http://www.gill-lagodich.com/artists-framed daily 0.75 2025-11-21 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1495063265470-SGHYJUKO5F8LX1FXHYPD/MFAH%2BHICKS%2Bweb%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504056261671-KD1ANCCZT5EBH5BI6JY0/GILL%2BLAGODICH%2BMINT%2BMUSEUM%2BCOLE%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1506830472220-WC95V08ZWVUHGGPY0NMR/MMA%2BJOHNSON%2BEMMA%2BVON%2BNAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - JOSHUA JOHNSON (active 1796–1824) Emma Van Name, ca. 1805, oil on canvas, 29" x 23". Framed by Gill & Lagodich for the Metropolitan Museum of Art. Period c. 1790s American painting frame; gilded wood with carved and applied ornament. Molding width: 3-1/8” "This compelling portrait of a Maryland toddler is widely regarded as an icon of American folk painting. Included in numerous international exhibitions since its discovery in the late 1950s by New York’s primary folk and modernist dealer, Edith Halpert, it is now accepted as an important work by Joshua Johnson, the earliest known professional African American painter. Son of a white man and an unidentified enslaved mother, Johnson apprenticed to a blacksmith before achieving his freedom in 1782, becoming part of Baltimore’s large free black population. Emma Van Name is arguably his most ambitious and engaging portrait of an individual child. Distinguished by a bravura demonstration of the presumably self-taught artist’s talent and imaginative flair in its nuanced palette, compositional complexity, deft handling of details, and surreally scaled goblet that incongruously comes to the subject’s waist, the work suggests the particular appeal of historical folk painting to early 20th-century modernists." —Metropolitan Museum permanent collection label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520399379112-6OPQZCB5P4I7LJ5YW6C9/MMA%2BWEEKS%2BGILL%2BLAGODICH%2Bin%2Bsitu%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - EDWIN LORD WEEKS (1849–1903) The Rajah Starting on a Hunt, ca. 1885, oil on canvas, 39-9/16 x 32 inches. Framed by Gill & Lagodich for the Metropolitan Museum of Art. Period frame, rare late-19th-century Orientalist frame, gilded applied composition ornament on wood, molding width 6-1/4 inches. “Boston-born and Paris-trained, Edwin Lord Weeks was a leading expatriate painter, illustrator, photographer, writer, explorer, and collector as well as the first known American artist to visit India. This painting depicts preparations for a hunting expedition at a palace in Ajmer, Rajasthan. Likely dating from the artist’s 1892-93 trip to the country, he described the palace façade in his published accounts as ‘completely coered by tiers of projecting windows … wonderfully light and airy in effect.’ The striking period frame is not original to the painting, but suggests the ‘Orientalist’-style setting that Weeks favored for his work.” —museum permanent collection label.   https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578297464502-JUT02EDS9VAC28SAZ1HO/%28c%29VMFA_83-38_v2DS201501.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - CLAUDE MONET (1840–1926) Camille at the Window, Argenteuil, 1873, oil on canvas, 23-3/4 x 19-5/8 inches. Virginia Museum of Fine Arts, Richmond, VA. Collection of Mr. and Mrs. Paul Mellon. Photo: David Stover. Framed by Gill & Lagodich, period 18th-century French Regence frame; gilded hand-carved wood, sand panel; molding width: 4-3/8” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609908691663-PXMO7SEM20D7L49KCP0R/MFAH_DRIGGS_GILL%2B_LAGODICH_wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609909386396-ZPK3N4OBIITIG7KH034S/BIERSTADT+MT+WHITNEY+GILL+LAGODICH+LUCIE+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616773815765-UJID8LQRPFU1TV2JN9LP/VMFA+LE+BRUN+in+situ+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ELISABETH LOUISE VIGEE-LEBRUN Portrait of Joseph Hyacinthe Francois de Paule de Rigaud, Comte de Vaudreuil, 1784, oil on canvas, 52 x 38-7/8 inches. Framed by Gill & Lagodich for the Virginia Museum of Fine Arts. Custom-made replica, Late-18th to early 19th-century (transitional) French painting frame, gilded applied ornament on wood, molding width 5-1/8 in. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641968927750-ZUEZSDDTHUGDEF452E0G/AIC_ZORACH_GILL-LAGODICH_in_situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504056381221-DQ406HU768VH0CMZYS26/VMFA%2BGILL%2BLAGODICH%2BVAN%2BGOGH%2BDAISIES%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - VINCENT VAN GOGH (1853–1890) Daisies, Arles, Summer, 1888, oil on canvas, 13 x 16-1/2 inches. Virginia Museum of Fine Arts, Richmond, VA. Collection of Mr. and Mrs. Paul Mellon. Framed by Gill & Lagodich, period 18th-century French Louis XVI-painting frame; gilded carved wood; molding width 4 inches. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591657569484-0UC19I4YHXZ0MJZHNHJA/AIC%2BMANET%2BGILL%2BLAGODICH%2BFISH%2Bin%2Bsitu%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ÉDOUARD MANET (1832–1883) Fish (Still Life), 1864, oil on canvas, 29” x 36-3/8” framed by Gill & Lagodich for the Art Institute of Chicago in a period 19th-century French Neo-classical painting frame. “This imposing view of carp, red mullet, eel, oysters, lemon, stockpot, and knife is one of numerous still-life subjects that Edouard Manet painted in 1864, the year of his most intense engagement with the genre. Although the French translation of still life is nature morte (literally, “dead nature”), Manet’s painting seems very much alive. He achieved a sense of immediacy by strategically positioning elements—especially the precariously balanced knife and still-slithering eel—along the diagonal of the tablecloth, so that they seem to slide forward into the viewer’s space.” —Art Institute of Chicago, permanent collection label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643665006569-GQDZT9ZYAZ62BT8DLMTX/CBMAA%2BBEARD%2BGILL%2BLAGODICH%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643665108984-1MT6A0U85Y5BMRCS9YSH/CHRYSLER%2BDELANEY%2BJAMES%2BBALDWIN%2BGILL%2BLAGODICH%2BFRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644381374130-06LYCXHE353OPUJZ1SVJ/MINT_MACDONALD-WRIGHT_TRUMPET_FLOWERS_GILL_LAGODICH_in_situ_wm%2B.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - STANTON MACDONALD WRIGHT (1890 – 1973) Trumpet Flowers, 1919, oil on canvas, 18-1/8” x 13-1/8” Period Frame, c. 1920s American artist-made painting frame, reverse stepped profile, original paint on wood, molding width 1-5/8” Framed by Gill & Lagodich for the Mint Museum of Art, Charlotte, N.C. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644381715881-INHRBGYY432WQ8BCZ3V5/REPL-1943_STANFORD%2BWHITE_INDIANAPOLIS_MILLER_GIVERNY_GILL%2BLAGODICH%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643160074304-SYM6OM37JA81S85DZJ5H/DAM+PETRIE+MORAN+INDIAN+PUEBLO+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - THOMAS MORAN (1837–1926) Indian Pueblo of Laguna, New Mexico, 1905, oil on canvas, 20-5/16 x 30-1/2 in. Framed by Gill & Lagodich for the Denver Art Museum, Petrie Institute of Western Art; custom-made replica c. 1890s American gilded oak frame, gilded cast ornament on wood, molding width: 6-1/2 in. “Created from Moran’s memories and sketches, this painting encapsulates multiple layers of Southwest history. In the foreground, women of the Pueblo of Laguna bake pots with traditional techniques used for centuries by the people who lived in the region. Pueblo architecture occupies the middle ground of the painting and leads the eye to a Spanish Mission church on the right. Spanish colonists were the first to bring the tradition of retablos, small paintings that show devotion to holy figures associated with the Catholic Church, to the Americas.” —museum label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645151759088-ZMED5Z0T39FHBZHCZDTL/NORMAN%2BROCKWELL%2BCOUNTRY%2BEDITOR%2BGILL%2BLAGODICH.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - NORMAN ROCKWELL (1894–1978) Norman Rockwell Visits A Country Editor, 1946, oil on canvas, 33 x 63 in. Framed by Gill & Lagodich for Christie’s, custom-made replica Early 20th-century American Arts & Crafts frame. Original Maxfield Parrish frame design, c1909 from Jack-the-Giant-Killer. Milled and polychromed wood. Molding width: 5 in. AUCTION 18 NOV 2015 Price realised USD 11, 589,000. “Norman Rockwell painted Norman Rockwell Visits a Country Editor for the May 25th, 1946 issue of The Saturday Evening Post. By 1946, not only had Rockwell’s myriad covers of The Post captured the imagination of the nation, but the artist was becoming a celebrity in his own right. Perhaps just as importantly, Rockwell’s work adopted a new sense of earnestness in order to more accurately reflect the realities that many faced in post-War America. While Rockwell’s classic sense of idealism remained intact, his imaginative images confronting issues of the present allowed the public to identify with his interpretation of life in America. Christopher Finch writes, “The period from the mid-forties until the late-fifties was perhaps Rockwell’s time of greatest achievement.” (Norman Rockwell’s America, New York, 1975, p. 31) Conceived during this important era of his storied career, Norman Rockwell Visits a Country Editor is a nostalgic tableau of a small country town and its local newspaper, which captures the spirit of America adapting to life after World War II. American illustration holds a special place within the context of American art. Before television entered the American home, newspapers and magazines were the primary news sources for the nation. They were also the barometer of public opinion, and naturally, the artists who illustrated these periodicals had a great deal of influence on the perception of their nation. Norman Rockwell did more than simply fulfill his commissions; rather, he understood his advantageous position and put his best efforts into his work. He stated, "No man with a conscience can just bat out illustrations. He's got to put all of his talent, all of his feeling into them. If illustration is not considered art, then that is something that we have brought upon ourselves by not considering ourselves artists. I believe that we should say, 'I am not just an illustrator, I am an artist.'"(as quoted in J. Goffman, The Great American Illustrators, New York, 1993, p. 122) As artists often do, Rockwell drew inspiration for his illustrations from his own life and experiences. While he largely retained an unsentimental view of his childhood, he affectionately recalled his family’s summer trips to the Adirondack Mountains, which provided a welcome escape from life in New York City: “In the city we kids delighted to go up on the roof of our apartment house and spit down on the passers-by in the streets below. But we never did things like that in the country. The clean air, the green fields, the thousand and one things to do…got somehow into us and changed our personalities as much as the sun changed the color of our skins.” (N. Rockwell, Norman Rockwell: My Adventures As an Illustrator, New York, 1988, p. 34) In these rural settings, Rockwell discovered an idealized form of life that suited his disposition and held his fascination for years to come. Everyday scenes and people, first appreciated by the artist at a young age, manifested themselves in his most iconic works and allowed his paintings to become both universal and relatable. While Rockwell’s characteristic view of American life had its basis in his childhood, in 1939, he sought new surroundings that would inspire further development in his work, having grown restless in New Rochelle, New York. The small town of Arlington, Vermont, with its distinct New England feel appealed to Rockwell, his wife Mary and their three sons, and his arrival precipitated an improvement in his creativity and motivation. Shortly thereafter, he also began actively travelling the country for inspiration. Between 1943 and 1948, he toured as far south as Georgia and as far west as Missouri to capture the lives of everyday Americans in an eight part pictorial series for The Post. Through these eight images the readers of The Post learned what it was like to spend a night on a troop train with paratroopers (A Night on a Troop Train, 1943, unlocated); wait to see the President of the United States (So You Want to See the President, 1943, Office of the White House, Washington, D.C.); appeal to a ration board (Norman Rockwell Visits a Ration Board, 1944, Private Collection); register to vote at a polling station (Norman Rockwell Paints America at the Polls (Election Day), 1944, Cedar Rapids Art Museum, Cedar Rapids, Iowa); observe the daily operation of a small town newspaper (the present work); watch a lesson in a rural classroom (Norman Rockwell Visits a Country School, 1946, Private Collection); visit a family doctor in a Vermont town (Norman Rockwell Visits a Family Doctor, 1947, Norman Rockwell Museum, Stockbridge, Massachusetts) and travel with a county agricultural agent as he performs his duties (Norman Rockwell Visits a County Agent, 1948, Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska). Through wars, depression, and civil strife, Rockwell portrayed subjects inspired by ordinary, everyday life and this series was a perfect representation of his contribution. In regards to this painting and the others from the series, Rockwell described, “During the 1940’s I did a series of pictorial reports for the Post, variously entitled ‘Norman Rockwell Visits a Country School,’ ‘Norman Rockwell Visits his Family Doctor,’ and so on. Each report consisted of a full page spread, and two pages of black and white sketches…I usually spent two days at the scene of the report. During the first day I tried to get the feel of the place and rough out in my mind the story I wanted to tell. The second day I made sketches, decided on the subject and setting of the painting, and had photographs taken. Back in my studio I did the painting and made the finished sketches. I enjoyed doing these reports. They were a pleasant and stimulating change from my regular work…and gave me a chance to travel about the county and meet a lot of people.” (as quoted in R. Schick, Norman Rockwell: Behind the Camera, New York, 2009, p. 51) In Norman Rockwell Visits a Country Editor, Rockwell captures the office and daily operation of the Monroe County Appeal, a local newspaper founded in 1867 and based in the small town of Paris, Missouri. The focal point of the picture, seated at the central typewriter and set before the office window, is longtime editor of the Appeal, Jack Blanton. The Post captioned the painting: “Blanton is shown batting out a last-minute editorial. That picture above his desk is one of his father, who founded the Appeal. The gold-star service flag hangs beneath the picture of a grandson of Blanton’s, who would have succeeded him as editor if he hadn’t lost his life in the Army Air Force. Peering over Blanton’s shoulder is the Appeal’s printer, Paul Nipps, whose experienced eye is gauging the number of printed lines the editorial will take up.” (The Saturday Evening Post, New York, 1946, p. 25). At the left side of the painting, a young boy, aware of the looming press deadline, races through the office under the watchful eye of a young female reporter. At the right side of the image, two local residents are purchasing a subscription to the Appeal, while a seated customer with legs extended intently reads the paper, reporting the untimely passing of President