An Oval Frame . . .
Step-by-step process of an oval frame:
A bare wood plank comes from the timber yard and gets sawn, jointed and planed to the right dimensions
Two oval shapes are drawn on a glued frame, to the client’s required dimensions, one slightly narrower than the other in order to form the rabbet (the recess where the picture, glass and backing fits in).
The ovals are cut out and glued together
The moulding is shaped by hand, also to the client’s required shape
The frame gets 8 - 10 layers of gesso (gelatin and french chalk mix)
The final finish is black over red Plaka paint, slightly distressed so the red can show through the black and then wax providing a satin finish
The complete frame
A regular frame . . .
Once the bare wood plank has been sawn, jointed and planed to the right dimensions, the profile is refined with a few extra curves by means of a scratch stock
The rabbet (the recess where the picture fits in) still needs to be formed and then the mitres are cut.
The corners have received the slots for dovetail keys and are now glued and clamped
Every corner is joined by a combination of methods i.e. glue, dovetail keys and dowels. V-nails are also used.
The frame gets 8 - 10 layers of gesso (gelatin and french chalk mix) and then several layers of bole (clay) for water gilding
In this case black bole is used with a few other colours from the picture to be framed, over it
The frame has been water gilded in pure silver leaf
The silver leaf is distressed until the multi-colour bole shows at a few places and then in this case, the silver has been toned with shellac. From there the golden colour
Complete frame
Another version of the same moulding. Only the outer edge has been gilded in silver leaf and the face painted with speckles of colour from the picture
19th Century Neoclassical Frame . . .
The frame is for a 1mx1m portrait but enough sticks have been shaped for a smaller ‘test/sample’ frame as well
The frames have been assembled
I had to make my own ornaments for the frame. An acanthus leaf was made out of modelling clay and then a negative mould was made in plaster of Paris. From the negative mould a positive mould was cast in resin
Silicone moulds have been cast of the acanthus leaf and the other ornaments required for the frame
The silicone moulds
Compo is the material used to cast the ornaments in the silicone moulds. Here I am kneading the compo
All the ornaments have been water-gilded in 23,5 carat gold. The red is the bole - a clay layer containing glue to which the gold adheres. The red coloured parts will receive a bronze powder finish. The test/sample frame is on the workbench in the background
Detail of a ribbon on the laurel leaf course . . .
. . . the acanthus and the laurel and ribbon-and-stick ornaments - all gilded
The 19th century neoclassical frame complete (Painter: August Botha)