Framing Picasso — Arnold Wiggins & Sons

The Pieter and Olga

DREESMANN COLLECTION

of works by

PABLO PICASSO

When Pieter and Olga Dreesmann began their Picasso collection twenty-five years ago, the framing of the works on paper was given careful consideration before each drawing entered the collection. I had previously worked with Pieter framing his collection of Dutch Old masters, which were placed in Dutch frames from the 17th century, to match the paintings. But for Picasso the framing approach was not to be didactic, but intuitive. Works by Picasso, a 20th century modern master, demanded antique frames of a quality and style redolent of old masters. Spanish and Italian frames from the 17th and 18th centuries was the taste called for.

Each work was conserved so the full sheet of paper could be ‘floated’ with its edges visible. A white bevelled mount, consistent for all the works, spaced the artwork from the frame. Original hanging hooks, often found on frames, were appreciated and preserved. A label with the description of each frame was adhered to the back, along with labels appertaining to the provenance and exhibition of the work. Pieter and Olga were rigorous in their desire for consistency of presentation and conservation.

Femme au Châle Rouge (Suzanne Bloch), December 1904

Femme hurlant sa douleur, June 1937

Italian, 17th century, carved, gilded and black auricular frame

Italian, 17th century, painted ‘falso marmo’ cassetta frame

Framing the works in antique frames was, for Pieter and Olga, not solely a matter of taste but, for each work, a considered choice. How could a frame present the work to its best advantage and add to its appreciation?

The proportion of the frame, scale of ornament, colour, gilding, and tone of gold, all played a part in dictating whether the frame was attuned to the drawing. Pieter and Olga chose from a selection of frames that I had set aside for each piece. The process was exacting. If there was not an obvious choice from the frames available, then the search would continue for a frame that was a better match.

Étude pour ‘La Buveuse d’absinthe’, 1901 - Italian, 16th century, cassetta frame

Guitare sur une table, 1915 - Italian, c. 1600, black and gold cassetta frame

The works in the Dreesmann Collection span the breadth of Picasso’s career, his range of styles and techniques. The artist’s inventiveness is complimented by the diverse ornament and colouration of frames from Mediterranean Spain and Italy, which have an informality and immediacy of craftsmanship that is in tune with Picasso’s creative process.

The choice of frames and framing of the Pieter and Olga Dreesmann Collection reflects their discerning taste and connoisseurship.

Michael Gregory