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Posted on July 17, 2015 at 4:45 PM Comments comments (5)

Chair Rail....maybe NOT...but it looks great!

Chair rail molding is a nice touch that adds a sense of refinement and proportion to rooms, especially if you’re planning to add crown molding, too.

But many people make the mistake of putting the chair rail at the wrong height — a mistake that can make a room feel lopsided and out of proportion.


The purpose of moldings is to establish the scale and proportion of a space. And no molding does this job better than chair rail because it visually divides the room and instantly allows you to read the size and scale of the space.”

The Myth About Chair Rails

The popular myth is that chair rails protect walls from damage caused by the backs of chairs.

The truth is that architects as far back as the ancient Romans and Greeks used chair rails and wood trim to divide walls into visually pleasing proportions, often with different colors to accentuate scale.

The name “chair rail” came into popular usage with the Shakers, who installed boards with pegs on dining room walls to hang chairs off the floor for sweeping and cleaning. SO NOT is the answer here!

Correct Height for Chair Rail Molding

Most experts place chair rails at one-third the distance of the ceiling height. For a standard 8-foot ceiling, they should be installed about 32 inches from the floor.

 Most people install chair rails too high on their walls, as in the image below.



Correct Height of a Chair Rail ?

“About 28 to 32 inches is an optimum range for chair rail height,” says Hull. “Lower is always better than higher. For me, a good rule of thumb is to install chair rail molding at 25% of the height of the room. In a room with a 10-foot-high ceiling, the chair rail should be 30 inches off the floor.”



Posted on March 25, 2015 at 5:40 PM Comments comments (0)

The Art of Window Dressing


Well-designed window fashions do more than simply cover a window. At Hunter Douglas, form and function are inseparable.


Great design is beautiful to live with, provides variable light control, insulates rooms against heat and cold while saving energy, protects your furnishings from damaging UV rays, and even absorbs sound, improving the acoustics in a room. And, our advanced operating systems make using our products a pleasure every day.


Now that’s artful window dressing. Lifetime guarantee.



Privacy and Light Control


Hunter Douglas window fashions are available in a wide variety of product designs with fabrics and materials that come in a range of opacities from sheer to opaque—offering varying degrees of privacy and light control options.LEARN MORE

Energy Efficiency


Up to 50% of your home’s heating and cooling energy can be lost through your windows. At Hunter Douglas, we're an industry leader in making a big energy savings difference at the window. LEARN MORE



All of our window fashions are designed and custom-assembled in the U.S. Our longstanding commitment to quality and innovation means you’ll enjoy choices at Hunter Douglas that you won’t find anywhere else.

Child Safety


From cordless manual and motorized operating systems, retractable lift cords, cord tensioners and wand controls, we offer a wide array of innovative lifting system options for enhanced child and pet safety as well as especially easy operation.



Posted on March 1, 2015 at 3:50 PM Comments comments (0)

Fine Art Can Be A Fine Investment

Collecting fine art - Oil on Canvas, Limited Editions and more ....

Many new collectors ask various questions about fine art limited edition prints, so I thought it would be helpful to have this page to answer them and also to make clarifications.

What is a print?

A print can be an open edition (an unlimited amount of a particular image) or a limited edition (a limited amount of a particular image). "Low end" or inexpensive prints are usually open editions like posters and photomechanical reproductions. Open edition prints, posters and the like often have text on them, for example, a museum that featured or owns the work, or the artist's name.

More valuable prints are limited editions, and the processes are more expensive, like screenprinting, lithography, and etching, because they are made by hand.

We deal in limited edition prints. These prints are, for the most part, hand signed and numbered by the artist. An exception may be an estate piece, where the artist has died, but the work that remained was limited and either stamped or signed by the estate and offered to market. Estate works can be very expensive and collectible, for example at the time of this writing, an Andy Warhol Moonwalk limited edition screenprint can run $75,000.

