Salvator Rosa Frame
Find here a top-quality reproduction of the Salvator Rosa Frame and Carlo Maratta frame for sale. Salvator Rosa and Carlo Maratta were two painters of the 17th century. They both worked and died in Rome, leaving a vast heritage of masterpieces in the town. Most of their paintings are framed with a typical 18th-century Roman frame whose specific model takes their names. For this reason, the same model of frame can be identified either as Carlo Maratta frame or Salvator Rosa frame without incurring any mistakes.
Here we explain why a frame has the name of a painter. It’s a fact that already happened for other artists. For instance, the painter Francesco Albani gives the name to a 17th-century frame typical of the town of Bologna. Our explanation for that is quite simple. As certain frame models were abundantly realized to encase the same artists, they have been labeled with the name of the painter they framed. It is not clear if this way of labeling is a modern concept or if it was already used in the past, but for sure is the way that works fine today to categorize those particular 18th-century picture frames so much realized in Rome.
In other words, we know for sure that since the late 19th century collectors have used the labels Salvator Rosa frame and Carlo Maratta frame because the founder of our workshop, who was born at the end of the 1800s, used those names already.
salvator rosa frame for sale
We realize custom carved and gilt Salvator Rosa frame reproductions with the perfect size of your painting. We make our models in several finishes. As you can see from the picture above, we use mostly black lacquer and gold, sometimes even combined together. In the past, indeed, master gilders made a large use of black lacquer to finish Salvator Rosa style frames because black paint highlights the gilded carvings, especially when they are full of details as Carlo Maratta frame specifically is.
Even though black paint was largely used, exists an abundant number of Salvator Rosa frame models finished entirely in gold leaf. The balanced structure of its profiles, in fact, gives by themselves enough space to the marvellouos carvings. On on end, the inner, middle, and external edge of the Salvator Rosa frame carvings can be well hghlighted from the nature of their forms just by gold leaf alone. Indeed, they are so tiny and detailed that the natural shadows of their shape creates enough volume. On the other hand, black lacquer become useful to save the precious metal, giving the chance to master framers to be even more productive.
Several Carlo Maratta frame finishes
The very typical decorations of the Salvator Rosa frame never change. The same ornate and the same profiles characterize the structure of that astonishing 18th-century frame model. What indeed changes is either the finishing or the number of ornates carved on its moldings. Sometimes, one finds just the inner carving. The one which is characterized by the acanthus leaves that come once as an intricate motif and subsequently as a flat, and opened translucent leaf. Other times one will find the middle carvings as well. They look like tiny sticks enrolling all along the sides with intricate leaves. More than often, you find the three types of carving together in the same frame.
Our offer of Salvator Rosa frames contains all the possibilities described above. Collectors can buy our reproductions customized as they want. For instance, you can change the color of the lacquer and change the number of carvings. Even though we display profiles with section widths wide no more than 10 cm, you can enlarge the profile at your pleasure by paying for the modification.
reproductions of carlo maratta frame
As already explained, Carlo Maratta frame and Salvator Rosa frame reproductions are essentially the same models of Roman-style frames. This assumption is valid for all the combinations of styles we spoke about above and for others as well. Another Salvator Rosa frame common for its typical structure profile is the one without carving. Follow the link to see it displayed in our collection: cod. 049. This model has been produced abundantly during the 1700s in Rome. Its extraordinary simplicity makes it suitable for landscapes, sober portraits, still life, and many other genders just because lets the painting breathe in the center of the scene, without disturbing at all.
Carlo Maratta frame with no carvings
The feature of not having carvings makes the Carlo Maratta frame suitable for antique dealers, who in a certain way, are always trying to encase genders with the best intelligent choice. In other words, the neutrality, but at the same time the beauty of the Salvator Rosa frame without decorations, creates a certain level of agreement between most potential buyers, giving the dealer a good chance of not wasting time and effort by enriching the artwork with the wrong frame.
To wrap up with this concept, the Carlo Maratta frame reproduction with no carvings is very convenient. On the one hand, they are suitable for an affordable price. On the other hand, they are super decorative, becoming in a way the best solution to enrich the artwork without losing its centrality, and finally paying a fair price at the same time