We have just finished a big project to frame 25 beautiful old watercolours. It was an absolute delight and a job I will not forget.
Here is a few of them for your viewing pleasure!
We are often working with Interior Designers, this is something I really enjoy, one reason for this is they have really interesting and different ideas. I am not too proud to admit that I am always open to new Ideas, something that Julie Maclean has in abundance! We have been working with Julie for many years and it always brings up something a bit different…..challenging!
I have mentioned this before but at the risk of repeating myself ….I love it when customers show us our framing in situ, so in that spirit here are a couple of photos that Julie sent us of her most recent project. For this we framed an art work on material, we stretched it over a large frame first then floated it within a thin white frame. Floating means the edges of the frame do not cover the art work, there is a gap between art and the frame so one can see the framed piece in its entirety…very effective.
To see more of Julies work you can visit http://www.juliemaclean.com/
Well they do not come much bigger, this sampler was done by a customers mother and is extremely precious. It was fragile and we had to sew it on to a new backing to give it strength and stop further deterioration. We chose a suitable backing cloth and my mum proceeded to surface mount it to this. Then it was laced over a conservation board and framed. We kept the needlework away from the glass by building in a spacer behind the rebate of the frame.
This job was completed a few years ago but the customer recently came in with some more work, and commented how pleased she still is with the framed sampler, so I asked for a photo. I love seeing our previous work again and I get a lot of satisfaction from being able to play a part in the story of this wonderful family heirloom.
I love it when this customer comes in as she always brings in something different, it was so nice to get a picture of her majesty in situ!
(the queen doesn’t look bad either)
I really enjoyed framing this sword and if I say so myself I am delighted with the results, as was the customer. We had to be able to make a frame with a very deep rebate, luckily we have designed our own profile that enables us to frame very deep items but still gives us freedom to use most of the frames in our range.
Putting a suede background behind the sword really made it stand out.
The frame was finished off using our clear colour glass which seems to be especially effective on frames with depth. It felt like one could reach in and grab the sword…… gulp!
Recently we were approached by the conservator, Annabel Wylie, about making a perspex frame for 3D textiles. The textile in question was a ‘230 Year Old Apron’ which was mounted on fabric covered polycarbonate.
Given the fact that perspex has a high degree of reflection we advised that a very deep frame, coupled with a generous space around the apron, would enable quite a wide viewing point and a better option.
In addition to this, using our very special clear colour glass, being very clear and with UV filtering properties, it would appear as if the glass was almost not present. Given the intricate detail in the stitching and that perspex does not have UV protection, we also felt that the apron would really benefit from being protected from fading due to light. Our UV glass was the perfect answer to this problem.
Finally, we stained the deep spacer to match the blue fabric on the mount board then framed around this with an antique effect silver frame, trying not to distract too much with the frame but to compliment the piece.
The final product really showed off the antique apron, enabling the viewer to get a full appreciation of the piece. Both Annabel and her client were delighted with the results.
This new contact is important us as we are often approached by clients with very old needleworks in need of some restoration or conservation. We are now looking forward to working with Annabel on similar projects and are please to be able to offer her services together with our framing to all our customers.
The photographs taken by Captain Scott on his final expedition to the South Pole were saved for the nation by the Scott Polar Research Institute thanks to the support of the Heritage Lottery Fund (HLF) enabling their purchase, exactly 100 years to the day since his expedition reached the South Pole.
The remarkable collection of photographs gives a view of the Antarctic as seen through Captain Scott’s eyes as he documented the first part of his epic journey to the South Pole. Subjects include his companions, the ponies and sledges, the scientific work they were undertaking and the breathtaking Antarctic landscape.
The photographs themselves were printed in the Antarctic by members of Scott’s team as they waited for his return from the Pole, and for most of the past 70 years were considered lost.
We at Simon Robinson & Son had the privilege of viewing this remarkable collection first hand while we framed, in solid oak, the limited edition prints of the photographs for one of the exhibitions.
After framing the Inuit Art pieces for ‘The Scott Polar Institute’, in Cambridge, we were aproached again, this time though to handle some very exciting pieces from the ‘Captain Scott’s Last Expedition’ collection now on show at ‘The Polar Museum’.
They included artefacts, photographs, some of Dr Wilson’s watercolours (Photos and watercolours to be shown in the next blog) as well as a penguin-shaped menu made by the expedition team whilst spending Midwinter Day at Cape Evans.
The Penguin menu presented a challenge as it needed to be suspended in the frame so that at any time in the future it could be extracted straight from the frame. We created an oversized mount following the exact profile of the menu (penguin shaped!) to eliminate contact, no adhesive used. For Conservation purposes, this was made from museum grade cotton core board as opposed to wood pulp board.
As you can see, the back of the menu held as much importance as the front. The frame had to be constructed so both sides could be seen. The mount was cut in the identical way as the front and of course once again our ‘clearcolour uv glass’ was used.
We were so exited to be involved with this project, and it was quite emotional to be dealing the items themselves, one had a real sense of wonder and awe!
I just popped out to feed Fred the pheasant and saw this lovely sun rise!
Recently one of our customers came in with a lovely oil painting with a request for a specific look for their frame. We were able to match their unique requirements by hand finishing a moulding from our range.
The frame was distressed, using a technique we have perfected over time at Simon Robinson & Son, to give a weathered finish. The subtilty of the finished frame really complemented the oil painting and the final effect was stunning.
To further enhance the look, we incorporated a gap around the oil which gave the appearance of the canvas floating within the frame. Also, we included a spacer to set the canvas in relief and deepen the gap between the glass.
Here we added our special clear colour glass to eliminate as much reflection as possible so the framed oil can be viewed in the clearest way.