For the most part we deal in works that are hand signed and numbered by the artist, unless otherwise stated. We also deal in original works of art.

Sometimes fine art limited edition prints are referred to as "original prints". Personally, I dislike this term, as it seems to confuse clients. An original is an original. A fine art limited edition print is just that, a print, and limited to a certain number.

So here are some important things to know......

Edition Size:

An edition size is determined by the artist and their publisher. Each print in the edition has its own number, i.e. 1/200, 2/200, 3/200 through to 200/200. Each of these individually numbered pieces is called an impression.

In an edition, there are often subsets of the edition. For instance, a common tirage (total number printed in a limited edition) may look like this:

Andy Warhol




38 x 38 inches

Edition: 160, 31 AP (artist proof), 5 PP (printers proof), 5 EP, 66 TP.

So the tirage for the above example is 267; the total number of Moonwalks produced.

"Oh, it's 2/200... it's a low number, that's good, right?"

This is a very common misconception. All numbers of an edition are of equal value. Whether a client acquires impression 2/200, 19/200 or AP 3/31, all prints are of equal value. The exception to this is if the print is different in some way. In the case of Andy Warhol, he created trial proofs (TPs). These prints are part of tirage of the edition, however, they are each a unique color combination, and they are worth more because of their uniqueness. So, to clarify, in the above example, 201 prints are all of equal value, because they are the same.

All 66 of the TPs are each unique, and therefore worth more.

How do I know its authentic?:

When collecting a fine art limited edition, it is of utmost importance to be certain of its authenticity.

One key resource for both dealers and collectors is the catalogue raisonne of an artist's work. The catalogue raisonne documents information such as title, size, year, medium, markings, publisher, printer, et cetera, of any particular work. If a print matches all of the details in the book, it’s most likely authentic. It is very important to work with someone you feel confident is experienced with limited edition prints, because, as with certain artists, such as Miro, a fake can be difficult to detect. Knowing what to look for, and recognizing an artist’s signature comes from years of experience, of having looked at works year after year. This is the type of information a book can’t verify.

How do you arrive at the price?

Today, with the internet, most clients are very savvy when it comes to knowing about pricing. So much information is available. I tell my clients the price is first driven by supply and demand. What is the size of a particular edition on the market, and what is the demand for a particular image? Auction results also set price points or markers for pieces that dealers and galleries follow. Condition is a major part of collecting fine art limited edition prints. We in the art business have a mantra, “condition, condition, condition”. Since these limited editions are printed on paper, they are extremely fragile. They can be easily damaged by mishandling, improper framing, and exposure to sunlight.

How do I know the condition is fine?

If a work of art is unframed, that takes a lot of the guesswork out of the situation. The paper should lay flat, there should be little or no hinging tape on the verso (back of the print), the colors should look strong (not faded).

If a piece is framed, it’s a bit more difficult. A work may look good inside the frame, but due to the fact that there are a lot of poor framers, my main concern is that a print may have been hinged or mounted improperly. When buying works of art, I routinely unframe them to check condition. Unfortunately, there is no supply of inexperienced framers. Usually it’s just that a piece has too much hinging tape, something that a conservator can easily remove.

What about framing?

All works framed by us are done so exclusively by Compliments Gallery, a premier framer and art dealer. We use only 100% archival materials. Framing is a key element in displaying a work of art. On a personal level, it’s one of my favorite elements in what I do. It’s fun for me to contemplate different mats and moldings for a work I’ve just acquired, and I’m always excited to help the clients out with their special tastes that will fit the piece they have chosen.

I just recently purchased a Don Hatfield, limited edition on canvas and floated the canvas it in a gorgeous driftwood frame with a linen background - it is hanging in my master bath on a West Facing Wall. It is a JOY to see the art reflecting the exact view that would be out a window in that location!

Quick tip:

I had my children's photos matted (floating linen cove) the same so there is a uniform feeling flowing from one room to the next and making the theme come together.