New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-12-24
TASTEFUL PICTURE FRAMES.
HOW TO DISPLAY OILS AND WATER
CoLORs TO ADVANTAGE
AoA1ysr Dark BACKGROUNDS MOST PAINTINGS
REQUIRE GRAY OR GRAY-BI.UE MATS
AND AGAINST LIGHT ONES WHITE
FRAMES SHOULD BE IN
OBTRUSIvE.

oBTRUsIvE.
IN these days OF general art study few house
keepers arc without some friend who belongs 70
tho student ranks and who regards the gift OF
sketch as a sufficient recognition Of hospitality
The artist is right. and the recipient o. the sketch
Usually thinks so. In the inexpensive bu: attrac-
tive framing Of pictures these hints may he found
useful
water-color sketches OF landscapes in delicate
tones, flowers OF soft color and marine subjects
are generally most suitably mounted-when the
Wallpaper is light. II ia In nine cases out OF
tsn-wth white mats in simple. fiat Gilt frames
On q dark ground 1t is usually better 10 select a
grsy or gray-blue mat. as the white makes too
Violent contrast
When the drawing is In deep and intense tones a
gilt mat Is often desirable to bring out the rlch
ness Of color. A wood interior. for instance or a
flower study with a good deal o, red In IT, looks
best with the gilt mount. This mount should al
vays DO OF the best quality, as cheap gold mat
furnishes quickly and It's dulness enfeebles the
strong tones Of the picture
ADVANTAGE IN WIDE MATS.
The mat should form broad margin. which
tends to isolate the picture and thus enables one
to see It as a thing apart and not mere varia-
ton In the wallpaper. 1t is best TO use beveed
mat, as the glass should not come In contact
with the picture. The frame should be narrow
possible. a massive one will almost destroy
the effect OF a delicate aquarelle
frame being somewhat softer than god. YET with
considerable yellow in It White is rarely desira-
BILE Sometimes. however, a brilliantly sunny
water-coor. with marked preponderance OF blue
may be matted and framed in white and will
make a charming bit OF illumination for dark
corner. where IL receives no direct Hight from the
window.
Black is never TO be used in framing water
colors. as II deadens them completely and would
rob the sunniest drawing o, lis vitality. 1t should
not be used often even for engravings. with which
1t is sometimes permissible. An oil painting IN
strong color, however may be rendered douby
eheciive by deep black Trans Before deciding
1t is not more suited to the average oil than il Is
to the water.color Engravings and etchings may be
framed In wide. fiat frames OF oak chestnut
USE OF EBONIZED FRAMES
II the wall paper be very light and characterles.
TIE ebonzed frame may be used with advantage
and also If the background is in any intense color
such as glowing red or brian: blue One room
hung In deep, rich blue. with window draperies
end porteres Of blue plush and blu, effects in the
furniture. had the paintings, some OF which
oil and some wa :er-colo- drawings. all framed
either in gold in ebony. The effect was stril-
ingly artistic. but the experiment would have been
perilous for q person not absolutely certain
Of her taste and her resources. The designer in
this the daughter OF Italian sculptor,
and her whole life had been passed in an atmos-
phere OF high art"
The last year or two has brought a welcome de-
parture in the framing of black and white etch
ings. photographs and eneravngs The new style
grew out or tne great success or Inc platinum
phctogra phs Of the mural paintings in tire Boston
and Congressional libraries. These being neces-
sariy reproduced In sections-that is. In single fig
groups-it seemed desirable TO have the con-
tinuity OF subjec; preserved IN framing. and the
old "triptych idea was adopted. with suitable vari-
alton and extension. so that seven or eight o. the
photographs may be inclosed In wide frame
divided only by the narrow strips combining the
outer edges. The style Is distinctly architectural,
suggesting the purpose OF the pictures mural
decorations. These frames all made Of oak.
deeply stained into dull black or green. with dell
cate plaster augmentation, sometimes lightly
touched with gold
The authoritative rule about hanging oil and
water-color paintings in the same room Ia. Never
do IT. but like all other rules Il has It's EXCEPTIONS
as IN the room mentioned above. less rigorous
rule. which conveys the necessary hint Is. do no.
mix the two The divisions Of wall space always
lend themselves to a judicious sepa ration. Mass
the water-coors the large spaces. leaving the
smaller ones-on each side Of the fireplace per
haps-for the two oils OF which you may be
the fortunate possessor II the pictures be princi-
pally engravings etchings follow the same RUE
give the isolated and distinctive space to the single
important picture.
A final rule indeed. initial and nvariabie rule
is, Never frame or hang anything not really good