Franklin D. Roosevelt. Ron Schick notes, “The lead story ‘End Comes to President’ and photographs of FDR and his successor, Harry S. Truman, are visible on the front page.” (Norman Rockwell: Behind the Camera, p. 51) Meanwhile, Rockwell himself strides through the door with a portfolio wedged under his arm and a trademark pipe jutting from his mouth. Painted with an acute attention to detail, every element of the painting was carefully considered and rendered with a high degree of clarity. The extraordinary detail in every vignette of Rockwell’s best works from the 1940s, such as Norman Rockwell Visits a Country Editor, is a result of a profound shift in his working methods around the time of the artist’s move to Arlington. In New Rochelle, Rockwell relied upon professional models, enlisting them for hours until he achieved the desired effect in his paintings. Then, around 1937, Rockwell began to incorporate photography into his creative process. This method meant he could stage elaborate tableaus as subjects and capture the various expressions of his sitters in an instant. Rarely satisfied with a single photograph, the finished illustration was often a composite of many. Indeed, nearly one hundred preparatory photographs were taken for the present work. David Kamp writes of this exhaustive creative system, “First came brainstorming and a rough pencil sketch, then the casting of the models and the hiring of costumes and props, then the process of coaxing the right poses out of the models, then the snapping of the photo, then the composition of a fully detailed charcoal sketch, then a painted color sketch that was the exact size of the picture as it would be reproduced, and then, and only then, the final painting.” ("Norman Rockwell's American Dream," Vanity Fair, November 2009, p. 5) This new approach, coupled with towns around the country full of fresh faces willing to pose for the celebrity artist, meant a flurry of artistic inspiration. "While Rockwell found the perfect settings for works such as Homecoming Marine and Shuffleton's Barbershop close to home, he was willing to travel any distance for his location photography. He went to New Mexico to photograph a train station for Breaking Home Times, the White House for So You Want to See the President!, the offices of a Missouri Newspaper for Norman Rockwell Visits a Country Editor, and New York City to shoot a Times Square restaurant intended for Saying Grace. In so doing, Rockwell gained more than photographs of a background that met his demand for genuineness." (Norman Rockwell: Behind the Camera, p. 98) Covering a sweeping range of topics, including the difficult subject of war, Rockwell helped forge a national sense of identity through his art. Finch writes, “World War II played a very strange role in Rockwell’s career. Rockwell is far from being a warlike person; he is, on the contrary a gentleman in the literal sense of the word. Yet the war brought out the best in him and turned him toward the naturalistic portrait of home-town America which he put to good use in the decades that followed. His immediate contribution to the war effort on the home front was quite considerable. What is most important about his period, in relation to his career as an illustrator, is the fact that he was given an opportunity to prove to himself and to others that he was capable of dealing with serious subjects without abandoning the human touch which had always been his trademark.” (Norman Rockwell’s America, p. 200) Norman Rockwell's portraits of America are both a faithful historical record of, and a tender tribute to, American popular culture. "His subject was average America. He painted it with such benevolent affection for so many years that a truly remarkable history of our century has been compiled. Millions of people have been moved by his picture stories about pride in country, history, and heritage, about reverence, loyalty, and compassion. The virtues that he admires have been very popular, and because he illustrates them using familiar people in familiar settings with wonderful accuracy, he described the American Dream." (T.S. Buechner, Norman Rockwell: A Sixty Year Retrospective, New York, 1972, p. 13) The scope of Rockwell’s appeal continues to grow as new generations live through the same quintessentially American types of experiences that he so faithfully depicted in his art.” —Christie’s Lot Essay https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645326994972-SITC3G7TL5GMH5YB17GM/AMMI%2BPHILLIPS%2BCHRISTIES%2BGILL%2BLAGODICH%2Bframe.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645327897223-KZBDIYRDA6WOXYFZAIO7/HEADER+CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+in+situ+THE+MET.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641969355715-W3F8VUCJO95WC6YAQA1S/VEDDER%2BLUNA%2B%2BGILL%2BLAGODICH%2Bin%2Bsitu%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ELIHU VEDDER (1836–1923), ALFRED PARSONS (1847–1920 Luna, Christmas, 1882, mistletoe border by Alfred Parsons, watercolor and pastel and black and blue ink on artist’s board, 31.4 x 27.9 cm; Cover of “Harper’s Christmas 1882: Pictures and Papers, Done by the Tile Club and its Literary Friends”, New-York: Harper & Brothers. Artwork collection of Tracy Gill and Simeon Lagodich. Framed in a custom-made Vedder-style frame, patinated silver leaf on wood, from Gill & Lagodich studios. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646605311370-G8CYXP4RYYJKPWEFZ18V/AMOR+CARITAS+SAINT-GAUDENS+GILL+LAGODICH+FRAME+gallery+shot+%28now+in+SFO%29+.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - AUGUSTUS SAINT GAUDENS (1848–1907) Amor Caritas, 1898, bronze, 40-3/8 x 17-3/8 x 3-1/4 in. Signed lower left: AVGVSTVS / SAINTGAVDENS / MDCCCXCVIII Edition of 23 casts; Fine Arts Museums of San Francisco; museum purchase, the Barbro Osher Sculpture Garden Acquisition Fund. Shown here in the Gill & Lagodich Gallery, New York, 2016. Tabernacle frame, carved Honduran mahogany with selectively oxidized patina; custom replica made by Gill & Lagodich of the Stanford White frame model on the Saint-Gaudens Amor Caritas bronze, Art Institute of Chicago. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646631906261-GJ4XCVCMXKWYQAV42OU8/AVERY+ARTISTS+WIFE+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - MILTON AVERY (1885–1965) Portrait of the Artist’s Wife, 1945, oil on canvas, 30-1/8 x 25-3/8 in. Framed by Gill & Lagodich for the Myron Kunin Collection. Period c. 1920s-30s American Modernist frame, patinated silver and metal-gilded hand-carved wood, molding width 4-1/2 in. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1485755345276-VLY5FIHQYH0WPMQDLM8K/GUGGENHEIM%2BGAUGUIN%2Bweb%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - PAUL GAUGUIN (1848–1943) Haere Mai, 1891, oil on burlap, 28-1/2" x 36", framed by Gill & Lagodich in a custom-made Primitivist frame, hand-carved mahogany with antiqued-gesso flat wood liner. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978, 78.2514.16 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1495064333673-IO2Y8X3G9HVCXA3E4HHQ/SOTHEBYS_HARTLEY_CHURCH_KUNIYOSHI_FRAME_GILL_LAGODICH_in+situ_wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - MARSDEN HARTLEY (1877–1943) Church By The Barrens, Indian Harbor, Maine, 1940, oil on board, 22 x 28 inches. Framed in an original c. 1948 Yasuo Kuniyoshi frame from the Gill & Lagodich collection; wormy chestnut, dimensional reverse profile; various markings verso: Downtown Gallery label, rubber stamp: Butler Art Institute, Molding width 4-7/8” LOT 14, SOTHEBY’S AMERICAN ART, NEW YORK 23 MAY 2017 Lot Sold $852,500 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648586809216-DI1DQO6CPFBR0D6ZV5LQ/HMA+KENSETT+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - JOHN FREDERICK KENSETT (1816–1872) Camel’s Hump from the Western Shore of Lake Champlain, 1852, oil on canvas, 31-3/8 x 45-3/16 in. Framed by Gill & Lagodich for the High Museum of Art. Period frame with custom replica liner element, c. 1850s American painting frame, attr. Goupil, New York; gilded applied composition ornament on wood, molding width ~6 in. “Kensett, one of the leading American artists of the 1850s, trained as an engraver before studying painting in Europe. Deeply attracted to the landscapes of New York and New England, he frequently depicted famous scenery, such as this view of Vermont’s Green Mountains from the New York shore of Lake Champlain. The picturesque conjunction of the undulating mountain range and New England’s largest lake accounted for its popularity with artists and tourists alike.” —High Museum label. Painting: Gift of Virginia Carroll Crawford https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610037457588-CV2C5PPFD7MQ3VALFRCQ/FlowerGardenRittman.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - LOUIS RITMAN (1889–1963) Flower Garden (Jardin de Flores), c. 1913, 39-1/2" x 39-1/2", oil on canvas. Framed by Gill & Lagodich for the Phoenix Art Museum. Period c. 1910 American Arts & Crafts painting frame; Newcomb-Macklin makers; gilded carved wood, molding width 5-1/4 inches "An American who studied traditional, academic art in Paris, Ritman turned his attention to modernism, becoming part of the third-wave of Impressionist artists. He worked in the scenic area of Giverny, France, painting in the gardens made famous by Claude Monet. Ritman’s paintings combine the decorative pattern of the Post Impressionists with the atmospheric effects of light that preoccupied the Impressionists in a style often called “decorative Impressionism.” This particular work is believed to have been displayed in the 1913 annual exhibition at the Pennsylvania Academy of the Fine Arts." — Painting, gift of Mr. and Mrs. John M. Redfield, Jr., 1996.259. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649996462705-O9RXW50N10IPYZZU3CHW/HIGH%2BSLOAN%2BQUAKER%2BNELL%2BGILL%2BLAGODICH%2Bin%2Bsitu%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - JOHN SLOAN (1871–1951) Quaker Nell (Helen M. Taylor), 1916, oil on canvas, 24 x 20 inches, Framed by Gill & Lagodich for the High Museum of Art, Atlanta. Period c. 1915-20 American Arts and Crafts (Ashcan) painting frame; metal-gilded carved wood; cassetta profile; molding width: 3-1/2” Painting gift of Mr. and Mrs. Norman Hirschl. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649998850374-H4WJZ40L3DAQI0E2RD1D/EDWARD+STEICHEN+EXALTATION+OF+FLOWERS+GILL+LAGODICH+FRAMES+1+OF+2.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - EDWARD JEAN STEICHEN (1879–1973) https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650168388142-XYZG23OBBAI7GP3PS6NG/WILLIAM+HOLMAN+HUNT+SAVIOUR+PRINT+ORIGINAL+FRAME+GILL+LAGODICH+COLLECTION.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - WILLIAM HOLMAN HUNT (1827–1910) The Finding Of The Saviour In The Temple, 1867, engraving from the original print signed by Hunt in original hand-carved gilded wood frame (Gill & Lagodich Collection). The carved and gilded oak frame is original to the engraving; outside dimensions 33-3/8 x 42-3/4 in.; paper label verso: HASSE, / CARVER AND GILDER, / Printseller and Picture Frame Maker, / FINE ART GALLERY, / 31, COMMERCIAL STREET, LEEDS. The engraving is signed by both the artist and the engraver, Auguste Blanchard. “This frame was designed for the engraving of The Finding of the Saviour in the Temple, which Ernest Gambart published in 1867. It was adapted from the frame of the painting, by Frederic George Stephens, a close friend of Hunt's and former studio assistant, who discussed the frame in a pamphlet of 1860. When the oil painting went on view in London in the spring of 1860 the critic of the Manchester Guardian noted that 'the symbols have overflowed the picture, and expended themselves all over the frame'. The frame for the engraving is less elaborate than that of the painting, but both include the crescent moon and blazing sun carved in the centre of the top rail to suggest the passing of the Old (Testament) Dispensation and the resplendent New Dispensation of Christ. Both also include in the top left-hand corner a snake entwined around a cross, alluding to the brazen serpent of Mosaic law (Numbers 21: 8-9). At the time this would have been interpreted as a type (or prefiguring) of the Crucixion. The carver of the frame is unrecorded, but it is almost certainly an employee of the firm of Joseph Green, who was responsible for the frame for the painting.” —Christie's London auction notes, 4 May 2007 The original painting c. 1854-56 (with a more elaborate version of the frame) is in the Birmingham City Art Gallery, UK [shown here below our engraving frame details]. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486822435913-OU1OSADRZ0K17WSNJ9DH/BMA_FEITELSON_GILL_LAGODICH_1392-VAR_wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - I. LORSER FEITELSON (1898–1978) “Diana at the Bath”, 1922, oil on canvas, 98-1/2" x 69-3/8" Framed by Gill & Lagodich for the Brooklyn Museum. 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. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660339585445-17TOL7UX1VC89FFE6TGO/MINT+LUKS+CARNIVAL+GILL+LAGODICH+frame+in+situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - GEORGE BENJAMIN LUKS (1867–1933) Carnival Scene, circa 1918, 18 x 22 in. Framed by Gill & Lagodich for the Mint Museum. Period late 19th-century Alpine frame, ebonized toned gesso on wood, molding width 4-1/4 in. “Like other artists of the Ashcan School George Luks made a name for himself by creating paintings of the people and neighborhoods of lower Manhattan. Luks was, perhaps, the member of the group whose paintings of this subject matter were the most coarse and unflinching. He was known to have been lively and cantankerous, a drinker and a carouser who found the hardscrabble lives of immigrants and loners more stimulating than those of the upper classes. In 1918 Luks painted Blue Devils on Fifth Avenue, a scene of French veterans on parade in New York (now owned by the Phillips Collection in Washington, D.C.), for an exhibition of paintings in support of Allied efforts in World War 1. The Mint Museum’s Carnival Scene, which includes figures clad in similar blue military garb as well as French flags, is likely a related work.” —Mint Museum label. Painting Gift of the Mint Museum Auxiliary. Period frame acquired in 2018 with funds generously donated by Betsy and Alfred Brand. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660349161511-CC1JZCT0RGIZUS4B61WX/NAMA+HENRI+MEXICAN+GIRL+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ROBERT HENRI (1865–1929) Mexican Girl with Oriental Scarf, c. 1916-22, oil on canvas, 23-15/16 x 20 in. Framed by Gill & Lagodich for Nelson-Atkins Museum of Art. Period c. 1928 American Arts and Crafts frame; Walfred Thulin, Boston maker; gilded hand-carved wood; hand-carved signature on verso THULIN WT 1928 #1994 #1995; molding width 2-5/8in. “Robert Henri painted sitters from many races, portraying them with his signature keen analysis of character and masterful brushwork. A 1914 trip inaugurated his long-standing fascination with the Southwest and the region’s ethnically diverse people. This interest was further fostered by multiple visits to northern New Mexico where he found subjects who reflected a blend of cultures, notably Mexican and local Native and Hispanic Americans. Henri acknowledged: “I am looking at each individual with the eager hope of finding something of the dignity of life…the humanity…. I do not wish to explain these people…. I only want to find whatever of the great spirit there is in the Southwest. If I can hold it on my canvas, I am satisfied.” —museum label Painting: Gift of Rilye (Toi) and George Ashby, 2010.39 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660356856353-6LPMFPQF4CAOUP57G8L3/NAMA%2BBELLOWS%2BFRANKIE%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - GEORGE WESLEY BELLOWS (1882 – 1925) Frankie, The Organ Boy, 1907, oil on canvas, 48-1/4" x 34-1/4" framed by Gill & Lagodich for the Nelson-Atkins Museum of Art; period c. 1900 American Roman-gilded Whistler-style frame, molding width 5”. “In Frankie, the Organ Boy, George Bellows painted a young sitter who hailed from the sordid streets of lower Manhattan. Committed to portraying the dynamic and rough aspects of urban American life, the artist likely recruited Frankie from the neighborhood around Bellows' Broadway studio. Painted on a large scale and dressed in a suit, Frankie appears out of the inky-black background like a youthful, energetic monarch perched on a modest throne. Even so, his gangly awkwardness prevails. Bellows included a round, nickel-plated badge on his lapel, the sign of a youth who has a work permit, most likely selling newspapers, which was a common "profession" for working-class boys around the turn of the century.” —museum gallery label. Painting purchase: acquired through the bequest of Ben and Clara Shlyen. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661110005922-UVYDA2MVTTW4CFBQKQTD/CAILLEBOTTE+PARIS+STREET+RAINY+DAY+ART+INSTITUTE+GILL+LAGODICH.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - GUSTAVE CAILLEBOTTE (1848 – 1894) Paris Street; Rainy Day, 1877, oil on canvas, 83-1/2 x 108-3/4 in. Framed by Gill & Lagodich for the Art Institute of Chicago, May 2000, in period 19th-century French gilded wood molding frame, molding width 6.5 in. This iconic Impressionist painting was recently cleaned and restored to its original appearance. Commentary and interactive images of the recent dramatic restoration are documented here in the Wall Street Journal . "In his masterpiece, "Paris Street; Rainy Day", Gustave Caillebotte brought an unusual monumentality and compositional control to a typical Impressionist subject, the new boulevards that were changing the Paris cityscape. The result is at once real and contrived, casual and choreographed. With its curiously detached figures, the canvas depicts the anonymity that the boulevards seemed to create. By the time it appeared in the third Impressionist exhibition, held in April 1877, the artist was 29 years old, a man of considerable wealth, and not only the youngest but also the most active member of the Impressionist group. He contributed six of his own canvasses to the exhibition; played a leading part in its funding, organization, promotion, and installation; and lent a number of paintings by his colleagues that he owned." —AIC wall label. “This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist’s lifetime. In this monumental urban view, which measures almost seven by ten feet and is considered the artist’s masterpiece, Caillebotte strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. In many ways, Caillebotte’s frozen poetry of the Parisian bourgeoisie prefigures Georges Seurat’s luminous Sunday on La Grande Jatte—1884, painted less than a decade later.” —AIC permanent collection label. Painting: Charles H. and Mary F. S. Worcester Collection In 2011, the painting was taken off view for conservation, and the empty frame was left as a placeholder in the gallery — an invitation to visitors to pose for their own masterpieces. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661219135835-52OENKALJRWOIC7L25LH/HMA+DURAND+GILL+LAGODICH+REPLICA+FRAME+in+situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ASHER BROWN DURAND (1796–1886) “View Near Rutland, Vermont,” 1837, oil on canvas, 29-1/4 x 36-1/4 in. Framed by Gill & Lagodich for the High Museum, Atlanta, GA. Custom-made replica c. 1840s American frame, molding width 4-3/8 in. “Among the first American painters to dedicate himself to landscape, Asher Brown Durand was best known for his detailed renderings of America’s natural bounty. His early work as a watchmaker and engraver accounts for his fine, linear style. This quiet picnic scene boasts a romantic and lyrical spirit: the precisely rendered foliage and expansive vantage point express the beneficence of nature, a common theme among nineteenth-century landscape painters.” —museum label. Painting: Purchase with funds from Mrs. J. Mack Robinson. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504888219409-QYY5BUJJSH4TYYO6KU3S/AIC+DESCOTT+EVANS+GILL+LAGODICH+in+situ+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - DE SCOTT EVANS (1847–1898) The Irish Question, 1880s, oil on canvas, 12 x 10 inches. Framed by Gill & Lagodich for the Art Institute of Chicago; period 19th-century American Folk Art frame, beautiful hand-painted faux bois burl pattern, beveled profile, original condition; molding width 2-1/2” Painting Restricted gift of Carol W. Wardlaw and Jill Burnside Zeno; Roger and J. Peter McCormick Endowments, 2004.3 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661383036129-YC4U6DHVA5EOY8NCEZTS/MFAH%2BCRAWFORD%2B1242-REPL%2BGILL%2BLAGODICH%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - RALSTON CRAWFORD (1906–1978) Red Barge No. 1, 1942, oil on canvas, 27-7/8" x 39-3/4". Framed by Gill & Lagodich for the Museum of Fine Arts Houston, in a custom-made variation of an early 20th-century American Modernist painting frame; simple, flat artist-made construction; painted wood, antiqued gesso, stone gray patina; molding width: 6” Museum purchase funded by the John R. Eckel, Jr. Foundation. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661395832532-K4Q1IZ4ZRDPKSXDGNRHT/CBMAA+TANNING+GILL+LAGODICH+FRAME+in+situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - DOROTHEA TANNING (1910–2012) The Truth About Comets, 1945, oil on canvas, 24 x 24 inches. Framed by Gill & Lagodich for the Crystal Bridges Museum of American Art. Custom-made replica of original Dorothea Tanning frame, circa 1940s, hand-painted polychrome on milled wood. Molding width 3 inches. “A self-taught painter welcomed into the respected circle of New York surrealists, Dorothea Tanning described her work as a history of her dreams. Here, the steps and arm rails, as if elevating to another world, disappear into barren tree branches. The two brightly dressed anthropomorphic figures appear unalarmed despite being displaced in this uninhabited, snowy landscape. The rightmost figure, positioned with her back to the viewer, is captivated by the natural, fleeting beauty of the comet tails.” — museum text https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661557127887-FWAP9J3JPH1GFXK023MV/PMA%2BCHURCH%2Bweb%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - FREDERIC EDWIN CHURCH (1826 – 1900) Pichincha, oil on canvas, 1867, 31" x 48-3/16". Framed by Gill & Lagodicih for the Philadelphia Museum of Art. Rare period 1860s American frame, Earle Galleries, Philadelphia maker, gilded applied composition ornament, embossed paper, and stenciled sand on wood. ”Church became famous for his paintings of natural wonders like Niagara Falls, icebergs in the Arctic, and volcanoes in South America. He sketched this volcano, called Pichincha, on a trip to Ecuador in 1857, but made the painting ten years later in the comfort of his studio in New York. In the finished work, Church added palm trees that could not have grown on the high Andean plain. Although the volcano is dormant in the picture, its eruptions were frequent and dangerous. It had also been the site of a fierce battle in 1822 between Ecuadorian patriots (fighting for independence) and royalists (loyal to Spain), after which the country was plunged into uncertainty and sectionalism, much like the post-Civil War United States was facing at the time Church made this painting.” —museum label. Philadelphia Museum of Art, 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, 2004, 2004-115-2 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526180820676-UK8P4V4JIBPC13I474HR/PMA%2BINNESS%2Bweb%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - GEORGE INNESS (1825 – 1894) Twilight On The Campagna, Evening, 1851-1852, oil on canvas, 38" x 53-5/8", period 1850s American frame, gilded applied composition ornament and stenciled sand on wood. Framed by Gill & Lagodich for the Philadelphia Museum of Art. “Unburdened by narrative—a major shift for the young Inness—Twilight on the Campagna experiments instead with mood. The artist later declared that his primary goal was “not to instruct, not to edify, but to awaken an emotion.” The twisting, tortured trunks of the trees at right, silhouetted by the waning light, are melancholic and resonate with the dramatic scenes of Baroque master Salvator Rosa (1615–1673). Painted soon after Inness’s arrival in Italy, Twilight on the Campagna anticipates the poetic dimension that became the artist’s signature in the last decade of his life.” — museum label The Alex Simpson, Jr., Collection, 1945, 1945-5-1 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664687950253-KNTZDRIGFWRYR6PUFDGU/MET+MATHEWS+CYPRESS+GILL+LAGODICH+frame+in+situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578287320821-LH2477V5GNJJR1R2YFAU/SLAM+CHASE+10TH+STREET+STUDIO+GILL+LAGODICH+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - WILLIAM MERRITT CHASE (1849 – 1916) The Tenth Street Studio, 1880, oil on canvas, 36-1/4” x 48-1/4”. Period Frame from Gill & Lagodich for Saint Louis Art Museum. c. 1800s French Barbizon frame, gilded cast ornament on wood, molding width 9 in. “Sumptuous tapestries, exotic metalwork, imported porcelains, fine art, and elegantly adorned patrons were sure to be found in the studios of artists at the end of the 19th century. This painting depicts the studio of its artist, William Merritt Chase, one of the most successful painters of the era. Appreciating—and being seen appreciating—such exquisite finery was an important cultural and social marker for both patron and artist. An invitation to a reception at Chase’s studio (sure to be in the society news) was the most sought after in New York City.” — Saint Louis Art Museum permanent collection label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668310216406-REFRO966IYFDVMP9LF6Z/CHRYSLER+TANNER+GILL+LAGODICH+frame.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526168581994-AG0XN5CFZFNMLDFG09LF/%28c%29VMFA_85-500_v2DS201403.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - ALFRED SISLEY (1839–1899) Wildflowers, c. 1875, oil on canvas, 25-3/4 x 19-7/8 inches. Virginia Museum of Fine Arts, Richmond, VA. Collection of Mr. and Mrs. Paul Mellon. Photo: David Stover. Framed by Gill & Lagodich, period 18th-century French Louis XIII painting frame; gilded hand carved wood, molding width: 4-1/4” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496759425345-2HCLOKCLKXLKY7SIPETS/7781%2BCBMAA%2BSARGENT.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - JOHN SINGER SARGENT (1856 – 1925) Robert Louis Stevenson and His Wife, 1885, oil on canvas, 20-1/4 x 24-1/4 inches, 18th-century Italian painting frame, gilded and polychrome reverse cassetta profile with extensive punched corner foliate corner decoration, molding width: 3-1/4” Framed by Gill & Lagodich for the Crystal Bridges Museum of Art. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677447919300-J3UZI0VGYLTDNUPNN5H2/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+frame+in+situ+web.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - WINSLOW HOMER (1836–1910) Fox Hunt, 1893, oil on canvas, 38 x 68-1/2 in. Recently reframed by Gill & Lagodich for Pennsylvania Academy of the Fine Arts. Custom-made replica of original Homer frame chosen by the artist for other works of this period, c. 1890–1910 gilded and patinated milled wood, molding width ~7 in. This elegant modern design exemplifies the stark modernity of the composition. Painting credit: Joseph E. Temple Fund, 1894.4 Currently on view in the stellar exhibition ‘Making American Artists: Stories from PAFA, 1776–1976.’ “‘Fox Hunt’ is widely viewed as Homer’s most haunting late “naturalist” painting. ¬ Rendered in a manner that suggests a close study of Japanese woodblock prints, it dramatically embodies the recurrent theme of conflict in nature. The subject is novel for the artist, though he had been depicting scenes of hunting and fishing for years. Here, Homer has removed any trace of human presence and focused on the Darwinian struggle of natural selection in the animal kingdom: during a bleak Maine winter, an ominous flock of hungry crows become predators and a fox, desperately moving through the heavy snow drifts, the prey. That the artist appears to have painted the scene from the hunted creature’s perspective, identifying with its plight, only heightens the tension.”—Met museum exhibition label. “After 1890, Homer frequently depicted "naturalist" subjects, such as hunting and fishing in the Adirondacks and coastal or marine views at Prout's Neck, Maine.¬ ‘Fox Hunt’ was Homer’s largest painting to date, and of a size appropriate for the depiction of natural survival and its casualties. He dramatized the brutal realities of winter on the Maine coast by showing a fox desperately bounding through deep snow to flee a flock of half-starved crows. The birds descend ominously with outstretched wings, forming a dark hovering mass above the struggling fox. That viewers witness the scene from the fox’s vantage point heightens the sense of tension and empathy. The fox’s red silhouette is splashed across a field of oppressive snow; we sense that he is cornered, trapped within the flattened white plane while the aggressive birds break its edge on descent. This striking reversal of the natural order, in which the bird becomes predator and the fox prey, has become one of the artist’s most haunting and successful images. PAFA purchased ‘Fox Hunt’ in 1893, the first of Homer’s works to enter a public collection.” —PAFA exhibit label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591676555865-UZUJA7ZSO1E8H02NA2LX/DEGAS+FEMME+BROOKLYN+GILL+LAGODICH+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - EDGAR DEGAS (1834–1917) Nude Woman Drying Herself (Femme au Tub), ca. 1884-1886, oil on canvas, 59 3/8 x 84 1/8 in. (150.8 x 213.7 cm). Custom-made replica frame made by Gill & Lagodich for the Brooklyn Museum: 19th-century French Degas-designed painting frame; chemin-de-fer profile as sketched in Degas’ notebooks; milled and gilded wood with patinated gesso frieze, molding width: 4-5/8” Painting, Brooklyn Museum, Carll H. de Silver Fund, 31.813 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483578073622-OAI24RBDJMSFJTLLRQMM/GILL%2BLAGODICH%2BCHRYSLER%2BDAUBIGNY%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - CHARLES-FRANCOIS DAUBIGNY (1817–1878) The Beach at Villerville at Sunset, 1873, oil on canvas, 30-1/4" x 55-1/2"; c. 1880s European painting frame, gilded applied composition ornament on wood; Torn paper label verso: UNION LEAGUE CLUB/ OF BROOKLYN / Owner ... / Subject ... / Artist ... / Return to ... / Bklyn Molding width: 7-1/4” Period frame from Gill & Lagodich. "Though connected to the Barbizon group, the landscape artist Daubigny spent much of his career far from the group's favored hamlet just southeast of Paris. The painting here depicts one of his own favorite spots—the remote fishing village of Villerville on the Normandy coast. With broken, summary brushstrokes and brilliant touches of yellow and orange, he casts a dramatic expanse of beach in the rosy sunset. Daubigny's rapid painting technique and passion for capturing the fleeting effects of nature's color and light directly anticipate the art of the Impressionists." — permanent collection label. Painting, Gift of Walter P. Chrysler, Jr. 71.635 Chrysler Museum of Art, Norfolk, VA. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578204918999-HA92IAE56TQ5UKVZH1PW/DSCN0365.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - EDWARD HOPPER (1882–1967) Nighthawks, 1942, oil on canvas, 33-1/8 x 60 inches, custom-designed, gilded, and patinated frame, 9-karat gray-gold leaf over fine-combed gesso and cast ornament on carved wood; custom-fabricated in the Gill & Lagodich New York studios; combed pattern, ogee profile, and gilded patina based on original Hopper frame models. "Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper’s understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.” — Art Institute of Chicago, Essential Guide, 2013, p. 58 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645152307582-SSU2PA79ZUVZ3LDQP5C8/AIC%2BPISSARRO%2BPLACE%2BDU%2BHAVRE%2BGILL%2BLAGODICH%2BFRAME%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - CAMILLE PISSARRO (1830–1903) The Place du Havre, Paris, 1893, oil on canvas, 23-1/2 x 28-3/4 inches. Frame by Gill & Lagodich in an 18th-century French Louis XIV frame, gilded hand-carved wood, molding width 4-7/8 in. The museum has published extensively on this painting and frame, Pissarro Paintings and Works on Paper at the Art Institute of Chicago, with painting technical report and detailed frame description, Cat. 13. “After a period of experimentation with the Neo-Impressionist style developed by Georges Seurat, Camille Pissarro returned to the loose, multidirectional brushstrokes that he had used in his earlier Impressionist works. He also revisited an Impressionist subject that his colleagues had all but abandoned by the 1890s—the modern city. This bustling scene, alive with the noise and movement of traffic and pedestrians, was the view from his window at the Hôtel Garnier in Paris, where he stayed for a few weeks early in 1893. The building at the left edge of the canvas is the Gare Saint-Lazare.” —museum label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1686950411145-JAOVUFSE5UNXI6W9QMJZ/COLBY%2BGILL%2BLAGODICH%2BPOLLOCK%2Bframe%2Bfull.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - JACKSON POLLOCK (1912–1956) Composition With Masked Forms, 1941, oil on canvas, 28-1/8 x 50 in., custom float frame, ebonized walnut exterior and top edge, interior float space light-absorbing matte black. Custom frame fabricated by Gill & Lagodich for Colby Museum of Art. Gift of the Barsalona Family, Museum purchase from the Jere Abbott Acquisition Fund, and gift of Peter and Paula Lunder, The Lunder Collection. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504755038471-ATLOJC12CUNBF0CANQ99/TERRA+HASSAM+PEASANT+GIRL+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - CHILDE HASSAM (1859–1935) French Peasant Girl, c. 1883, oil on canvas, 21-5/8” x 13-7/8”, period 1870-80s American frame, gilded applied composition ornament over wood; reverse profile, acanthus patterned ogee with original wood outer edge; molding width: 5-3/8” "Said to be one of Childe Hassam’s earliest paintings in oils, French Peasant Girl shows a young woman in profile, leaning on a stick as she gazes into the distance beyond the right edge of the composition. Seen from slightly above, the figure is embedded in the land, with only her neck and head rising above the horizon line. The soft brushwork and muted palette (range of colors) of this outdoor image, as well as the peasant subject, show the influence of a group of French painters of rural life and landscape known as the Barbizon school. Hassam gained first-hand knowledge of their work during his first visit to Europe, in 1883; French Peasant Girl probably was painted soon after his return to his native Boston, where the Barbizon school’s naturalistic portrayal of humble country life was championed and emulated by painter William Morris Hunt. Hassam never returned to the theme of peasant life, but the solitary female subject and the problem of juxtaposing near objects against a distant background would continue to preoccupy him for the remainder of his long career." Terra Foundation for American Art, Daniel J. Terra Collection, 1989.21 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526261485544-6FS6F2A9Q1SC4E6BGCWR/CB%2BBENSON%2BSUMMERS%2BDAY.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - FRANK WESTON BENSON (1862–1951) Summer Day, 1911, oil on canvas, 36-1/8 x 32-1/8 inches, framed by Gill & Lagodich for the Crystal Bridges Museum of Art, custom-made replica c. 1911 American Arts and Crafts painting frame; lemon-gilded hand-carved and cast ornament on wood; molding width 7” Note: original frame: hand-carved signature verso: 19 M 11 / Carrig-Rohane/ Thulin-Murphy Co./Boston / #926. Replica commissioned by Crystal Bridges Museum of American Art. “As the Gilded Age drew to a close, American artists experimented with the palettes of their frames as well as their canvases. With its unusual pale gilding and wide undulating profile [this] frame … was designed to complement the light effects captured in the lush garden pigments of an American Impressionist painting. Light-karat, greenish lemony gilding is a modern specification rooted in the silver finishes of European nocturne frames. … the artist might have chosen lemon gold to continue the hints of sunlight in a summer scene where a higher-karat yellow or red gold would clash. Paler gold could simulate filtered sunlight around a landscape, a continuation of the painted canvas. … Combining forms of different countries, the frame has a synthesis of motifs that in lesser hands would have become a pastiche, but here was transformed by the masters of Carrig-Rohane into a new kind of American design.”—T. Gill, Beaux Arts & Crafts: Masterpieces of American Frame Design 1890–1920, p. 34."'Summer Day' can be seen as Benson’s affectionate comparison of his young daughters’ radiance and beauty to that of nature itself, an assertion of their essential equivalence to summer’s warmth, light, and air. The sunny outdoor scene depicts eighteen-year-old Elisabeth and thirteen-year-old Sylvia casting their eyes toward the high horizon line, where the boundary between sea and sky nearly dissolves. The billowing sails on and just below the horizon reinforce a sense of gentle movement, as do the girls’ cascading gowns, loosely arranged hair, and decorative ribbons, all of which are enveloped by soft ocean breezes. Benson’s broken brushwork appears lightly but quickly stroked, and his high-keyed palette of whites and white-inflected blues glinting off the summer sea is a ravishing display of Impressionist technique perfectly tuned to his ephemeral, sun-shot subject." —Crystal Bridges label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1712346902469-KP07GADEE3HD8FFBLO8W/BMA%2BCEZANNE%2Bweb%2Bwm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1753371773124-EDGCAEV1G82KYG4FVOI7/NEW+BEDFORD+BRADFORD+LABRADOR+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - WILLIAM BRADFORD (1823–1892) Off The Coast Of Labrador, c. 1880, oil on canvas, 20 x 30 in. Courtesy of the New Bedford Whaling Museum. Gift of Doug & Cindy Crocker. Period frame from Gill & Lagodich, c. 1880s American frame, gilded applied composition ornament on wood, molding width: 5-1/4” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/86201141-c990-49a8-bab8-42d55196d51b/SLAM+TOOKER+GILL+LAGODICH+FRAME+in+situ.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/7a01e99c-a3bc-4f9d-b536-a4d0c4993764/DIA+DAWN+II+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1757976229237-CUPNAL9ZLXLCH8XCKV0N/ADDISON+O%27KEEFFE+WAVE+GILL+LAGODICH+FRAME.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - GEORGIA O'KEEFFE (1887–1986) Wave, Night, 1928, https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459472747915-SHC639J50IYKRGXWZ1JB/GILL+LAGODICH+HARVARD+CHARLES+BIRD+KING+ARTISTS+DREAM+9201_King+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - CHARLES BIRD KING (1785–1862) The Vanity of the Artist's Dream, 1830, oil and graphite on canvas, 35-1/8" x 29-1/2" c. 1820-30 American painting frame; gilded carved wood; wide cove back edge, flat top edge, wide bevel to bevel sight edge, unusual frame model; molding width: 5 inches. Period frame gifted, in part, by Gill & Lagodich to Harvard Art Museums. “In this humorous still life, King pokes fun at popular taste and laments the plight of the arts in America. A masterful example of trompe l’oeil illusion, the painting depicts a cupboard filled with the possessions of an ambitious and well-educated but financially unsuccessful painter. Brushes, drafting tools, treatises on art, and a cast of the head of the Apollo Belvedere, the celebrated antique sculpture, are crammed in next to stacks of unpaid bills, letters from parsimonious patrons, and a “last prize” medal. Behind the loaf of bread, a fictitious news report complete with typographical errors ridicules the unsophisticated tastes of the era, and makes clear that America was a difficult place for painters like King who wanted to emulate the arts culture of Europe in the new republic: The exhibition of a Cats Skin in Philadelphia/produced TWELVE HUNDRED DOLLARS,/totally eclipsing its rival the splendid portrait/of [Benjamin] WEST by Sir T. LAWRENCE, the/later we regret to state, did not produce enough/to PAY ITS EXPENSES. OH’ ATHENS OF AMERICA.” —Harvard gallery label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1762534424648-DX2FPFYRU9JY78NQEZOM/KUEHNE+EAST+RIVER+HARBOR+MINT+MUSEUM+GILL+LAGODICH+wm.jpg A SELECTION OF FRAMING PROJECTS, ARRANGED BY ARTIST - MAX KUEHNE (1880–1968) East River Harbor, 1913, oil on canvas, 20" x 24-1/8" framed by Gill & Lagodich for the Mint Museums, North Carolina. First-half 20th century American artist-made painting frame; Max Kuehne, maker. Cassetta profile with incised decoration, patinated white gold with matte gilded panel. Molding width: 4-1/2” “Max Kuehne’s painting offers an unusual bird’s eye view of New York, looking from the dockyards of Brooklyn to the lower tip of Manhattan. Although not a part of Robert Henri’s inner circle, Kuehne was a student of his for a brief time and was clearly influenced by Henri’s belief that artists should seek their subject matter in their everyday surroundings. Kuehne often made frames for himself and for his friends. He preferred the cassetta (Italian for “box”) profile, whose flat planes he skillfully toned and incised with geometric and floral decorations, as seen in the frame surrounding East River Harbor."—Mint Museum label. Painting Gift of Roy Arnold 1996.60.1 http://www.gill-lagodich.com/gl-press-gallery daily 0.75 2025-11-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1457975946601-YAB2P3DBIB3O3VYPMWHP/NEW+YORK+SPACES+GILL+LAGODICH+ARTICLE+ArtAntiques4.3finalREV_Page_1.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1489938731924-ON1P33BBVHSADGG3Q7EM/FORBES+JAN+2017+30u30+single+wm.jpg GILL & LAGODICH PRESS - JANUARY 2017 — 30 UNDER 30 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1519495538810-ND1BYUI2EQSP4VHW9M6Z/HIGH+MUSEUM+GILL+LAGODICH+FRAMES+VIDEO+wm.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1439477083790-N9HYB22X9JW4ZW3TFPRT/LOS+ANGELES+TIMES+WEB.jpg GILL & LAGODICH PRESS - Los Angeles Times, January 18, 1996 Framing the American Experience from 1820–1920 An extraordinary exhibition of more than 60 empty picture frames at Tatistcheff/Rogers Gallery provides a concise and detailed survey of American frame design from 1820 to 1920. Organized by frame restorers and dealers Tracy Gill and Simeon Lagodich, this beautifully installed show traces a nation’s changing tastes and aspirations. Plain, unpainted folk art frames hang alongside ostentatious displays of cast and carved ornamentation, often including red velvet liners, layers of gold leaf and elaborate, hand-painted patterns. Odd, asymmetrical representations of fruits and flowers play off lavish, rococo abstractions and neat, streamlined designs. Transformations in frame design imply transformations in America’s view of art’s purposes. In the 1820s, simple, gilded moldings based on the clean lines of Greek Revival architecture accompanied the radically democratic idea that art was a practical part of every citizen’s life. The conservative notion that art is primarily a sign of its owner’s cultural refinement is evident in adaptations of frilly French designs. A preponderance of exquisite, naturalistic detail marked frames from the mid-19th century, when paintings of sublime landscapes were fashionable. As the country became more urbane and city dwellers wished to demonstrate their cosmopolitan knowledge of historical antecedents, far-flung styles intermingled in single frames, causing each to resemble a strangely Postmodern travelogue through various places and ages. At the turn of the century, sturdy Arts and Crafts frames marked a distinctly American return to hands-on, down-home values. Charles and Maurice Prendergast signed and dated the frames they made for their paintings, suggesting the frames too, were works of art. For all the impressive variety of singular and mass-produced frames in the exhibition, each one once functioned as a buffer zone between the image it circumscribed and the world outside. Simultaneously separating and integrating art and its surroundings, all frames provide a sliver of space in which pictures might begin to do their unpredictable work on viewers. This is the space that has been off limits since Modernist abstraction and political activism came to dominate art, removing the frame in an attempt to eliminate the distance in which creative (mis)interpretations take place. * Tatistcheff/Rogers Gallery, 2042 Broadway, Santa Monica, (310) 449-1240, through Feb. 3. Closed Sundays and Mondays. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422332939535-R9EC5BCWDYKMRZCCX71P/HG+corrected+spread+6-98+72lp.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422332329715-K5RCDTJQAU6PW6OU9KH5/NYM+3-98+HALL+OF+FRAMES+WEB.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422336589031-TLSVIBMC3SCW6P61KR73/winter+antiques+postcard+WEB.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423490771172-DNVW8MCE61XBDW0INQ0W/static1.squarespace.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423593583765-4JKK3K11MQH734NRO2RU/image-asset.jpeg GILL & LAGODICH PRESS - Style Snapshot: Rossetti frame, by Tracy Gill, page 1 of 2 http://www.pictureframingmagazine.net/?tabid=101&aPrevPage=404&xid=&xsess=9O1AJ5A29O1AJ5A3 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423610039558-OCEE4S2SAOWU7N8BRGE4/press001.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395805483002-4AJ82V3Z0O514LYHLXRI/76307_163875433646766_5022849_n.jpg GILL & LAGODICH PRESS - Beautiful Antique Frames - Traditional Home® Source:http://www.traditionalhome.com/antiques_collecting/kenobrothers/beautiful-antique-frames_ss1.html https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423940149570-SBHAHYG6XI8EE39SBBVK/House+Beautiful+10-99+cover+WEB+wm.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424028023273-HM470GY3OUKNYUM6QORW/VICTORIA+10-94+p3-4+wm.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423950775544-M5TLUA7IJLK7KPWFQ8ZM/Winter+Antiques+2002+wm.