- Many, many moons ago I was at the Prado, one of the world's great art museums in Spain, and I was standing in front of this gigantic baroque painting, and there were a couple of women behind me who were not feeling it, it just wasn't their thing.

They had nothing kind to say about this picture.

And one of them said, "This painting stinks."

And the other one turned her and said, "Yeah, but that frame is rad."

And it got me thinking, yeah, that painting was kind of lousy.

The frame was kind of rad.

But how do you go from raw wood to something that can upstage a baroque masterpiece?

Well, let's find out.

(whimsical classical music) I'm Julian Baumgartner.

As a Fine Art Conservator over the past two decades working to preserve artworks, I've been fortunate enough to meet and work with some of the most talented, driven, and interesting people in the arts.

And now I want to take you into their worlds to meet them, hear their stories, and share their passions.

So join me as we go Behind the Canvas.

(footsteps tapping) Hey, April.

- Hi Julian.

How are you?

- I'm good.

How are you doing?

- Good.

Well, thank you for visiting today.

- Well, I'm super excited to be here.

I've been working with you for 15 or so years, but very rarely do I get to leave my studio and come to somebody else's.

So this is a real big treat for me.

- Oh, wonderful.

And I love visitors.

- So this is Armand Lee Framing.

- This is Armand Lee, but this is just a small part of Armand Lee.

The magic really happens elsewhere in the building.

So let me take you to the heart, what we do.

- Oh, I'd love to see it.

Yeah.

Lead the way.

- Wonderful.

- [Julian] Founded in the 1940s, Armand Lee has always been dedicated to fine art framing.

And though the location, personnel and techniques have evolved and changed, their commitment to the art and craft of framing has never wavered.

Across the various materials, tools, and techniques, these craftspeople apply their trade with extreme dedication and care, but it's not often that visitors make it past the showroom floor.

- This is our basement, and this is where everything begins.

You can see our wood shop, and so you can see all the stock and the molding that we have here.

- [Julian] So this is kind of where it all starts.

- This is where it all starts.

And you know, we do pre-finished profiles, but we also do a lot of raw moldings.

- What is this steamy thing over here?

- The steamy thing?

- Yeah.

- This is really exciting.

So we don't necessarily have to hand carve every single frame.

We can actually use what they call compo.

Eva has put a piece of compo that has been preformed, and she is softening the compo in this steam box.

- So what is compo?

What is that in here?

- So compo is a combination of sawdust, rabbit skin glue, and like a calcium carbonate.

- It's a little sticky.

Is that the glue in this?

- It's a little sticky, yes.

When you wanna put this on a frame, most frames are not flat.

So we actually have to soften this.

So we soften it in this steam box to make it pliable.

- So steaming it makes it soft, pliable, and then it can be contoured or kind of fit onto the curved profile of the frame.

- Exactly.

- Oh, I see.

Cool.

Can I try this?

- Sure, you can.

- Okay.

So this goes into here?

- Yes.

Do I have to, is it- - Leave for a couple minutes.

- Okay.

- Seconds.

- It goes in, close the lid.

- Close the lid.

- And then we cook it.

- Mm-hmm.

- Waiting is the hardest part, huh?

- (laughing) Right.

- And so right now the steam is softening the composition.

- Yeah.

- The glue is getting sticky.

- Yes.

- And then when it's soft and sticky, we can take it and we can put it onto the frame.

- Sure.

- And then that's where it will live forever.

- Right.

- Oh, it's hot.

- Yeah, see that little point?

- Right.

Am I doing it right?

- You're right.

- Awesome.

- Definitely.

- [Julian] How long have you been doing this?

- Okay.

I started work here in 1981.

- Okay.

- Okay.

- And I do you know, only this, now it's easy because it's a small one, but I used to make a big one.

The sample is upstairs.

- So you are the compos specialist?

- Yes.

- Okay.

This is where the composition goes.

You put the composition in here?

- Yeah.

- And then it gets dried and flattened.

It goes over here, and then when it's done, we have the pieces that you can steam.

- Yes, the pieces right here.

- Okay, and so how long does this have to wait to dry before it can be worked on next?

- It's really dry already.

- It's ready?

That's it?

- Yeah.

- That's really quick.

- Yeah.

- All right.

