Gill & Lagodich has framed American, European, and Russian paintings for the Brooklyn Museum. Selected projects include provision of period frames for paintings (listed alphabetically) by Arnold Bocklin, Roman Landscape, 1852; Agostino Brunias, Free Women of Color With Their Children and Servants in a Landscape, c. 1764-1796; John Carroll, Showgirl, 1926-28; Paul Cézanne, Ville de Gardanne, 1885-86; Jean-Baptiste Corot, Jeune Filles de Sparta; two works by Edgar Degas, Portrait de Mademoiselle Fiocre: à propos du ballet “La Source, 1867-68, and Portrait of A Man, 1866; Gerrit Dou, Self Portait, ca. 1631; Francis Guy, Winter Scene in Brooklyn, 1819-20; Frans Hals, Portrait of A Man, c. 1614-15; Willard Metcalf, Afternoon On The River at Grez, 1884; Henri Matisse, Fleurs, 1906; and three paintings by Claude Monet: Houses of Parliament, Effect of Sunlight, 1903; Rising Tide at Pourville (Marée montante à Pourville), 1882, and The Islets at Port Villez, 1897.
Custom-made replica frames were fabricated by Gill & Lagodich for the following: Gaspard Dughet, (French, 1615-1675), A Traveler On A Path In A Mountainous Landscape; five c.1882 floral panel paintings by Elizabeth Boott Duveneck; Dwight Tryon, Twilight, 1893-94; I. Lorser Feitelson, Diana At The Bath, 1922; and two monumental canvases by Vasili Vereshchagin, A Resting Place Of Prisoners, 1878-79, and The Road Of The War Prisoners, 1878-79.
Conservation/Restoration/Sizing of c. 1850s American museum-owned period frames for two paintings by Asher B. Durand, First Harvest, and Birch and Oaks. Conservation of original gilded wood frame for José Campeche, Doña María de los Dolores Gutiérrez del Mazo y Pérez, ca. 1796. Conservation of two frames original to Charles Balthazar Julien Févret de Saint-Mémin: James Alexander Fulton of Mount Erin and Elizabeth Bland Mayo Fulton of Powhattan Seat
The Gill & Lagodich design, adaptation and fabrication of a period frame style described in Pissarro’s letters, for the Camille Pissarro painting, “The Climbing Path, L'Hermitage, Pontoise” [The Climb, Rue de la Côte-du-Jalet, Pontoise (Chemin montant, rue de la Côte-du-Jalet, Pontoise)], 1875, merited a 6-page article, FRAME GAME, in The New Yorker magazine (written by Leo Carey, March, 27, 2006), and was exhibited at the Museum of Modern Art, New York City; Los Angeles County Museum of Art, and Musée d’Orsay, Paris.
PAUL CEZANNE (1839 – 1906)
Le Village de Gardanne, 1885-1886. oil and conté crayon on canvas, 36-1/4" x 28-13/16". 16th-century Spanish frame; gilded hand-carved wood, cassetta profile with punched decoration, molding width 5-1/2" "Cézanne juxtaposes the blocky geometries of the townscape with the curling organic forms of rolling hills and vegetation. The shifting planes of the angular roofs and subtly shaded façades anticipate the experiments of the Cubists in the early twentieth century. Cézanne investigates tone as well as form, matching the warm ochers, oranges, and reds of the architecture with the cool, smoky blue-green of the foliage. An unfinished work with large visible expanses of a cream base coat, this picture provides insight into Cézanne’s working process, with traces of graphite underdrawing and tentative squiggles of black paint." —Brooklyn Museum, Ella C. Woodward Memorial Fund and Alfred T. White Fund, 23.105
I. LORSER FEITELSON (1898–1978)
“Diana at the Bath”, 1922, oil on canvas, 98-1/2" x 69-3/8" Custom-made variation of c. 1930s American Modernist painting frame, wide reverse wave profile, water gilded and patinated palladium leaf on wood. Molding Width: 3-3/8” "Like many 1920s figure painters, Lorser Feitelson attempted to interpret the ideal, or perfected, human form in a distinctly modern way. In this mythological subject, he based the exuberantly contoured figures and complex, dance-like composition on the style of sixteenth-century Italian Mannerism and its nineteenth-century French heir, Jean-Auguste-Dominique Ingres. Working in Paris, Feitelson no doubt was aware that Picasso had already moved in this classical direction, creating beautifully outlined figures inspired by classical sculpture and Renaissance painting. Although the painting’s chalky, fresco-like colors also refer to Renaissance art, the figures are lithe, athletic, and unmistakably modern. By the time he presented this painting to the Museum in 1924, Feitelson lived on Prospect Place in Brooklyn." — Brooklyn Museum, permanent collection label.
FRANCIS GUY (1760 – 1820)
Winter Scene in Brooklyn, ca. 1819-1820. oil on canvas, 58-3/8 x 74-9/16 inches. First-quarter 19th-century American frame; carved gilded wood with applied ornament, molding width 8". Painting transferred from the Brooklyn Institute of Arts and Sciences to the Brooklyn Museum, 97.13
FRANS HALS (circa 1580–1666)
Portrait of a Man, circa 1614-15, oil on canvas, 29 x 21-3/4 in. Custom-made Replica c. 1611-13 Dutch painting frame, milled wood, stained and patinated to period ebonized finish, molding width: 5-1/2 in.; molding depth from wall: 4-1/4 in. Brooklyn Museum, painting Gift of the executors of the Estate of Colonel Michael Friedsam, 32.821
HENRI MATISSE (1869–1954)
“Fleurs”, 1906, oil on canvas, 21-5/8” x 18-1/8” Early 20th-century frame designed and fabricated by Max Kuehne; silver-leaf and scumbled gesso over carved and incised wood; bolection profile with incised floral pattern; original stylised patina; molding width 2-1/2”
CLAUDE MONET (1840 – 1926)
"Houses of Parliament, Sunlight Effect (Le Parlement, Effet de Soleil)," 1903, oil on canvas, 32” x 36-1/4” One of four Monet paintings framed by Gill & Lagodich for the Brooklyn Museum. 17th-century French Louis XIII gilded hand-carved wood frame. “Intrigued by the challenge posed by the play of water and light, Monet tested himself further by painting the transformative beauty of London’s fog and smoke in several works executed along the banks of the Thames during three winter painting campaigns from 1899 to 1901. Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated. Their neo-Gothic spires blunted by the mauve gloom of late afternoon, the Houses of Parliament emerge as a massive silhouette. Rays of pale sunshine break through the murk in the upper right corner of the canvas and burst across the shimmering waters in overlapping strokes of pink, salmon, and yellow. The painter later reworked the canvas in his Giverny studio in 1903 in preparation for an exhibition the following year.” — Brooklyn Museum, permanent collection label.