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426437941989-C0JYK5IHGAI8JVACG1HP/NYT+PRESS+COVER+PAGE.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422330845418-XV5491YF7062FH1GH8K2/COUNTRY+LIVING+10-94+spread+72l.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426599906560-DV90GXLFAZH44YEJMHMV/GL+PRESS+COVER+PAGE.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346268216-9X0KGBDONFLL4WE7XITS/GL+TOWN+%26+COUNTRY+1.jpeg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1433465226022-I5OF0KD09K8UDT0F44NN/16-Maharam.jpg GILL & LAGODICH PRESS Frames, from left, Circa 1907 American Arts & Crafts painting frame, by Carrig-Rohane Boston Makers; 18th-century French Louis XVI frame; custom-made replica of a 1920s-30s American Modernist frame; 19th-century french shadowbox frame, all from Gill & Lagodich Gallery, New York. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442328000732-BLRK9ZL6GWB9TNSHPNBG/nyer+web+thumnail.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442421181126-MEW6ET0FBMHIQS627TU1/Architectural+Digest+01-03+o%27Brien+cover.jpeg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448556260639-B9Z5MNERHMBYU2B2EGAO/CHUBB+FRAME+ARTICLE.jpg GILL & LAGODICH PRESS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422338090181-ZGI8HWOHMAD5KWM3L6Y4/image-asset.jpeg GILL & LAGODICH PRESS http://www.gill-lagodich.com/past-projects daily 0.75 2026-02-15 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459475242475-4NBPCC9PLV18K9QWSSS8/GILL+LAGODICH+MILWAUKEE+EASTMAN+JOHNSON+OLD+STACGECOACH+wm.jpg SELECTED PAST PROJECTS - EASTMAN JOHNSON (1824–1906) The Old Stagecoach, 1871, oil on canvas, 36-1/2” x 60-5/16”. Custom-made replica c. 1870s American painting frame, gilded applied composition ornament on wood; Molding Width: 7” "The early 1870s marked the height of Eastman Johnson’s career. His sentimental genre scenes of rustic youth and rural life were extremely popular in the wake of the Civil War, evoking a nostalgia for simpler times. Images of innocent and carefree children offered promise for a new beginning to a generation troubled by industrialization and decaying urban conditions. The traditional New England character of Nantucket attracted Johnson to spend his summers there. This energetic and convincingly spontaneous scene of children playing on the wreck of a stagecoach was actually staged in Nantucket on a platform, which the artist altered in the studio to conform to an abandoned coach he had drawn in the Catskills. Despite its contrived origins, the painting is a joyful celebration of the hope of a nation as embodied in the laughter of its youth." — museum label. Layton Art Collection, Inc., Gift of Frederick Layton L1888.22 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455842636183-ZYY74LOV0RRYXVB7NFC4/1010906_591059967594975_1478526931_n.jpg SELECTED PAST PROJECTS - THOMAS SULLY (1783–1872) Self Portrait, 1807, oil on panel, (Frame Size) 23" x 20". Bequest of Daniel Wadsworth. Original frame cleaned and restored by Gill & Lagodich. Wadsworth Atheneum Museum of Art. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477798858364-TEFV4FEX7MOSXMMK4SEI/MFA+BOSTON+GILBERT+STUART+JOSIAH+QUINCY+GILL+LALGODICH+FRAME.jpg SELECTED PAST PROJECTS - GILBERT STUART (1755–1828) Portrait of Josiah Quincy, 1824, oil on canvas, 36-1/4” x 28-1/8”, early 19th-century American painting frame, gilded applied composition ornament and carved wood, molding width 5-1/4” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986879647-73A8D41C80PJ054A5P2J/IMG_9882.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1490729206581-CBNA1C6WADL8MPUP9SE7/STUART_DAVIS_DALLAS_GILL_LAGODICH_RDS-440-REPL_wm.jpg SELECTED PAST PROJECTS - STUART DAVIS (1892–1964) Electric Bulb, 1924, oil on board, 24" x 18-1/8". Custom-made replica frame, c. 1930s American Modernist molding; wide flat cassetta profile. Hand-rubbed patinated gesso finish. Molding width: 3-1/2” Painting © Estate of Stuart Davis; Dallas Museum of Art, Fine Arts Collectible Fund. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492487885048-9ZEVHN1XTDG3PR7WL2RT/2296_GREENVILLE_GILL+LAGODICH_Duveneck+WM.jpg SELECTED PAST PROJECTS - FRANK DUVENECK (1838–1919) Venice, 1880, oil on canvas, 22-5/8" x 37-5/8", period frame, c. 1880s French Barbizon painting frame, gilded applied ornament on wood, reverse profile. Molding width: 7-1/4 inches. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496199499688-C52EJ1UX1T2FVVFS1O3L/MARSDEN+HARTLEY+MET+BREUER+GILL+LAGODICH+wm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497407508448-KJ8Q7YILNHZGIXCMTG9S/DAM%2BGOLLINGS%2BGILL%2BLAGODICH%2Bwm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499799352978-KWHNP22EWE6UG2VTKJ3A/%28c%29VMFA_E201502_0046+GILL+LAGODICH+GALLERY+VIEW+wm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459471884703-693W7HXSFDS595BDJWV9/GILL+LAGODICH+HARVARD+CHARLES+BIRD+KING+ARTISTS+DREAM+9201_King+wm.jpg SELECTED PAST PROJECTS - CHARLES BIRD KING (1785–1862) The Vanity of the Artist's Dream, 1830, oil and graphite on canvas, 35-1/8" x 29-1/2" c. 1820-30 American painting frame; gilded carved wood; wide cove back edge, flat top edge, wide bevel to bevel sight edge, rare period frame model; molding width: 5 inches. Period frame partial gift from Gill & Lagodich to Harvard Art Museums. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1592416363211-6A4XSQYZ1OCCA26PJHZH/REPL-1943_STANFORD+WHITE_INDIANAPOLIS_MILLER_GIVERNY_GILL+LAGODICH+wm.jpg SELECTED PAST PROJECTS - RICHARD EMILE MILLER (1875–1943) Afternoon Tea, Giverny, 1910, oil on canvas, 39-1/2” x 32”. Custom-made replica frame, gilded cast ornament on wood; replicated from an original period Stanford White frame in the Gill & Lagodich Collection; molding width 7-1/4” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609999386630-SVRLQ04M748UA6HBL5J3/RITMAN+FLOWER+GARDEN+PHOENIX+MUSEUM+twitter.jpeg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642002945912-R8U9BQEAS8XBKD4NAZS6/SARGENT+ALPS+CUMMER+MUSEUM+GILL+LAGODICH+frame.jpg SELECTED PAST PROJECTS - JOHN SINGER SARGENT (1856–1925) In the Alps, 1911, oil on canvas, 20 x 28 in., 19th century Italian painting frame; gilded hand-carved wood; molding width 5-1/8 in. “Although John Singer Sargent was American, he spent most of his life abroad. His artistic training encouraged rapid painting rather than the execution of countless studies , and this expressive canvas showcases Sargent’s quick brushstrokes. Painted in Simplon Pass in the Oberland Alps of Switzerland, this painting’s rocks and flowers emerge fro its thick texture. Having gained fame as a portraitist, Sargent was able to suspend new portrait commissions after 1907 and devote his time to watercolors and landscapes.” —museum label. Painting purchased with funds from the Cummer Council. Period frame: Gift of Thomas H. and Diane DeMell Jacobsen. Here’s a link to a museum video about the painting. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643005122456-M47OWY5Z9Q9XDD1DFXIA/MCNY+WILLIAM+S+MOUNT+LAVINIA+BROOKS+GILL+LAGODICH+FRAME.jpg SELECTED PAST PROJECTS - WILLIAM SIDNEY MOUNT (1807–1868) Portrait of Mary Lavinia Brooks Owen, née Mary Lavinia Brooks, at the age of 5, 1849, oil on canvas, 34 x 27 inches. Period c.1860 American painting frame, gilded applied composition ornament on wood, molding width 5-1/2 in. “Mary Lavinia Brooks (1844–1901) was the daughter of Edward Sands Brooks and Adeline Matilda Cremer Leveridge Brooks, who married William Henry Owen, an episcopal priest and noted coin collector. The young girl holds a copy of a Victorian gift book titled Birth-Day Gift or The Birth-Day Present expressly for the purpose of promoting gift-giving.” —museum exhibition label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642994573826-DUEBSAXEE7SGRCDJJ977/MCNAY+VLAMINCK+in+situ+GILL+LAGODICH+frame.jpg SELECTED PAST PROJECTS - MAURICE de VLAMINCK (1876–1958) Beached Fishing Boats, 1937, oil on canvas, 22-1/2” x 28-1/4” c. 1920s-30s American Modernist frame, patinated metal-leaf gilded wood with applied composition ornament, molding width 4” “Framing is often an integral aspect of how works of art are presented and exhibited. Frames not only protect paintings, but also enhance (or detract from) the overall appearance. When Maurice de Vlaminck’s Beached Fishing Boats was added to the McNay collection in 1959, the painting was housed in a typical 1950s-era French-style carved wood frame with a milky white finish. The painting was recently reframed in an American Modernist frame from the 1920s-30s. The wide, scooped profile seemingly allows the image to expand, while the darkened gold patina harmonizes with tones in the boats and sandy beach.” —McNay museum label. © Artists Rights Society (ARS), New York/ ADAGP, Paris https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644375746523-NSCUQHCEJ5NOAIGXFOHD/WAM+MODERSOHN-BECKER+GILL+LAGODICH+FRAME.jpg SELECTED PAST PROJECTS - PAULA MODERSOHN-BECKER (1876–1907) Three Boys Bathing by a Canal, 1901, Wurmsche Tempera on cardboard, mounted on wood, 54.3 × 39.4 cm (21-3/8 × 15-1/2 in.). Mid-19th century American molding frame, faux bois painted wood, bolection profile, gilded liner, molding width: 3-1/4 in. “Modersohn-Becker’s earliest work focuses on the rural landscape of northwestern Germany. Along with other artists and writers—among them her husband Otto Modersohn, poet Rainer Maria Rilke, and his wife Clara Rilke-Westhoff—she found inspiration in a pre-industrial peat-farming community in Worpswede. During several visits to Paris beginning in 1899, however, she encountered the work of Van Gogh, Cézanne, and Gauguin. This painting, created shortly after her return to Worpswede, demonstrates the influence of these artists, specifically the vivid palette, asymmetrical composition, and experimentation with new paints and surface texture. Most importantly, this painting shows her engagement with the nude and introduction of figures into her landscapes. Due to the scarcity of models in Worpswede, she looked to the local population—here, three malnourished boys. Her unique approach to painting—often called proto-Expressionist—was tragically cut short, when she died at age 31 shortly after giving birth.” —museum label Painting: Stoddard Acquisition Fund https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646193299571-LF46YHK06A942T213AA0/GETTY+SOROLLA+x+3+GILL+LAGODICH+FRAMES+in+studio+.jpg SELECTED PAST PROJECTS - JOAQUÍN SOROLLA Y BASTIDA (1863–1923) Left: Court of the Dances, Alcázar, Sevilla, 1910, 37-1/2 x 25 in. Custom-made replica, Early 20th-century American Arts and Crafts frame, gilded hand-carved wood with stippled gesso panel, 22k French Pale gold over red bole, molding width 4-1/2 in. “This is one of a series of four paintings of townscapes and garden scenes in Seville that Joaquín Sorolla y Bastida painted in 1910. Two years earlier, he had made a similar series of views in the same city. While he retained the brilliance and atmosphere of his 1908 Seville paintings, he seems to have approached this second series in a more traditional manner. The courtyard of Seville's Alcázar Palace, the city's most splendid example of Moorish architecture, sparkles in the dappled summer sunlight. As always, Joaquín Sorolla y Bastida was concerned with color and light, brilliance and atmosphere. The colored reflections of the light animate the scene and help to define the forms, creating a sense that nature is ever-changing.” —museum label Center: Hall of the Ambassadors, Alhambra, Granada, 1909, 41 x 32-1/4 in. Custom-made replica, Early 20th-century American Arts and Crafts frame, attr. Artists Framing Co, New York makers, gilded hand-carved wood with stippled gesso panel, 22k French Pale gold over red bole, molding width 5-3/4 in. “The play of light on the water and against the sun-drenched walls of the Alhambra, one of Spain's most influential architectural achievements, was ideally suited to Joaquín Sorolla y Bastida's artistic mission: exploring the changing effects of light under the broadest possible range of conditions. Just as the Alhambra's architects had interwoven light and shade, stone and water, Sorolla captured the myriad patterns created by the architecture, water, and light together. The shadows of the thin columns against the walls create a pattern reflected in the water, whose liquidity is remarkable, given the thick gestural paint that Sorolla applied. The thirty-five-acre Alhambra, built between 1238 and 1358, was the last Moslem stronghold in Western Europe in the late Middle Ages. The Moorish architectural style reached its ultimate refinement here, an airy fantasy that almost seems to float, despite its solid construction of stone and stucco.” —museum label Right: Corner of the Garden, Alcazar, Sevilla, 1910, 37-1/2 x 25 in. Custom-made replica, Early 20th-century American Arts and Crafts frame, gilded hand-carved wood with stippled gesso panel, 22k French Pale gold over red bole, molding width 4-1/2 in. “In this view of the garden at Seville's Alcázar Palace, Joaquín Sorolla y Bastida concentrated on the geometry of form and the clear, bright sunlight of southern Spain instead of the changing reflections of light. He had returned to Seville in 1910 to create a second series of paintings, four paintings of townscapes and garden scenes, following the series he had painted in 1908. While he retained the brilliance and atmosphere of his earlier paintings, he seems to have approached this second series in a less fanciful manner. At the auction of the Thomas Fortune Ryan collection in 1933, J. Paul Getty zealously purchased ten paintings by Sorolla. He later wrote of that moment: ‘I was struck by the remarkable quality of Sorolla's paintings, being especially fascinated by his unique treatment of sunlight. . . . Although the purchase of these Impressionist works was a major digression from my usual fivefold collecting path, my opinion regarding their beauty, appeal and artistic merit remains the same as it was when I first saw the canvases.’” —museum label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647576235995-A7FRY50VDFMZP4GTEUAM/GILL%2BLAGODICH%2BMINT%2BMUSEUM%2BHENRI%2Bwm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634433941147-WEW3Y9NSCOIP61V8S6TF/HASSAM+WASHINGTON+ARCH+PHILLIPS+COLL+GILL+LAGODICH+FRAME+wm.jpg SELECTED PAST PROJECTS - F. CHILDE HASSAM (1859–1935) Washington Arch, Spring, ca. 1893, oil on canvas 26-1/8 x 21-5/8 inches; framed by Gill & Lagodich for The Phillips Collection — Smithsonian Institution; c. 1890s American Hassam exhibition painting frame; gilded applied composition ornament, reverse profile, original gilding; molding width: 3” “A prolific artist and enthusiastic traveler, Hassam painted a variety of outdoor locations: picturesque coastal towns and cities such as New York, Boston, and Paris. Washington Arch, Spring is an example of one of Hassam's most celebrated and distinctive themes—the city. Like the French impressionists, Hassam enjoyed the challenge of capturing the bustling activity of the street as well as the charm of tree-lined avenues. Even in his early career, before embracing impressionism, he painted city scenes in which light and atmospheric effects played an important part. By the 1880s he was using a higher-keyed palette and looser brushwork to paint the spectacle of Paris boulevards. When he returned from Europe in 1889, he began making paintings and etchings of New York. Hassam saw New York as a place of comparable beauty and excitement to the French capital in the fashionable neighborhoods along Fifth Avenue and at Washington Square. In focusing on the more elegant side of New York life, Hassam equated the city physically to the picturesque capitals of Europe, while also, as Duncan Phillips explained, reflecting the city's "awakening cosmopolitanism…." The arch, sited on Washington Square at the southern end of Fifth Avenue, made clear Hassam's reference to a similar monument, the Arc d'Triomphe in Paris. The New York arch, designed by Stanford White, commemorated the one-hundredth anniversary of George Washington's inauguration. Hassam's residence at was just north of the Square, so he was able to watch the progress of construction, first a temporary wood and plaster structure, finished in 1889, followed by a permanent marble arch completed in 1892. Hassam chose a vantage point at street level. Partially blocked by trees; the arch could be seen in the near distance at the end of Fifth Avenue, shown at a diagonal that sweeps into the composition. Although he employed an asymmetrical design and a light palette, as favored by his French impressionist predecessors, Hassam, like most of his American counterparts, preferred not to sacrifice structure and solid form to the fragmenting effects of broken color. He still sought the momentary and fleeting, however, remarking on his interest in watching the bustle of people on the streets as they went about their daily life. Hassam included several pedestrians in Washington Arch, along with a street cleaner and a horse-drawn carriage. He remained a detached observer, however, focusing on the larger, overall view, and capturing a genteel, sunny, picturesque world.” —museum didactic label CLICK ON VIDEO LINK BELOW TO LEARN MORE ABOUT THIS LOVELY PAINTING https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1559518619910-FBSQQ6EVMRS0WP4IXQJP/8845-VAR-REPLICA_Charmy_GILL+LAGODICH+MONTAGE+wm.jpg SELECTED PAST PROJECTS - ÉMILIE CHARMY (1878–1974) Self Portrait in an Open Dressing Gown, ca. 1916 - 1918, oil on canvas, 36-1/8 x 28-7/8 inches. Custom-made replica c. 1920 painting frame, silver-leaf over red bole, stepped Art Deco profile; molding width: 4-3/4 inches. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650165362146-QQHJP5P6TDXL6CLDFSYM/CLARK+Homer_GILL+LAGODICH+FRAME_8726-REPLICA_Lemon.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578281760816-O117V4UAKEIINIZL8TU1/MoAR+LeGRAND+GILL+LAGODICH+.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278879038-JGI6ZZWMJ158GBL9DYNY/Avery%2C+Two+Figures+on+Beach+%28overall%29.jpg SELECTED PAST PROJECTS - MILTON AVERY (1885-1965) Two Figures on Beach, 1950, oil on canvas, 30 x 40 inches. Auction estimate $1,200,000–1,800,00; American Art New York, May 2019. Custom-made frame, American Modernist Sandelin-style, patinated 12k white gold gilded and combed wood finish, molding width: 4-1/4” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578198728119-FIDO399JGCM99CFABYMI/GL-9473_Amon_Carter_George_Bellows_GILL+LAGODICH_wm.jpg SELECTED PAST PROJECTS - GEORGE BELLOWS (1882–1925) The Fisherman, 1917, oil on canvas, 30-1/8” x 44”. Period Frame, c. 1910-20 American Arts and Crafts painting frame, metal-gilded hand-carved wood, molding width 5-1/4” “As one of the artist’s last masterworks of the sea, this painting represents Bellows’ passion for fishing as a physical and spiritual sport. Created during a trip to Carmel, California, the artist suggests the timeless struggle between man and nature through the lone fisherman casting his line into the powerful surf at Point Lobos. The artist’s exuberant brushstrokes and brilliant palette amplify the contrasting motions of the ocean and angler. Bellows probably modeled the fisherman after himself. As a solitary figure trying to maneuver his fishing pole against the crashing waves, he is a metaphor for the artist, who considered the sea one of the most challenging themes to capture on canvas.” —Amon Carter Museum, permanent collection label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661114332666-AQDNUJ5CMSP4LR510JCI/DSCN0365.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1519495282403-P5GXLYKRJYVXCJL5E4PY/HIGH+MUSEUM+GILL+LAGODICH+FRAMES+VIDEO+wm.jpg SELECTED PAST PROJECTS - Curator Close-Up: Stephanie Heydt Frame consultants Tracy Gill and Simeon Lagodich in conversation with Stephanie Heydt, the High Museum’s Margaret and Terry Stent Curator of American Art. Learn about the project Stephanie undertook to enhance the galleries by pairing American paintings with appropriate antique frames. Working with the High since 2003, Gill & Lagodich have framed thirty-nine paintings and restored four period frames from the museum’s collection, including an important Stanford White grille frame for Thomas Wilmer Dewing’s “A Reading,” 1909. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424555304888-WGAQVDDL16A9IVZ2U4VH/PMA+CHURCH+web+wm.jpg SELECTED PAST PROJECTS - FREDERIC EDWIN CHURCH (1826 – 1900) Pichincha, oil on canvas, 1867, 31" x 48-3/16". Rare period 1860s American frame, Earle Galleries, Philadelphia maker, gilded applied composition ornament, embossed paper, and stenciled sand on wood. ”Church became famous for his paintings of natural wonders like Niagara Falls, icebergs in the Arctic, and volcanoes in South America. He sketched this volcano, called Pichincha, on a trip to Ecuador in 1857, but made the painting ten years later in the comfort of his studio in New York. In the finished work, Church added palm trees that could not have grown on the high Andean plain. Although the volcano is dormant in the picture, its eruptions were frequent and dangerous. It had also been the site of a fierce battle in 1822 between Ecuadorian patriots (fighting for independence) and royalists (loyal to Spain), after which the country was plunged into uncertainty and sectionalism, much like the post-Civil War United States was facing at the time Church made this painting.” —museum label. Philadelphia Museum of Art, 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, 2004, 2004-115-2 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424490073352-1DKCC6Z8X9TC4W2955TA/VMFA+CRAWFORD+web+wm.jpg SELECTED PAST PROJECTS - RALSTON CRAWFORD (1906 – 1978) Construction No. 5, oil on canvas, 36-1/8” X 26-1/8”, c. 1950s American Modernist painting frame; patinated, painted wood; reverse bolection profile. “Ralston Crawford, like his senior colleague Charles Sheeler, established a critical reputation in the 1930s New York art world with crisply defined Precisionist paintings of the American industrial landscape. However, his most inventive compositions followed the emergence in the late 1940s of abstract expressionism, a movement that all but sidelined the artist’s subjective geometric work. This image dates from a pivotal moment in Crawford’s career when he was perfecting a bold abstract style characterized by a simplified cubism and restricted color scheme. Construction #5 is linked to the Diesel Construction Company (one of the era’s largest general contracting firms), which commissioned ten New York artists to interpret its skyscraper project then rising at 100 Church Street in Lower Manhattan. According to the artist’s son Neelon Crawford, he and his father visited the site on various occasions, “climbing to the highest point possible during the erection of the steel structure.” The experience inspired a series of abstract paintings (as well as drawings and photographs, two examples of which are also owned by the museum), Construction #5 being the most dynamic and pictorially complex.” —museum label https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565636631662-KL53RASIS1J2RF3X04BW/NCMA+American+Gallery+with+Weir+-+GILL+LAGODICH+frame.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491103133208-JV1YYGYXKV291JVC8W9J/MFAH_DRIGGS_GILL+_LAGODICH_wm.jpg SELECTED PAST PROJECTS - ELSIE DRIGGS (1898-1992) Aeroplane, 1928, oil on canvas, 44" x 38", framed by Gill & Lagodich in a custom-made replica of ac.1930s-40s American Modernist painting frame; wide reverse wave profile, water gilded in palladium leaf with light burnt sienna patina. Molding Width: 3-3/8” Painting: Museum purchase funded by the Brown Foundation Accessions Endowment Fund. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912808093-M077A1QKL6HMES10CDJ9/image-asset.jpeg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423519366576-3100FJXEG6WKJ1ND4Q3T/NAMA+WEST+MARRIAGE+wm.JPG SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591757227397-1H2EWTICSNRWF501OESE/BRUNIAS+BROOKLYN+GILL+LAGODICH+wm.jpg SELECTED PAST PROJECTS - AGOSTINO BRUNIAS (ca. 1730–1796) Free Women of Color with Their Children and Servants in a Landscape, ca. 1770-1796, oil on canvas, 20 x 26 1/8 in. (50.8 x 66.4 cm). Period frame, 19th century French, gilded carved wood and applied composition ornament, molding width 2-7/8 in.“Here, on the grounds of a Caribbean sugar plantation, two luxuriously dressed mixed-race sisters enjoy a walk with their mother, children, and eight African servants. After the Seven Years’ War (1754–63), the British government sent the Roman painter Agostino Brunias to Dominica, one of its newly acquired Caribbean territories. Although Brunias was originally commissioned to promote upper-class plantation life, his paintings soon exposed the artificialities of the region’s racial hierarchies.” —Museum label. Brooklyn Museum, Gift of Mrs. Carll H. de Silver in memory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609919195632-Y00H63IY4O0B4YGA9AOJ/FABRITIUS+GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAME+wm.jpg SELECTED PAST PROJECTS - CAREL FABRITIUS (1622–1654) Artwork copy: The Goldfinch, 1654, satin photo paper mounted on board, 12-7/8 x 8-1/2 inches; Gill & Lagodich custom-made replica of 17th century Dutch “Goldfinch” frame in the Mauritshuis, The Hague, commissioned by Warner Bros., ebonized milled and carved wood, antiqued and patinated to period finish and look, profile matched to original molding, molding width 2-1/2 inches. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451707681-IFQ0DU288ZW0WLJDH8AL/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+frame+in+situ+web.jpg SELECTED PAST PROJECTS - WINSLOW HOMER (1836–1910) Fox Hunt, 1893, oil on canvas, 38 x 68-1/2 in. Recently reframed by Gill & Lagodich for Pennsylvania Academy of the Fine Arts. Custom-made replica of original Homer frame chosen by the artist for other works of this period, c. 1890–1910 gilded and patinated milled wood, molding width ~7 in. This elegant modern design exemplifies the stark modernity of the composition. Painting credit: Joseph E. Temple Fund, 1894.4 Currently on view in the stellar exhibition ‘Making American Artists: Stories from PAFA, 1776–1976.’ “‘Fox Hunt’ is widely viewed as Homer’s most haunting late “naturalist” painting. ¬ Rendered in a manner that suggests a close study of Japanese woodblock prints, it dramatically embodies the recurrent theme of conflict in nature. The subject is novel for the artist, though he had been depicting scenes of hunting and fishing for years. Here, Homer has removed any trace of human presence and focused on the Darwinian struggle of natural selection in the animal kingdom: during a bleak Maine winter, an ominous flock of hungry crows become predators and a fox, desperately moving through the heavy snow drifts, the prey. That the artist appears to have painted the scene from the hunted creature’s perspective, identifying with its plight, only heightens the tension.”—Met museum exhibition label. “After 1890, Homer frequently depicted "naturalist" subjects, such as hunting and fishing in the Adirondacks and coastal or marine views at Prout's Neck, Maine.¬ ‘Fox Hunt’ was Homer’s largest painting to date, and of a size appropriate for the depiction of natural survival and its casualties. He dramatized the brutal realities of winter on the Maine coast by showing a fox desperately bounding through deep snow to flee a flock of half-starved crows. The birds descend ominously with outstretched wings, forming a dark hovering mass above the struggling fox. That viewers witness the scene from the fox’s vantage point heightens the sense of tension and empathy. The fox’s red silhouette is splashed across a field of oppressive snow; we sense that he is cornered, trapped within the flattened white plane while the aggressive birds break its edge on descent. This striking reversal of the natural order, in which the bird becomes predator and the fox prey, has become one of the artist’s most haunting and successful images. PAFA purchased ‘Fox Hunt’ in 1893, the first of Homer’s works to enter a public collection.” —PAFA exhibit label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1443842008094-G29YOI4U5GAW8KLB4K4W/MMA+CURRY+JOHN+BROWN+WEB+WM+2.jpg SELECTED PAST PROJECTS - JOHN STEUART CURRY (1897–1946) John Brown, 1939, oil on canvas, 69" x 45". © John Steuart Curry. Custom-made replica, Early American molding frame, first-quarter-19th-century, beveled wood profile with worn ebonized patina and gilded flat liner. Molding width: 6-1/2” "Throughout the 1930s, Kansas-native Curry was closely associated with Benton as a member of the artistic movement known as Regionalism. John Brown reprises the subject of Curry's mural in the rotunda of the Kansas State Capitol. One of the most controversial figures in nineteenth-century American history, Brown opposed the extension of slavery in the 1850s into the Kansas Territory. Curry depicted Brown larger-than-life in an open, stark landscape besieged by a tornado—a meteorological symbol of the conflict—with a slave at his side. The abolitionist's crazed expression and animated hair and beard suggest the messianic fervor that fueled his opposition to human bondage." Arthur Hoppock Hearn Fund, 1950 (50.94.1) —Metropolitan Museum permanent collection label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649990137645-O3ZVR30LEXPX7RT5K6PY/ART+BRIDGES+DIEGO+RIVERA+GILL+LAGODICH+FRAME.jpg SELECTED PAST PROJECTS - DIEGO RIVERA (1886–1957) La Ofrenda (The Offering), 1931, oil on canvas, 48-3/4” x 60-1/2” Custom-made replica, c 1940s American frame, matte black painted finish on wood, molding width 5-3/8” “Amid a backdrop of verdant botanical life, three figures gather at an altar to honor the dead. Rivera’s scene depicts el Día de los Muertos (the Day of the Dead), a Mexican celebration in which the deceased are invited to commune with the living through an altar set with welcoming offerings. The composition of La ofrenda creates an implied ring that connects the figures to the altar, suggesting the circle of life that unites the living with the dead. After the Mexican Revolution (1910-1920), Rivera was invested in Mexico’s cultural revitalization. The artist’s passionate respect for the splendor and resilience of Indigenous Mexican culture is evident here. A garland of marigolds, omnipresent in Día de los Muertos celebrations, and symbolic of life’s exquisite fragility, is draped across a nopal cactus, which represents survival and appears on Mexico’s coat of arms. La ofrenda reflects the beauty and cultural endurance of post-revolution Mexico, demonstrating Rivera’s belief that “the artist is a direct product of life ... and a reflector of the aspirations, the desires, and the hopes of his age.”” —Art Bridges didactic label Credit line: Art Bridges AB.2017.19 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578286619640-0I18X8F5K5DJDUCJ4092/SLAM+CHASE+10TH+STREET+STUDIO+GILL+LAGODICH+wm.jpg SELECTED PAST PROJECTS - WILLIAM MERRITT CHASE (1849–1916) The Tenth Street Studio, 1880, oil on canvas, 36-1/4” x 48-1/4”. c. 1800s French Barbizon frame, gilded cast ornament on wood, molding width 9 in. “Sumptuous tapestries, exotic metalwork, imported porcelains, fine art, and elegantly adorned patrons were sure to be found in the studios of artists at the end of the 19th century. This painting depicts the studio of its artist, William Merritt Chase, one of the most successful painters of the era. Appreciating—and being seen appreciating—such exquisite finery was an important cultural and social marker for both patron and artist. An invitation to a reception at Chase’s studio (sure to be in the society news) was the most sought after in New York City.” — museum collection label. Painting credit: Bequest of Albert Blair. