The solid burnished gold stage is quite impressive!

We framed Pieter de Hooch‘s Courtyard Scene today. The clumsy gilded 20th century replica frame was replaced with a newly acquired Dutch 17th century ebonised fruitwood ripple moulding frame. This is 400th re-framing of the permanent collection (NG) during my tenure.

We replaced the 20th century gilded replica frame on Jan Both’s View of the Tiber last week with a newly acquired dark brown Dutch 17th century scotia frame with original gilded inner edge

Parmigianino’s Madonna and Child with Saint John went on display in a special exhibition this week. We made a fully carved and gilded replica frame to give this unusual composition an appropriate setting. It was previously shown in the inner slip of an unsuccessful 1980s frame.

Hay algo injusto en la poderosa presencia de los grandes maestros pues suele condenar al olvido nombres que deberían ser recordados. "Follower of Rembrandt" dice la ficha de la National Gallery y, sin embargo, qué prodigio de luz, de sombra y de penumbra.

We re-framed Rembrandt’s (currently Follower of) Man in a Lofty Room today. The carved gelded 18th century frame was replaced by a newly acquired Dutch 17th century ebony reverse profile frame with ripple moulding inner and outer edge. Now we are with the Artist in the room.

Great Article by Marei Döhring Edvard Munch: ‘They forbid me to make my own frames’ theframeblog.com/2024/06/29/edv… via The Frame Blog

This is going to be big!

We framed Cézanne’s Bathers today. The conventional 18th century gilded frame was replaced with a provincial 16th century Italian frame, the faded blue painted finish is similar to artist frames of the late 19th century. The composition is opened up and has more depth.

Finally, I have found the right backdrop for my workbench

It’s beginning to look old

Cione’s San Pier Maggiore Altarpiece before and after framing. The new frame is based on existing examples. These paintings were originally painted into a similar carved and gilded frame- the frame was integral to the artistic vision.

A new frame on Antonello’s Study of Saint Jerome. We replaced a late 16th century dark reverse moulding frame with a plain 15th century oak frame. We were struck by the effect the clam, serious light and narrow frame has on the illusionistic setting.

These images might give a better impression of the transformation of the San Pier Maggiore Altarpiece. The frame visually unites the panels and returns the paintings to functioning works of art.

We also made a new frame for Pollaiuolo’s Saint Sebastian in time for the re-opening of the Sainsbury Wing. We replaced the strangely proportioned 1950s replica frame with a more faithful copy using original frames and a large Florentine setting as samples.

We replaced the English 19th century fluted hollow with a newly acquired Dutch 17th century ebony moulding frame. We are suddenly much closer to the dramatic scene, the expanse of threatening sky much wider.

For Dürer’s double sided Saint Jerome we refurbished the existing 1990s replica frame. The perfunctory profile and finish was changed- the now hand carved shape and black and gold finish is based on contemporary originals. The painting has come to life.

National Gallery There are many successful reframing which I’ve been following courtesy of Mr Peter Schade including one of my favourite paintings by Antonello da Messina. National Gallery

We replaced the 19th century gilded egg and dart frame with a newly made replica of a Flemish 16th century black and gold oak cassetta frame with continuous arabesque ornament. Wall colour, lighting and condition of the painting have also improved.

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