So I get why, like, compared to carving- - That's right.

- That was really easy.

How long do you think they would've taken to carve this?

- Oh, maybe like one week go by.

(laughing) - Wow.

Okay, I get it.

So compo is really important.

- Yeah.

Yeah.

(gentle music continues) - [Julian] Armand Lee is filled with craftspeople like Eva with decades of experience applying a single trade, refining it to mastery.

It's no wonder why she's a critical part of the frame making process.

And while Eva focuses on composition, a relatively modern technique, some frames at Armand Lee are still made the old fashioned way, hand carving, a technique that's existed since, well, the first frame.

This work is truly impressive, and it happens just down the hall.

(gentle music continues) - So this is Juan.

He's one of our master carvers, and he's been carving for over 18 years.

- So is Juan making this?

- Yes.

So this is one of our samples from our showroom.

So we take this to Juan, and he is hand carving a custom profile or a custom frame for one of our clients.

- So basically he's just looking at this and then translating this to this.

There's no like jig or template.

And this is really where the mastery comes in.

- Yes, and keep in mind too, that like this could go on an 18 by 24 inch frame or a 16 by 20.

So like the scale may change as well.

- I'm guessing this isn't, like, this is not very time efficient.

- It's not very time efficient.

So this would, I would say take about eight to nine hours to hand carve this frame.

- Eight to nine hours to do just this small frame.

- Correct.

- And just these little corners.

- And just these little corners.

Correct.

- I mean, I'm kind of speechless because it seems like this is really simple.

I mean, there's not a lot going on here, but it's gonna take a full day to get this from raw wood to this finished state.

- It's a testament to our craftsmanship.

This you cannot recreate in composition or compo.

- Oh, okay.

- So it needs to be carved.

- Right, so hand carving is kinda like the pinnacle of frame making.

This is the cream of the crop craftsmen work on hand carving.

- Correct.

- And hand carving is basically dates back to the beginning of frame making, right?

- Exactly.

- Okay.

- The beginning, and you know, like painters, frame makers in the time of the Renaissance were just as esteemed as painters of the day.

- [Julian] Well, I mean, there's no doubt that Juan is a craftsman.

I mean, without a doubt.

- I always enjoy coming down here, and watching him carve frames, because it really, it's astounding.

It's a work of art in its own rights.

- Yeah.

It's really meditative.

It feels really tranquil and really calm.

But that's just 'cause we're watching.

I'm sure it's much more nerve wracking when you're doing it.

- This is actually a replica design of an arts and crafts frame, where back at the turn of the century in the early 1900s, the tradition of like showing like your materials and hand carving took over the desirability of compo.

- Right.

- And so carving was all the rage again.

- So fashion's change, styles change what people want changes.

And the frame maker has gotta be able to adapt to whatever the client's needs are, whether that's hand carving or compo or silver, gilding, all of this kind of stuff.

So really a diverse toolkit.

- Correct.

- Now Juan, would it be okay if I carved some of it?

- Yeah.

- All right, tell me where, tell me what to do.

So, down.

- (indistinct) behind it.

(indistinct) - Okay, so like that.

Alright.

- I'm gonna give you a little more space, Julian.

- Sharp chisels.

And everyone wants to get outta my way.

- Okay.

- Okay, so like that?

- Yes.

Okay.

- And then here?

- Yes.

- Oh, this basswood is nice and soft.

It carves really well.

I'm guessing that having razor sharp tools also makes a big difference.

It looks so easy and Juan, you do it so fast, but oh, I've, oh, I see.

- (indistinct) - I gotta go this way.

With the grain.

(people chattering in distance) Well, I could get into this.

This is really, really relaxing.

Nerve wracking, but, uh-oh, a little.

That's no good?

- That's not bad.

- I messed up here.

- Yeah, a little.

- Okay, so a little sandpaper and then, (sandpaper scraping) okay.

Oh, look at that.

Oh, that's perfect.

Oh, thank you.

You saved me.

I really appreciate it.

I'm gonna let you get back to it.

I don't wanna mess up anymore.

- So, Julian, this is our glass and mirror department where we make and silver our own mirrors.

- So are you putting the shiny stuff on the glass?

Is that what's- - Yes.

- Is that what silvering is?

- Yeah.

