Contemporary Frames Robert Kulicke, Creator of the Metal Section
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By Patrick Sarver AA Master'sMaster's Robert Kulicke, creator of the metal section frame and Plexi box, raised period frame restoration to new heights and enjoyed a successful career as an artist and jewelry designer o aim at originality directly head on is the only cer- speaking, in the frame-making world you get people who tain way of never arriving there,” noted frame are very careful and respectful of the uniqueness and quali- Tmaker Robert Kulicke once said. “Such an effort ty of old frames or people who do modern frames or can only result in a self-conscious novelty. True origi- those who do cheap reproductions. No one else Tnality is always a byproduct of the search for a ever had Bob's high standards in combining technical-esthetic solution to a technical- all three.” esthetic problem.” This philosophy was one of Contemporary Frames the driving principles behind the “Bob's contemporary frames great creative talents of Kulicke, evolved as a result of the nature the twentieth century's most impor- of the work he was framing,” says tant framer, who passed away Roy Davis, a partner at Davis & December 14, 2007, at the age of 83. Langdale, the gallery that represent- He was best known in the framing ed Kulicke since 1974. “He couldn't world as the designer of the welded put a Louis XV frame on a Rothko.” aluminum frame, the metal section The welded aluminum frame frame, the Plexi box, the frameless was created in 1956 when the glass or trap frame, and the crackle Museum of Modern Art asked finish. But Kulicke's legacy also Kulicke to design a frame for its trav- included raising the art of period eling exhibitions. In 1960 he also frame reproductions and restora- developed the Lucite Plexi box Kulicke was known for both his still life paintings of fruit, tion to new heights and training a most notably pears, and for his period frames. He frame for the museum's photogra- generation of leading frame makers designed this one to echo the shape of the fruit. phy department. in America in creating truly accurate “When he saw all the chrome antique frames. He was also a painter of note, known for his and glass architecture, he decided those elements were still lifes of pears and other fruit. And he helped revolution- needed in frame design,” says Kulicke's son, Mike, a frame ize the art of jewelry making by resurrecting the ancient art maker in Mount Bethel, PA. “For months he worked with of granulation in cloisonné. a metallurgist from a welding supply company to figure “He may be the largest single contributor to the field of out how to braze extruded aluminum so it could be pol- frame making, both in his insistence on the preservation of ished seamlessly and not show a joint. For quite a while he quality of antique design and in his willingness to compro- also knew he wanted to make a modular version of the mise with modern materials and demand,” says Laurence welded frame—the metal section frame—but he wasn't Kanter, curator of Early European Art at the Yale University sure what corner hardware was appropriate. He had every- Art Gallery and former curator of the Robert Lehman one in the company looking for a device that would work.” Collection at the Metropolitan Museum of Art. “Generally One of the designers, Don Herbert, came back from a trip 48 PFM February 2008 in framing, and one of his creations, the crackle finish, start- ed with an inspiration from an unusual source. “Bob said that the crackle finish was the result of one of his wife's bak- ing experiments that didn't work out,” says William Adair, owner of Gold Leaf Studios in Washington, DC, and a for- Legacy mer business associate of Kulicke. “Something in the baking Legacy gave him the idea of how to get a crackle finish. He kept innovating on the effect and finally got it.” Period Frames Kulicke wasn't just about contemporary frames. His compa- ny had a full line of period frames, and he passed on his to Canada with hardware from a shower enclosure door knowledge to many of today's leading gilders and frame that was adapted and developed for the sectional frame. restorers. “Bob was a major influence on the framing indus- Another original design of try and had a lasting impact in Kulicke and his company was training generations of American the trap frame, which uses two gilders,” says Adair. “He learned sheets of acrylic sandwiched his techniques in Paris and together with a very thin extru- brought them back here. He was sion channel around it, with able to imitate a patina because, the art floating inside. “The being an artist, he understood the two sheets float off the wall on subtleties of glazing and how it all hangers and the art doesn't go came together. And then he out to the edge, so the wall taught Abe Munn. Bob said he serves as a mat border,” says took in Abe Munn early on Mike. “My father said that a because he was a refugee. He liked mat provided an island of neu- to say, 'I taught Abe everything he trality around art and that mats knows but not everything I were more important a couple know.' ” hundred years ago when wall- “Many of the innovative paper was more common and things Bob learned in Paris or he had a much busier texture.” developed himself,” adds Davis. Marty Horowitz, owner of This Kulicke painting of an orange is in a reproduction of a “The existing frame makers in Goldleaf Framemakers of Santa tabernacle frame with a burl inlay panel. this country were pretty much Fe, worked at Kulicke Picture overwhelmed by the things he Frames in the early 70s. “They were the best frame maker accomplished. His basic premise when doing antique repro- in New York City, if not the world, and the most impor- ductions was to not to try to improve on an original. A lot of tant thing I learned there was taste—how to design an ele- the frames that were made in those days were copies of Louis gant minimal package, what we always called Madison XV and XVI frames, interpretations that conformed to exist- 3 Avenue framing. Bob was the father of the simple /8" and ing mouldings or mouldings that would be less expensive. 5 /8" band gilded in white or yellow gold over red clay or They took liberties with frames. Bob's premise was that you with a wood side. He was also the father of the Knoll can't improve on an original and you had to be as accurate as floater, which he created for that design firm, with a wood possible. This was a revelation because the frames that were side and a simple white gold top. Nobody had gilded being made in this country at the time were atrocious.” clean mouldings like that before. All the great artists of the The number of his period frames at the Metropolitan day were there, buying frames.” Museum is a testament to his emphasis on quality, with Kulicke was always attuned for ideas that he could use more than 300 in the Department of Drawings alone. But PFM February 2008 49 they are elsewhere in the museum as well, including the apprenticed at several framers. For some years he was dis- frame on Giotto's “Epiphany.” couraged in his painting, but resumed in the 1950s when the In a 1990 interview in PFM Kulicke spoke about his World House gallery brought him 300 paintings by Giorgio focus on authenticity. “When there are 20 guys in New York Morandi for framing. Morandi's work inspired him to focus trying to make the most money as picture framers and there on smaller, simpler subjects, and thereafter he painted and is one guy trying to make the best frames in the world, that's regularly exhibited small still lifes of flowers and single fruit, practically unfair competition,” he said. “Everyone thought notably pears. that I must be a very rich man and quite crazy because I was “I think Morandi was number one for Bob,” says selling frames for less than what they cost to make. During Sheehan. “The quality of the man and his paintings were that time it was more important to me to establish an audi- about the simplicity of the work, the directness, and the kind ence. I was also a working painter, so I had a natural sympa- of emotional humility that you find in fifteenth-century thy to serve the painters with whom I worked.” icons. Morandi seemed to speak to Bob in that kind of lan- An important influence on Kulicke guage. He also thought painting was the was Mario Modestini, a frame restorer only thing truly worth doing with his life. who was born in Italy. “Mario would be There was a kind of a non-materialistic sitting at lunch and get a call from the element in that. What was most satisfy- secretary of the Pope, which Bob always ing to Bob was to have made a painting found very funny,” says Pam Sheehan, that, as he would say, he agreed with. Kulicke's widow. “They were very dear Such a painting in a frame from an era friends, and he was one of the big influ- that he loved was just the complete pack- ences on Bob.