#frameitonceframeitright
#vintageframes
#mirror
#handwright
These Norwegian meerschaum pipes are small objects with a long cultural memory. Meerschaum, a soft white mineral also known as sepiolite, has been prized since the 18th century for its ability to absorb oils and deepen in color over time. With use, each pipe develops a patina that is entirely its own, shifting from pale ivory to warm amber and deep honey tones. No two ever age the same.
While meerschaum is most closely associated with Central and Eastern Europe, its reach extended north, where Scandinavian makers embraced both its function and its sculptural potential. Norwegian pipes often reflect a quieter restraint in design, letting form and material speak without excess.
Framing these pieces was about honoring that evolution. Set against a restrained backdrop and housed in a gold frame, the warmth of the metal draws out the tones earned through years of use. What was once held in the hand now lives on the wall, preserved not as a relic, but as an object still carrying the imprint of time and touch.
A different kind of portrait.
#meerschaumpipe
#shadowbox
#Handwright
#frameitonceframeitright
THE FRAMING OF AN HERMÉS CARRÉ
In 1937, to mark its 100th anniversary, Hermès introduced its first silk carré (carré meaning
“square” in French) titled Jeu des Omnibus et Dames Blanches. Designed by Robert Dumas, a
member of the Hermès family, this debut established what would become one of the house’s most
enduring and celebrated creations.
Since then, the classic Hermès carré has measured 90 x 90 cm (with additional formats produced
over time) and can take up to eighteen months to complete, from initial design to final printing.
Each scarf may feature between twenty and forty colors, all individually hand-mixed and applied
using traditional silk-screen printing techniques. The silk is sourced in Brazil, woven in Lyon,
France, and finished with hand-rolled, hand-stitched edges: hallmarks of Hermès craftsmanship.
Often regarded as works of art, Hermès scarves are also preserved and displayed as such. Because
silk is a delicate textile, special care is required in its presentation. Before being placed within a
frame, each carré is carefully hand-mounted using hundreds of precisely positioned pins to gently
support and tension the silk. Spacers are incorporated to prevent contact with the glazing, allowing
the fabric to breathe and preserving its natural drape. Finally, museum-grade UV-protective glass
is used to safeguard the scarf ’s luminous dyes, which are as beautiful as they are light-sensitive.
The result is a refined, archival presentation; one that honors both the artistry of the design and
the craftsmanship behind it.
#hermés
#hermésscarf
#framedhermesscarf
#museumqualityframing
#handwright
New work by Julia Jensen (@juliajensenstudio) just arrived at Handwright Gallery.
“East End of June” is a great example of her loose, layered painting style—built up with confident brushwork and a palette that leans into soft greens, blues, and sun-washed neutrals.
Julia Jensen
"East End of June"
Oil on Board
40" x 60"
#juliajensen
#landscape
#handwrightgallery
A recent framing project connected us with a remarkable local treasure: Weir Farm National Historical Park (@weirfarmnps).
We framed works by Caro Weir Ely and Mahonri Young: both are closely tied to American Impressionist J. Alden Weir. Ely, Weir’s daughter, grew up on the farm and carried forward its artistic tradition, while Young, Weir’s son-in-law and a noted American sculptor, was part of the creative circle that gathered there.
Located in Wilton, Weir Farm National Historical Park is Connecticut’s only national park dedicated to American painting, preserving Weir’s home, studios, and the landscape that inspired generations of artists.
If you haven’t been, it’s a gem. Take the time to explore what’s in our own backyard. These pieces will be on exhibit in the Weir House this upcoming season.
#weirfarm
#nationalparkservice
#nationalparkforart
#weirfarmnationalhistoricalpark
#americanart
Large-format historical maps, like the 1853 Morris Levey map of Washington County, NY, were originally printed as oversized wall maps — often hand-colored and mounted on linen. At nearly 5 feet tall, these pieces weren’t just functional, they were statement pieces.
Framing a map of this scale takes thoughtful planning:
Support matters: Many antique maps were backed with linen. Conservation framing keeps that structure stable without stressing brittle paper.
UV protection: 19th-century inks and hand-coloring are light sensitive. Museum glass helps preserve detail and color.
Scale & proportion: Large maps need strong moulding and balanced matting to complement (not overwhelm) the artwork.
Reversibility Proper archival mounting ensures the map can be removed in the future without damage.
Whether it’s a county landowner map filled with family names or a decorative regional piece, these oversized works bring history to life — and deserve framing that protects them for the next 150 years.
#HistoricMaps
#AntiqueMaps
#CustomFraming #ConservationFraming
#frameitonceframeitright
A new forever home for a classic 🕊️
This framed replica comes from Histoire Naturelle des Oiseaux, part of the monumental 18th-century work by French naturalist Georges-Louis Leclerc, Comte de Buffon. First published in the 1700s, Buffon’s volumes helped shape how Europe understood the natural world: blending science, art, and a deep sense of wonder. We love how these illustrations were created to educate and delight, and how striking they remain centuries later. Recently framed and finally right where it belongs.