We're applying a combination.

It's a silver amalgam.

- I had no idea that there were people in Chicago that actually still did this.

This sounds like ancient alchemy.

- It's a definite, it's a combination.

It's a definite chemistry for sure.

And then we can do different things to patinate a mirror and make it reflect differently.

- That is bonkers.

So like, you guys can control every aspect of like the shininess, the way that it looks.

Totally custom mirrors.

- Totally custom mirrors - Through the marvel of modern chemistry, - Marvel of modern chemistry and artistry.

- Yeah, is there something that I can see or do?

- After a couple years, but right now let's just leave it to the pros.

- Yeah.

Keep Julian away from the chemicals, I hear you.

That's fair.

What is this, April?

This looks gnarly.

- So this is where the magic happens.

This is where we apply the silver amalgam to the glass.

- You guys can control every aspect of the mirrors.

This is something that like, you can't just go out to the store and get that mirrors that you're producing.

- This is a highly customized process and we work closely with our clients to deliver very custom specific artisanal mirrors.

- So who's buying a custom specific artisanal mirror?

- People that wanna replicate an antique mercury mirror, but with new safer materials.

- I see.

- For their antique frames.

- I see, and I'm guessing that the quality of these mirrors is just far superior to anything that you could order out of a catalog or go down to your big box store and buy.

- Oh, absolutely.

You see a lot of these in designer magazines and locations, lobbies.

- Well, I guess if you're gonna be looking at yourself in the mirror, you want the reflection to look as good as possible, right?

- That's a good point.

- It's no wonder silvering is rare.

It's a difficult process that can also be dangerous, which is why I was only allowed to look and not touch.

Let's be honest.

It's probably for the best.

Be it a mirror or painting, the surrounding frame must be finished.

And at Armand Lee, they're well equipped to deliver beautiful contemporary finishes.

But for some paintings, for the cream of the crop, it simply must be gold.

Gilding dates back to the ancient Egyptians.

And every culture since has employed this art to embellish the most important of objects.

But before the gold can be laid down on the frame, it must first be beaten.

The metal is flattened until it is thinner than a sheet of paper.

In fact, sometimes when held up to the light, it can be transparent.

And while there are now machines that do this work, the finest of gold leaf is still beaten by hand in Italy.

So what's going on here?

- So this is a custom frame that we're making, and we're recreating this sample.

So it's a contemporary float frame made out of 12 karat white gold leaf.

- Okay.

So no carving, no composition.

Pretty slick, pretty clean.

Is this easier to make?

- It's actually more difficult because when it's very minimal like this, any error that you have in the fabrication shows through.

- I see.

Right.

Minimalism looks pretty simple, but it's really, really hard to pull off well.

- This is Abraham and he's currently applying Bole to a new frame that we're making.

- So Bole, that's correct me if I'm wrong, that's clay and rabbit skin glue, right?

- Yeah.

Yep.

- Okay.

So Abraham, why do you have to put this Bole on?

- The Bole prepares the frame to receive the gold.

So the rabbit skin glue in the Bole gets reactivated when you apply water.

So the rabbit skin glue becomes sticky again.

And then you apply the gold to like a pool of water on the surface.

And then as it's drying, the water evaporates and it gets sucked in onto the surface of the clay.

And it adheres through the stickiness of the rabbit skin glue.

- Is it always red?

I mean, this is red.

- [Abraham] Yeah, we do the primary colors in clay and then in the showroom, if someone orders a color that we don't have ready-made, we can mix it together.

- Wow, wo everything is bespoke from the ratio to the colors?

- Uh-huh.

- Well, I've done a little bit of gilding, mostly just to repair frames when they're in my studio, but I've never had something this big or from scratch.

So I'm really curious like how it's actually done.

- You can try if you want.

- Okay.

- Yeah.

- Light long strokes.

- Yeah.

- Even applied.

- Yeah, even thin application.

- Okay.

This is the bottom where if I mess up, nobody's gonna see it.

- Actually, the mat, the fitters decide what's top and bottom.

So they get to choose whatever they want.

- I mean, I could see getting into the rhythm of this.

Is it kind of like a, like do you ever get that zen moment where it's like automatic- - Yes.

- And it just kind of feels like the brush is just kind of an extension of your hand?