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1763682700364-09R78NFYOHEKOUHJJJPG/LACMA+DELANEY+GILL+LAGODICH+FRAME+in+situ.jpg SELECTED PAST PROJECTS - BEAUFORD DELANEY (1901-1979) Negro Man [Claude McKay], 1944, oil on canvas, 19-1/8” x 16-1/4” Period c. 1940s-50s American Modernist frame, gilded and painted wood, molding width 4-1/8” “Beauford Delaney, one of the most important Black artists of the 20th century, painted this rare portrait of his friend, the well-known Jamaican American writer and poet Claude McKay (1889–1948) when both lived in New York. Delaney’s practice intersects with much of 20th-century American art: the Harlem Renaissance, the circle around modernists Alfred Steiglitz and Georgia O'Keeffe, American urban scene painting, and Abstract Expressionism. Negro Man [Claude McKay] is an intimate portrait of one of the most influential figures of the Harlem Renaissance. Central to the movement were artists, writers, and intellectuals who represented a new, confident, and vibrant Black expression and self-determination. Many pioneering members of the cultural movement, like Delaney and McKay, were LGBTQ, including Richmond Barthé, Countee Cullen, Langston Hughes, Alain Locke, and Bessie Smith. In his writings, McKay recorded his radical views on the injustices of Black life in America and his belief in the importance of Black autonomy through socialist revolution. Delaney renders his friend McKay’s pensive countenance with colorful, thick, expressive brushstrokes that delineate the contours and shadows of his face. Dressed in a bright blue jacket, McKay gazes directly at us; his upper torso fills the canvas, suggesting his powerful presence. Stylistically, the thick brushwork and intense colors reveal Delaney’s appreciation for Van Gogh and the French Fauves. Working from both direct observation and memory, Delaney’s psychologically engrossing portrait captures his sitter’s temperament through details of clothing and expression, set against a textured abstract background. Delaney emigrated to Paris in the 1950s, following his friend, writer James Baldwin, and joining a community of Black American writers, artists, and musicians who found Paris more accepting and less discriminatory to Blacks and homosexuals. In Paris his work turned more abstract and gestural, which would be his prevailing style for the remainder of his life.” —LACMA curatorial notes https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1767923988837-HGSARK2BZP1R0KUIJ3DZ/1932+DOVE+DAWN+II+in+situ+%28DIA%29.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1768165865872-1DZQB17BI7PC3K7LFJS9/IMG_3369.jpg SELECTED PAST PROJECTS - GEORGE INNESS (1825–1894) Sunset, c. 1881-82, oil en grisaille on academy board, 13-7/8” x 10-3/8” Period c. 1900 American frame, patinated silver leaf on composition ornament on wood; molding width: 3-1/8” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432347919368-FAJUD20OPZSF7MQMVPGX/GILL+LAGODICH+MUNSON+WILLIAMS+HICKS+dog+with+a+view.jpg SELECTED PAST PROJECTS - THOMAS HICKS (1823–1890) with SCOUT, G&L gallery dog, (2009–2022) “Trenton Falls: Upper High Falls from the West,” ca. 1855. Munson-Williams Proctor Arts Institute Museum of Art 75th Anniversary Acquisition. Custom-made replica frame by Gill & Lagodich: matched pair, ca. 1840-50 American Rococo Revival painting frames; gilded applied composition ornament on wood with ornamented gilded spandrel inserts, overall molding Width: 5-1/8” https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467647671049-T0ADB7HKMYND6F1XVLTQ/LAGODICH+BARCLAY+HOTEL+CLOSE+UP.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423591151287-79B5GLW9G5LI9Z7XQMXP/peter+barbara+bierstadt.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424142239868-B4KNYX2AX0FK92NL6LVJ/1488065_853558294678473_3624936609731866703_n.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426648358601-55CLCM4WG13NBV42U7OR/CB+BENSON+SUMMERS+DAY.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428542816962-PF9BOWI7OF5TK32UFY4M/MEAD+2011-09-26+-+Thomas+Cole+002.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441772791978-4UF59IFX15JU48URFD7A/GILL+LAGODICH+BMA+DE+COST+SMITH+wm.jpg SELECTED PAST PROJECTS - DE COST SMITH (1864 – 1939) Driven Back, 1892, oil on canvas, 25-1/2" x 45-1/2". c. 1900 American painting frame; design based on traditional British Watts-style frames, gilded applied ornament on wood, stylized egg-and-dart motif outside, elegant gilded oak panel, Watts-style liner element with running leaf, astragal and flat at sight edge. Molding width: 6-3/4" "Born in Skaneateles, New York, De Cost Smith was fascinated by Native American cultures from an early age. He regularly visited the nearby Onondaga Reservation and was eventually initiated into the tribe. In 1884, Smith made his first of many trips out West, traveling to the Dakota Territory, where he visited the Great Sioux Reservation. The plight of the Sioux people–who were gradually stripped of their native lands by the U.S. Government–became a frequent subject of Smith’s work, including this painting, which was included in the art exhibition at the 1893 World’s Columbian Exposition in Chicago. In an account entitled “The Book of the Fair,” Hubert Howe Bancroft describes the works on display in the Fine Arts Building, writing, “Military subjects are but slightly represented. One of the smallest and best among them is ‘Driven Back,’ by De Cost Smith, whose time has been largely devoted to the study of Indian life. It represents a party of Sioux warriors emerging from a river by which they are separated from a pursuing squadron of cavalry.”" — Museum Permanent Collection label. Painting: Museum purchase with funds provided by Dr. and Mrs. Harold E. Simon. 1973.123 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455687679807-NAN5V8TRBS17SWD1X6A7/GILL+LAGODICH+CHRYSLER+HALE+wm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455844899855-DXQ1GPK7QM3CJGFASWXC/GL-7238-REPL_TERRA_Dewing%2Bweb%2Bwm.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455856457461-HRL3HE7L6FMSX420C0FU/IMG_7915.jpg SELECTED PAST PROJECTS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1458007183829-ZA3Q2NMN1OLFY73BRICR/7231_GILL+LAGODICH+WINTERTHUR+Trumbull.jpg SELECTED PAST PROJECTS http://www.gill-lagodich.com/european-frames-index-test daily 0.75 2015-04-10 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422764949456-YISURXEJQ630FR70NQ4W/GL-1875+English+web+wm.jpg EUROPEAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424038442914-UZA0DY74SKUWGWQQNEIB/GL-3375+18th+c+French+round+web+wm.jpg EUROPEAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424155614480-JHURT9CF45Y0WZ4LHLGN/GL-5757+16th-17th+century+Italian.jpg EUROPEAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422680987482-HQTJF4BRM00HXGPTEPK5/0145_Spanish_full_web_wm.jpg EUROPEAN FRAMES - GL-0145 17th-century Spanish Herrera frame https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426042760448-UJZJJYF5I8IOXI5B69I7/GL-3375+18th+c+French+round+web+wm.jpg EUROPEAN FRAMES http://www.gill-lagodich.com/american-frames-index-test daily 0.75 2025-11-21 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1603139674439-GHIMK59AR3JCX7DBLD87/Gill+And+Lagodich_A_143+STANFORD+WHITE+INSTA.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423488452317-CX9VHE840H7WQSAOG7L3/GL-1630+AMERICAN+FOSTER+BROS+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423488972738-DFNMT5KT3JU1H1ZVE7FN/GL-9013+AMERICAN+horiz.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424029731790-983UVQCQBST8F3C69LJV/0292+AMERICAN+SULLY+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424034468416-DZ46TFQSCBK0YDH6WJ0B/GL+PRENDERGAST+FRAMES+1+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424035104316-DMT34JOSOY1ZBO3K7PU7/GL-1432+American+Arts+and+Crafts+frame+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424035376727-SOX17YZE2H8IQW5WC5A9/GL-1629+AMERICAN+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424035534588-DKU8T8R9Y23WK9QX9ZV9/1917+AMERICAN+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424153340952-UQENIXG8QGOCZ31DCY2M/GL-5683+AMERICAN+FOSTER+BROS+.jpg PERIOD AMERICAN FRAMES - GL-5683 c. 1910-20 American Arts and Crafts, Foster Bros. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424153516747-ZCGWV8XLT9G2UN5XKTLH/GL-5164+AMERICAN+HARER+frame+web+wm.jpg PERIOD AMERICAN FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424487115119-KCA3MI5OFKN80ETH86EV/GL8915+OUTSIDER+LADY+FRAME+web+wm.jpg PERIOD AMERICAN FRAMES - GL-8915 mid-20th century American Outsider Art polychrome carved wood frame https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1427292271562-89YT5AM4M4EBTBOLMKBK/GILL+LAGODICH+KUEHNE+SCREEN+AVERY+GALLERIES.jpg PERIOD AMERICAN FRAMES - Four Panel Folding Screen by Max Kuehne, American, circa 1930 Four Panel Folding Screen by Max Kuehne, American, circa 1930, two-sided gilded and polychromed wood decorated in oxidized silver leaf, tempera and gesso with overall incised floral and foliate decoration on front. Water-gilded and oil-gilded surfaces purposely oxidized and textured overall. Overall Dimensions: 71-3/4 x 61-1/4 inches. Restored and consolidated by Gill & Lagodich Restoration Studios for Avery Galleries, Bryn Mawr, PA. http://twitpic.com/eqeim https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423488379492-XYG9QTQ200N49DZ4MDKS/GL-1138_1870s_American_web_wm.jpg PERIOD AMERICAN FRAMES http://www.gill-lagodich.com/interiors-architectural-design daily 0.75 2025-09-11 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442421353444-7O552JUTPJ5WRF8X96CI/Architectural+Digest+01-03+O+Brien.jpeg INTERIOR & ARCHITECTURAL DESIGN - Thomas O'Brien, "Framed in Tribeca", Architectural Digest, January 2003 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1666646703326-WP2YO4N476F7K8BXZ2EW/GL+REPL-7923-VAR01+RH+NYT+image+10-24-22+credit+Karsten+Moran+for+NYT.jpg INTERIOR & ARCHITECTURAL DESIGN - RH MEATPACKING, NYC — The New York Times “Many of the RH restaurants are connected to lavish furniture galleries.” — The New York Times, October 24, 2022 Photo Credit: Karsten Moran for The New York Times https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424111974715-PPMGI2H5QPJIQVZE265A/GL+GALLERY+AERO+TRICIA+lg+web+wm.jpg INTERIOR & ARCHITECTURAL DESIGN https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424203670684-0EI5F2CPUTRAIWKSYLWO/GL-7721+OVAL+MIRROR+COVER+shot+web+wm.jpg INTERIOR & ARCHITECTURAL DESIGN https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423514839391-S6OMHXW635OYML7SIHD7/GILL-LAGODICH+TRUMEAUX+CROPPED.jpg INTERIOR & ARCHITECTURAL DESIGN https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1457969552254-DS2OK8L3Y1JPQ8KM6TBG/GILL+LAGODICH+SHUMACHER+IMG_5605%5B3%5Dwm.jpg INTERIOR & ARCHITECTURAL DESIGN http://www.gill-lagodich.com/frame-restoration daily 0.75 2022-08-22 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425766219404-DUQY1TBM1GS47KOG9D5E/NAMA%2BBINGHAM%2Bwm.jpg FRAME RESTORATION - GEORGE CALEB BINGHAM (1811 – 1879) Canvassing For A Vote, 1852, oil on canvas, 25-1/4" x 30-1/2", museum period frame cleaned and restored by Gill & Lagodich. Painting purchase: William Rockhill Nelson Trust. Nelson-Atkins Museum of Art. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424134957119-GENMOQJ5P8DUH1T3VJL0/GL+GILDING+web+wm.jpg FRAME RESTORATION http://www.gill-lagodich.com/custom-replica-frames daily 0.75 2022-11-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425151531477-PIKB48SC1D2XP17CKIQJ/GL7952+MIRROR+MONTAGE+web+wm.jpg CUSTOM & REPLICA FRAMES - GL-7952 DUTCH -STYLE EBONIZED WOOD MIRROR FRAME https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422389322839-VT1UPH6PSF82BWGMS0KA/GILL-LAGODICH+TRUMEAUX.jpeg CUSTOM & REPLICA FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424131006728-XKISTA1LG3ZAHEP7AQQ9/AIC+HOPPER+NIGHTHAWKS+REFRAMED+wm.jpg CUSTOM & REPLICA FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425096604495-DCKWBG8RLWY5S0XNP2F8/GL-7238-REPL_TERRA_Dewing+web+wm.jpg CUSTOM & REPLICA FRAMES http://www.gill-lagodich.com/artist-frames daily 0.75 2025-11-07 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526875288151-OCR6LFG6KO2BDOX7SOYT/WOOD+GAYLOR+FRAME+DETAIL+GILL+LAGODICH+wm.jpg ARTIST FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527438484856-42I29J817YF02AVNGLVF/GL%2BPRENDERGAST%2BFRAMES%2B1%2Bweb%2Bwm.jpg ARTIST FRAMES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527438804425-HELAZVW5ZIMM7HDU97WZ/GL%2BMODERN%2BAD%2B2%2Bweb%2Bwm.jpg ARTIST FRAMES http://www.gill-lagodich.com/exhibitions-and-catalogues daily 0.75 2025-11-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520127530454-BKRDFMJL1R9XOF1WJPXF/Eric%2BMichael%2BTollefson%2B-%2BG%26L%2BSalon%2BWall04.jpg EXHIBITIONS & CATALOGUES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422841936841-VASJBZDOK4NTK0M35748/BEAUX+ARTS+CATALOG+FRONT+COVER.jpg EXHIBITIONS & CATALOGUES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422844938378-0KVPH8VMRUZEZFY3BKRK/100+Years+On+The+Edge+front+cover.jpg EXHIBITIONS & CATALOGUES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426559792725-WOFK3HBNNQ45ZSS4NTWV/Simeon+Lagodich-2.jpeg EXHIBITIONS & CATALOGUES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426560019948-PROU6ZX5CXJ4PFFCDRTZ/WESLEYAN+brochure+web+wm+p1.jpg EXHIBITIONS & CATALOGUES https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428627014148-0P2J400DRAIGDS1NJ95S/front+cover+The+American+Frame_From+Origin+to+Originality_sm_web+wm.jpg EXHIBITIONS & CATALOGUES http://www.gill-lagodich.com/news daily 0.75 2026-01-11 http://www.gill-lagodich.com/news/2015/9/11/rarcwmbtx9qdhwr6ydvx9b99t6d00h monthly 0.5 2026-01-09 http://www.gill-lagodich.com/news/2026/1/11/initiatives-in-art-amp-culture monthly 0.5 2026-01-15 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/a7f2aef6-04db-4815-a36d-d19fdbc66bff/DREAMWOLD+TITLE+SLIDE+website+sm.jpg LECTURES & PRESENTATIONS - INITIATIVES IN ART & CULTURE - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/55c9db41-c404-409d-b891-c34f770ab42c/DREAMWOLD+slide+signatures+website+sm.jpg LECTURES & PRESENTATIONS - INITIATIVES IN ART & CULTURE - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/ef225f79-94f1-4867-9fb3-4f78b3a1d1d4/ART+INITIATIVES+Tracy+Gill+Marty+O%27Brien+Lisa+Koenigsberg.jpg LECTURES & PRESENTATIONS - INITIATIVES IN ART & CULTURE - Make it stand out Tracy Gill, Gill & Lagodich; Marty O’Brien, O’Brien Art Foundation; Dr. Lisa Koenigsberg, IAC founder and president. http://www.gill-lagodich.com/news/2026/1/8/detroit-institute-of-arts monthly 0.5 2026-01-09 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/ee703c47-3691-4d59-a7a4-ad5f6a817f06/1872+Gifford+On+The+Nile+AFTER+Frame+10435_DIA+.jpg LECTURES & PRESENTATIONS - DETROIT INSTITUTE OF ARTS - Make it stand out Sanford Gifford, On The Nile, 1872, oil on canvas, 17 × 31 inches, framed by Gill & Lagodich for the Detroit Institute of Arts, c. 1870s American period frame, rare design. