Framing is such a personal choice, I hate to be all judgmental about the topic. I’ve always preferred simple floater frames for most of my work on panels, since I am all about painting to the very edges and hate to see anything covered up. I also like the simplicity (and economy!) of gallery wrapped canvas or cradled hardboard and will paint the sides with a coordinating color or even continue the painting around the sides. I recently learned that many of the Impressionist painters mounted their works in plain white frames, the idea being that the colors of the paintings wouldn’t be upstaged by gaudy gilt frames favored during the Renaissance. Isn’t it ironic that most all Impressionist and Post Impressionist works are now being displayed in Renaissance style gilt frames?
Which brings me to the topic of todays post, sorry it’s been so long in coming. I’ve just come from Berkeley where I’ve visited Tim Holton’s framing studio and gallery on Fifth and Addison. You can visit his website at https://www.holtonframes.com/ . Tim makes handcrafted frames from exquisite hardwoods that really take your breath away. The gallery also displays a host of renowned contemporary California landscape painters framed by the studio. My favorites are Terry Miura and Paul Kratter. I am lucky enough to own one of each with the Kratter framed in quartersawn white oak that was weather stained and edged with gold made by Tim. I have also framed two of my paintings from his studio and I have to say, the frame really does make the painting. If I could, I’d have all my work framed like this. Here is a recent Longhorn in his frame. I hope you agree that this beautiful frame enhances the work. Maybe a little gold is a good thing, haha!
Here is another painting of mine, titled Carmel Monastery, framed in a Tim Holton.