- Yeah.

- So every frame that you work on, every frame that comes through here gets gesso, and then seven layers of Bole that have to be applied slowly, deliberately, and with care and patience.

- Well, it depends on the profile.

Sometimes we have to do more if there's ornamentation.

- More?

- Yeah.

If there's carved ornamentation, we often have to do more because as the clay dries, it kind of recedes from the edges of things.

So if there's a carved ornament, the edge will be more prone to breaking through to the gesso when you're sanding.

So you may have to do more layers when it's a more ornate frame.

- Now it makes a lot of sense for me.

I can take this back to my studio and now I have like a real sense of what I need to be doing.

- Yeah, good.

- The check is in the mail.

- Okay.

- So after all of this is done, after I've applied all of this gilding, right?

- Not quite, we still have to do sanding of the Bole and then polishing.

- Oh.

- But we've already taken it to that step.

- Oh yeah?

- Elsewhere if he wants.

- Yeah, I definitely, let's go.

Lead the way.

- Okay.

So this is the gilding process.

As you can see, Chelsea has cut the gold to match the frame profile.

- [Julian] How is she picking it up?

'cause that brush looks like magic.

- Yes, so the gold is so thin, but you have to charge the squirrel tail brush with static electricity.

Traditionally, you do it on your cheek, like from the grease on your skin.

Nowadays we use Vaseline on our forearms and we build about static electricity charge, and it kind of picks up the gold, holds it suspended against the squirrel hair, and then that allows Chelsea to bring it over.

- I mean, you're making it look really easy, Chelsea, would you mind if I tried?

- No, not at all.

- So do I need to Vaseline up?

- If you want, or if- - You can use your forehead.

- You can use the oils of your forehead.

- All right.

Prove how greasy I am?

All right.

We'll go Vaseline.

A lot?

A little?

- Just a little.

You can kind of see the sheen on my arm.

It's more of like a satin sheen.

- Okay.

- You don't have to- - So middle of winter.

- Yeah.

- Just hydrating my skin.

- Right.

- Gotcha.

Right.

Okay.

And these brushes are- - These tips are, they're gilder's tips.

- Gilders tips.

- I'm cutting them into smaller pieces.

- Right?

You have a couple of different sizes.

Smaller because smaller leaf?

- So for more detailed molding, doing smaller pieces, a little easier to handle.

- Gotcha.

- Especially with these multiple like tiers.

- [Julian] So then this is all set.

I can just put it down?

- So right now the sizing's kind of dry.

- Okay.

- If you, yeah.

- Okay, so a little bit of this and you tell me if I'm setting myself up for failure here.

- Okay.

I would just stretch it out.

Like stretch out the puddles that you have a little bit.

- Okay.

- And then- - Yeah.

- You just kind of let gravity sort of take it and the water will grab onto it.

- Uh oh, I broke it.

- That's okay.

- That's okay?

- Yeah, it's kind of natural.

It can't really be helped.

- Not for you.

It's not - Well, yeah.

- For me it's natural.

- Yeah.

The more you do it, the easier it becomes.

And after we do the first layer, we go through and do patches.

- Oh, okay.

So statically charge myself up or my brush up, then I come over here and- - [Chelsea] I would do it.

I personally like to do it towards the end.

- Okay.

- Some people like- - Oh, look at that.

- Yeah.

- That's magic.

- That way you can kind of drape it over the different- - I gotcha.

How long have you been gilding, Chelsea?

- So I started working in this company two years ago.

About half a year ago, I came up here and this my primary job now.

- Did you ever think that you'd be a professional gilder?

- No, I don't think I did, but I've always liked working with my hands and you know, arts and crafts and everything, so.

- No, I made a mess right here.

Okay.

- No, I think you're doing really well.

- Oh, well that makes me feel good, even though I know you're lying.

Chelsea, you must have the patience of a saint.

I can't even imagine having to work on a piece this size, let alone this one.

I have to ask, how long did it take to get to this stage?

- So I've been working on it for about a week now, maybe a little more.

- Wow, what is this gonna look like when you're done with it?

- Well, actually I think April here has a sample.

- So here's a sample.

So we designed this with the clients and this is gonna be the end result.

- This is gonna turn into this after Chelsea does a bajillion more steps.