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/5f734b67-ec60-493f-a050-4dcf26a935a9/sm+Detroit+Inst+of+Arts_idEy7ZJa-A_0.jpg LECTURES & PRESENTATIONS - DETROIT INSTITUTE OF ARTS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.gill-lagodich.com/news/2021/3/18/high-museum-of-art monthly 0.5 2021-04-29 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616166150041-3UDRMF7QIH998QVO2PSU/_Talk_+FRAME+IT+UP.png LECTURES & PRESENTATIONS - HIGH MUSEUM OF ART https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619732297455-K5IJC8L1H0VZDH89SUZ4/FRAME+IT+UP+HMA+GILL+LAGODICH+TITLE+SLIDE+HIGH+LECTURE+2021+wm.jpg LECTURES & PRESENTATIONS - HIGH MUSEUM OF ART http://www.gill-lagodich.com/news/2017/9/21/high-museum-of-art monthly 0.5 2018-02-24 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1506043221628-P6HON8GYB0H5USP4EEI6/1442188765297.png LECTURES & PRESENTATIONS - HIGH MUSEUM OF ART http://www.gill-lagodich.com/news/2017/7/11/denver-art-museum monthly 0.5 2017-07-12 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499829659722-RWBFP88NE8W3LVJAOF4R/image-asset.jpeg LECTURES & PRESENTATIONS - DENVER ART MUSEUM http://www.gill-lagodich.com/news/2016/9/28/florence-griswold-museum monthly 0.5 2017-09-22 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1475086037198-VE2401JG5J5C3E4JTXRI/image-asset.jpeg LECTURES & PRESENTATIONS - FLORENCE GRISWOLD MUSEUM http://www.gill-lagodich.com/news/2016/1/4/crystal-bridges-museum-of-american-art-2 monthly 0.5 2016-02-03 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1451968087454-9GI2UDGXMLBYC5XTCW60/image-asset.png LECTURES & PRESENTATIONS - Crystal Bridges Museum of American Art http://www.gill-lagodich.com/news/2016/1/4/crystal-bridges-museum-of-american-art-1 monthly 0.5 2016-01-05 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1451967523230-7SR39CSQ4ZNLNS0JA2S8/image003.png LECTURES & PRESENTATIONS - Crystal Bridges Museum of American Art http://www.gill-lagodich.com/news/2016/1/4/crystal-bridges-museum-of-american-art monthly 0.5 2016-01-23 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1451966342402-GYZ5LO20H3Q54GED6XIP/image-asset.png LECTURES & PRESENTATIONS - CRYSTAL BRIDGES MUSEUM OF AMERICAN ART http://www.gill-lagodich.com/news/2015/10/1/the-metropolitan-museum-of-art-1 monthly 0.5 2015-11-26 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1443754586970-TL27Q28WBB282M4UA0GP/image-asset.png LECTURES & PRESENTATIONS - The Metropolitan Museum of Art http://www.gill-lagodich.com/news/2015/9/10/lecture-list-test monthly 0.5 2015-10-01 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442011263893-Y8P4Y6DEQJXE4WPKP7FK/image-asset.jpeg LECTURES & PRESENTATIONS - The Birmingham Museum of Art http://www.gill-lagodich.com/news/2015/9/10/uai9wyzgo3g1gn0evb93ywgoyh3do4 monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442010412629-68E0EL8VHA8DWSPI4L83/image-asset.jpeg LECTURES & PRESENTATIONS - The Union League Club, New York http://www.gill-lagodich.com/news/2015/9/10/new-post-test monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442004492504-87Q1IVOKE4O8ASCQ5TIQ/AAA-logoOwl.gif LECTURES & PRESENTATIONS - Appraiser’s Association of America http://www.gill-lagodich.com/news/2015/9/11/yet-another-lecture-test monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442170002309-FMVDWXCE87FZ3UU0MMOC/image-asset.jpeg LECTURES & PRESENTATIONS - Virginia Museum of Fine Arts http://www.gill-lagodich.com/news/2015/9/13/appraisers-association-of-america-february-4-2013 monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442166490092-ABPSVYTSENVIOG0AD5AS/image-asset.gif LECTURES & PRESENTATIONS - Appraiser’s Association of America http://www.gill-lagodich.com/news/2015/9/13/rockwell-museum-of-western-art monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442173566307-NGN42E4G2U3E48ODMH5T/image-asset.png LECTURES & PRESENTATIONS - ROCKWELL MUSEUM OF WESTERN ART http://www.gill-lagodich.com/news/2015/9/13/uzli7x1m15raqowcuf00ezgjezql49 monthly 0.5 2015-09-13 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442175015077-PTIHPAEOV7AT9EMDM75N/image-asset.png LECTURES & PRESENTATIONS - Initiatives in Art and Culture http://www.gill-lagodich.com/news/2015/9/13/milwaukee-art-museum-april-21-2012 monthly 0.5 2022-03-20 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442187358596-HRTEB3OR6CIZ0RDJZC4K/image-asset.jpeg LECTURES & PRESENTATIONS - Milwaukee Art Museum https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/e1b5340b-3f68-45a7-bdeb-801ac6e92ba6/MILWAUKEE+MUSEUM+GILL+LAGODICH+LECTURE+2012.jpg LECTURES & PRESENTATIONS - Milwaukee Art Museum - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.gill-lagodich.com/news/2015/9/13/high-museum-of-art-atlanta-ga-september-2011 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442188765203-FB18GJ0VIB4KTISGTI98/image-asset.png LECTURES & PRESENTATIONS - HIGH MUSEUM OF ART http://www.gill-lagodich.com/news/2015/9/13/mead-art-museum-april-10-2011 monthly 0.5 2015-09-16 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442189159393-QB887BIQ0HZHPFBJUMZZ/image-asset.jpeg LECTURES & PRESENTATIONS - MEAD ART MUSEUM http://www.gill-lagodich.com/news/2015/9/13/solomon-r-guggenheim-museum-of-art-june-24-2010 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442192403768-1008X0BREFE2AMN4M9HR/image-asset.jpeg LECTURES & PRESENTATIONS - SOLOMON R. GUGGENHEIM MUSEUM OF ART http://www.gill-lagodich.com/news/2015/9/13/nelson-atkins-museum-of-art-september-24-2009 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442201761097-ZGFCGFPOXVSETZG5K0JC/image-asset.jpeg LECTURES & PRESENTATIONS - NELSON-ATKINS MUSEUM OF ART http://www.gill-lagodich.com/news/2015/9/13/boscobel-house-and-gardens-aug-24-2009 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442202524548-JAVYI7E6BIETY7YE946K/image-asset.jpeg LECTURES & PRESENTATIONS - Boscobel House and Gardens http://www.gill-lagodich.com/news/2015/9/13/high-museum-of-art-april-2008 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442203126500-CTA2HJGDCMYE5W8RUQNV/image-asset.png LECTURES & PRESENTATIONS - HIGH MUSEUM OF ART April 2008 http://www.gill-lagodich.com/news/2015/9/14/atlanta-art-forum-march-2007 monthly 0.5 2015-09-14 http://www.gill-lagodich.com/news/2015/9/14/new-york-university-school-of-continuing-professional-education-march-20-2004 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442204366110-P65PUUABUOF08AH3ND6L/image-asset.jpeg LECTURES & PRESENTATIONS - NEW YORK UNIVERSITY, SCPS http://www.gill-lagodich.com/news/2015/9/14/new-york-school-of-interior-design-september-17-2003 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442205150334-F2DUSDSXWYSZI0ZCX6ZW/image-asset.jpeg LECTURES & PRESENTATIONS - NEW YORK SCHOOL OF INTERIOR DESIGN http://www.gill-lagodich.com/news/2015/9/14/hamilton-college-february-2003 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442243089508-I0O4U5EDP64EAVIGH9A8/image-asset.jpeg LECTURES & PRESENTATIONS - Hamilton College http://www.gill-lagodich.com/news/2015/9/14/desmond-fish-library-garrison-new-york-november-4-2001 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442244034055-V9CVV5N0ILHB1KZVR38F/image-asset.png LECTURES & PRESENTATIONS - Desmond-Fish Library http://www.gill-lagodich.com/news/2015/9/14/sothebys-institute-of-art-october-2001 monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442245009900-3O3METLXZT1XNAVAQXHX/image-asset.jpeg LECTURES & PRESENTATIONS - Sotheby’s Institute of Art http://www.gill-lagodich.com/news/2015/9/14/art-institute-of-chicago monthly 0.5 2015-09-14 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442245611049-WW1GWRMQW57C49NM0HVN/image-asset.gif LECTURES & PRESENTATIONS - ART INSTITUTE OF CHICAGO http://www.gill-lagodich.com/news/tag/Initiatives+in+Art+and+Culture monthly 0.5 http://www.gill-lagodich.com/news/tag/Dreamwold monthly 0.5 http://www.gill-lagodich.com/news/tag/Maurice+Prendergast monthly 0.5 http://www.gill-lagodich.com/news/tag/Gill+Lagodich monthly 0.5 http://www.gill-lagodich.com/news/tag/Charles+Prendergast monthly 0.5 http://www.gill-lagodich.com/news/tag/Prendergast monthly 0.5 http://www.gill-lagodich.com/framing-america daily 0.75 2022-08-22 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486824665945-PEYY9BCDOY0XJZHZL229/MMA%2BCURRY%2BJOHN%2BBROWN%2BWEB%2BWM%2B2-1.jpg FRAMING AMERICA - JOHN STEUART CURRY (1897–1946) John Brown, 1939, oil on canvas, 69" x 45". © John Steuart Curry. Framed by Gill & Lagodich for the Metropolitan Museum of Art. Custom-made replica, Early American molding frame, first-quarter-19th-century, beveled wood profile with worn ebonized patina and gilded flat liner. Molding width: 6-1/2” "Throughout the 1930s, Kansas-native Curry was closely associated with Benton as a member of the artistic movement known as Regionalism. John Brown reprises the subject of Curry's mural in the rotunda of the Kansas State Capitol. One of the most controversial figures in nineteenth-century American history, Brown opposed the extension of slavery in the 1850s into the Kansas Territory. Curry depicted Brown larger-than-life in an open, stark landscape besieged by a tornado—a meteorological symbol of the conflict—with a slave at his side. The abolitionist's crazed expression and animated hair and beard suggest the messianic fervor that fueled his opposition to human bondage." Arthur Hoppock Hearn Fund, 1950 (50.94.1) —Metropolitan Museum permanent collection label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486825153068-ORYG7N1QQWJLU2IY754O/William%2BSidney%2BMount_Gill%2BLagodich%2Bwm.jpg FRAMING AMERICA https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486920775080-JH49XOS13I6THJROLF88/MFAH%2BHICKS%2Bweb%2Bwm.jpg FRAMING AMERICA - EDWARD HICKS (1780 – 1849) Penn’s Treaty With The Indians, c. 1830-1840, oil on canvas, 17-5/8” x 23-5/8”. Framed by Gill & Lagodich in a rare c. 1830-40s American Hicks style painting frame, faux-painted wood, flat top edge and wide scoop profile with corner blocks; molding width 2-3/4” "According to legend, in 1682 Quaker reformer William Penn met with Native Americans at Shackamaxon in what is now Philadelphia to exchange gifts for land. Although history shows that Penn did meet with the Lenape Indians, no actual treaty exists. For the Quakers, however, the meeting fulfilled the biblical prophecy of a peaceable kingdom on earth. The theme inspired more than a hundred paintings by Quaker preacher Edward Hicks, who also worked as a sign and coach painter. Using a seemingly unsophisticated style, Hicks concentrated on images that conveyed his Quaker beliefs." —MFAH catalogue https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487445720874-3NTP4CEMXJCTGIMIECP2/MoAR+LEGRAND+GILL+LAGODICH+FRAME_wm.jpg FRAMING AMERICA https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526178076933-TKEKHXC68TSELC1GFT0S/GILL%2BLAGODICH%2BCHRYSLER%2BJG%2BBROWN%2Bwm.jpg FRAMING AMERICA - JOHN GEORGE BROWN (1831–1913) Pull For The Shore, 1878, oil on canvas, 34-1/8" x 56-1/8" framed by Gill & Lagodich for the Chrysler Museum of Art, in a second-half 19th century painting frame, stained wood outer molding element with applied solid mahogany; gilded applied composition ornament and sand on wood. Molding width: 4-5/8” "In this ideal of teamwork, old and young row in unison to bring their tiny craft home through swelling seas. John George Brown based Pull for the Shore on sketches made on Grand Manan Island off the far northern coastline of Maine. Each face is a portrait of a local fisherman whom Brown met and sketched, but this epic New England battle of man against nature also may address American politics of the Reconstuction era. Following decades of sectional conflict and the violence of the Civil War, North and South struggled in the 1870s to heal the nation's wounds and work together toward prosperous future." — permanent collection label. Painting gift of Walter P. Chrysler 71.552 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526178417118-R9B0BCVEDORE6JB23KCU/NAMA%2BBINGHAM%2Bwm.jpg FRAMING AMERICA - GEORGE CALEB BINGHAM (1811 – 1879) Canvassing For A Vote, 1852, oil on canvas, 25-1/4" x 30-1/2", museum period frame cleaned and restored by Gill & Lagodich for the Nelson-Atkins Museum. Painting purchase: William Rockhill Nelson Trust. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526178553494-Y1L1POVT88XFR21MOVSC/7231_GILL%2BLAGODICH%2BWINTERTHUR%2BTrumbull.jpg FRAMING AMERICA - JOHN TRUMBULL (1756–1843) Washington at Verplanck's Point, 1790, oil on canvas, 30-1/8" x 20-1/8"; framed by Gill & Lagodich for the Winterthur Museum in a custom-made replica of a circa 1790 American Carlo Maratta-style painting frame; molding width: 3" https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486824909375-CSQEFPA21WCN2K7TO3VO/HASSAM%2BFLAGS%2BGILL%2BLAGODICH.jpg FRAMING AMERICA - F. CHILDE HASSAM (1859–1935) Flags on the Waldorf, 1916, oil on canvas, 36-1/4” x 31-1/4”. Framed by Gill & Lagodich for the Amon Carter Museum. Early 20th-century American Hassam flag painting exhibition frame; gilded applied composition ornament on wood; reverse profile; original gilding. "Hassam recorded the changing patriotic display along Fifth Avenue during World War I, when New York City regularly flew the flags of the allied nations, the armed services, and the American Red Cross." — Amon Carter Museum, permanent collection label. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486825424540-9I5F6PZSWIXVZAYFG9HZ/Spencer_HomeOfRedWhiteBlue_Recent.jpg FRAMING AMERICA https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661132381955-JLAMYAVNBODMDEA2AAP0/EDWARD+MORAN+COMMERCE+GILL+LAGODICH+frame+install+shot+2+MMAM+Oct+2017.jpg FRAMING AMERICA http://www.gill-lagodich.com/contact-1 daily 0.75 2020-11-10 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422139368434-3VE921GHNJAZ97PKI8IR/gill_and_lagodich_fine_period_frames.jpg Contact http://www.gill-lagodich.com/about daily 1.0 2025-07-24 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395785172411-Y4BO2HHTWD8P2FJJNWIB/Gill-Lagodich_Gallery_storefront+0354+uploaded.JPG GILL & LAGODICH GALLERY https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1422200115521-RLAARHDPDTSXPMPU5VJI/RESTORATION+STUDIO GILL & LAGODICH GALLERY https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1482803105737-TGQ4YPAZXRN87XJA6NVV/image-asset.jpeg GILL & LAGODICH GALLERY GILL & LAGODICH owners Simeon Lagodich and Tracy Gill at THE (UN)FAIR exhibition, March 2014. photo credit: Eraj Asadi. http://www.gill-lagodich.com/locations daily 0.75 2026-01-15 https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/4dbb36dc-f21d-470c-bcf8-636a322f355d/GILL+LAGODICH+MAP+52+DUANE+for+website+2026.jpg VISIT US https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/5c1d73d4-52b9-4ef6-b535-dd0770e597a3/IMG_4120.jpeg VISIT US - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/c0dc0fa4-ed4a-4bcf-91eb-bac03a67f0d0/Gill%2BLagodich%2B52Duane%2BStreet%2Bmap.jpg VISIT US CLICK MAP IMAGE FOR GOOGLE MAP AND DIRECTIONS https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/86ad817a-8a8f-4a49-8fad-05a00b0f1f65/IMG_4112.jpeg VISIT US - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/7325b748-ef6e-4423-854e-f9689f39cd4e/IMG_4113.jpeg VISIT US - Make it stand out Whatever it is, the way you tell your story online can make all the difference.