist picture cord or wire is unsuitable for this purpose. The cord or wire stretches, desiccates and frays over time and breaks without warning. Rings can stretch because they are pulled at an angle. Fixings can work loose and pull out of the frame timber. Paintings of all sizes and weights should be hung using two plate rings on the frame hung directly on two hooks in the wall. This is especially important for glazed paintings, which are very heavy. (images of stretched rings and broken string here)
Housekeeping
Frames should be cleaned or treated only by a qualified conservator, other than to be lightly dusted at home once a year with a very soft artists’ brush. Wrap the metal ferrule of the brush in tape to ensure it does not scratch the frame.
Do not use water-based fluid or solvent for cleaning; it will dissolve the gold, leaving only the coloured bole beneath to show through.
Many originally gilded frames have been overpainted with gold paint – known as bronze – which may discolour and become green if water is used for cleaning. Bronze can only be removed using solvents which are likely to remove any oil-gilding remaining beneath. Underlying water-gilding can sometimes be saved by a skilled conservator.
Hang paintings and frames away from sources of heat, draught, damp and light. Gold and gesso will be affected by damp, causing gesso to disintegrate and crumble. Heat will cause gold to curl and the joints of frames to open up as a result of timber shrinkage. Compo ornament shrinks and cracks naturally with age but the process will be exacerbated by adverse conditions.
DELIVERY AND HANGING SERVICE
We will conduct site visits to advise on and/or carry out placement and hanging of single paintings or whole collections. We will inspect all fixings, replace as required and rehang safely.
We can collect and deliver, or provide transport between locations.
PACKING, TRANSIT & SHIPPING
We provide a packing, crating and transport service for paintings, frames and objects within the UK and overseas. We have our own van and driver, or will use specialist couriers when necessary. We also provide advice to clients moving paintings, frames or objects.
STORAGE
We have limited storage facilities in our studio but can arrange and manage secure, climate-controlled storage to suit clients’ needs. This is advantageous when managing conservation projects for large collections.
COLLECTION SURVEYS AND CONDITION REPORTS
We carry out assessment surveys of collections and individual pieces, and provide condition reports and recommendation programmes for all requirements, including loan, sale, insurance, good housekeeping and hanging.
EMERGENCY RESPONSE
We can provide or participate in the following:
Disaster planning
Response to fire and flood damage
Immediate remedial treatment
Salvage teams
OIL GILDING
The application of gold or other metal leaf to a surface using an oil-based size (adhesive). The size is coloured yellow to allow the gilder to see where it has been applied. The frame is normally prepared with gesso and bole first (see below) though gold can be laid directly onto the timber of the frame.
WATER GILDING
Gold leaf is laid onto a gessoed and boled surface using ‘gilding water’ – a mixture of water, animal skin glue and alcohol – which activates the bole and functions as the adhesive. This kind of gilding is water-soluble.
GESSO
Gesso is made from chalk and animal skin glue; it is painted onto wood in layers of up to 20 coats to create a surface for gilding.
BOLE
Bole is made from naturally-occurring clay; the different colours and properties depend on its geographical source. It is diluted with size (animal skin glue) and heated, then brushed over the gesso. The different bole colours reflect through the thin gold leaf, altering the colour and tone of the gold. Different boles can help to identify the origin or period of the frame.
BRONZE
Bronze is gold-coloured paint used to refresh aged gold or to cover rubbed or lost gilding. It oxidises and darkens over time and can be identified by its heavy, flat, granular appearance. Some late 19th century and 20th century frames were made with bronze finishes.
COMPOSITION
Much ornamentation is made from composition, known as compo; it emerged in the mid-18th century and was used to ornament mantelpieces and interiors, particularly in the Adam tradition. It became the predominant method of ornamenting frames in the 19th century. Compo is made from chalk, glue and resin; Bourne Frames still uses the original Adam compo recipe.
GLASS
Standard glass, known as float glass, offers only physical protection.
UV filtered glass will give significant protection from natural and artificial light, although a painting, especially a work on paper, should not be hung in direct light. A range of UV filters is available, from 84% - 99%.
Water white: doesn’t show a green edge when cut so does not interfere with the tone or colour of the painting.
Anti-reflective glass and acrylic provide a satisfying visual effect, allowing the viewer to appreciate the image without being distracted by light reflection.
Laminated glass can be used where the painting hangs in a public space or requires additional protection for other reasons.
Bourne Frames and Conservation
6 Dundas Street Edinburgh EH3 6HZ
Tel: 0131 557 4874
Fax: 0131 557 8382
Email: frames@bournefineart.com
Opening Hours: Monday to Friday 10am-6pm
Team:
Susan Heys Period Frames; Frame Conservation; Works on Paper
Jane Hutchison New Frames; Frame and Paintings Conservation
Sally Groom Administrator