How do you decide what this is gonna look like?

- You know, everything's very personal and very custom.

So we'll meet with the client, we'll look at their paintings or artwork and we will work together to find the right style frame, the right finish, and like the right toning and patina.

- Right.

Make more work for Chelsea.

I'm guessing that that doesn't happen here in the gilding room, right?

- It does not.

It happens in the consultation room.

- Alright, well let's go check out the showroom.

- Wonderful.

- Enter the showroom, and it feels like being a kid in a candy store.

With a collection of over 5,000 frame samples to choose from, it's hard not to feel indecisive.

From frames that perfectly match the elegance and grandeur of baroque masterpieces to sleek and modern designs fit for contemporary art.

The sky is the limit.

Each frame is carefully selected and curated to ensure that it complements and elevates the art within, making it a true masterpiece in its own right.

You mentioned trying to understand what the client wants and meeting those wants and needs so that you can get to a sample that they're gonna be happy with.

But April, you have a lot of samples.

Where do you even begin?

- We have over 5,000 samples and I always feel every day like a kid in the candy store, you know, but I get to help, like help clients in the candy store, figure out what they want.

And so, you know, we look at the piece and we start talking with the client and you know, I see this beautiful painting and it's from the first quarter of the 20th century.

So we start thinking about, okay, what with the frame would we like?

What would the appropriate design for that time period?

- So you're using historical cues, not only from the artwork itself, but from the time period to help inform what you're gonna suggest to the client?

- Exactly.

- After that step, I'm guessing, obviously you have to look at the painting and try to understand what would look good on a painting.

Is that color based?

Is it form based?

Is it, you know, different for a portrait, for a landscape?

- It's color based, it is form based as well.

It's, you know, what is the painting of?

A portrait may need a more formal frame, depending on where it's going.

- I see.

- The subject matter.

And it's also very intuitive as well.

We will start like just going through and shopping the profiles and they'll pick out items that they like.

You know, since everything is custom, they're like, "W"hoa, I want a curved frame because you guys can do it.

So then we'll like pick a curved frame.

- So the clients kind of let their, you know, their inner desires loose and maybe that kind of gives you some base reference for what they're thinking.

- Exactly.

Yes.

- And then I'm guessing you with your expertise will refine what they're thinking to something that maybe is gonna work better for the painting or for them.

- Yes, there's a lot of work and there's a lot of investment that goes into making the frame.

So you wanna make sure that you pick the perfect frame and you get it right the first time.

- Right.

- So obviously this is not gonna work for this painting.

Even as cool as a curved frame would be, it's just not- - But it is so cool that you can make it.

- It's very cool.

Yes.

- Yeah, yeah.

- So these are like different samples.

Like clients usually like, oh, I want a Louis XV frame.

- Yeah.

- These are so cool.

This is a great painting, let's do this.

This is not the right choice, you know, for this piece.

- I tell you, I see that a lot, a very modest, early American painting will come in with an incredibly baroque opulent frame.

And it's just absolutely wrong.

Not only does it not complement the artwork, but it makes it look silly and it kind of turns it into Kitsch.

But you know, shiny things, people like shiny things.

- Right, and people like, you know, like the black against the gold.

Now this is a Spanish profile, not really appropriate for this piece, even though it's really flashy and neat.

So if we went with something like this, - Yeah, I mean, right off the bat that just visually makes more sense than something like this.

I'll tell you, with 5,000 samples, managing the clients, understanding the artwork and all of that nuance, that's, I mean, that's really complicated.

And I mean, it's clear that all of that knowledge from the showroom to the workshop is why clients come to Armand Lee.

I tell you though, it is overwhelming for me to try to think of being in your shoes.

I am much more comfortable in the gilding and carving.

So I'm gonna leave this to you and I'm gonna go find a mess to make.

(bright music) (bright music continues) (bright music continues) All the historical knowledge that goes into knowing what's gonna look good on a painting, to the hand carving to the composition, and all of the weeks of preparation, sanding and delicate touch it takes to gild a frame.

Not to mention all the finishing.

These things are rad, but you know what, it's not the materials that make them rad.

It's the artisans, the craftspeople, the artists themselves.

That's what makes these frames, well, rad.

(bright music continues) (bright music continues) (bright music concludes)