We changed the frame on Ruisdael’s large Landscape today. The over gilded French 18th century centre corner frame was replaced by a newly acquired Dutch 17th century ebony moulding. The landscape expands and settles down, as intended by the artist.

This morning we re-framed Vigée Le Brun’s Portrait of Mademoiselle Bronginart (1788) in a French frame of the same date and size. The previous frame was a 19th century replica of a mid 18th century pattern. The newly acquired frame could be taken for the original.

Today we re-framed Jan van Eyck’s Arnolfini Portrait. We replaced the late 19th century gothic fantasy frame with a newly acquired somber gilded 15th century moulding. The figures appear larger and the details crisper without the competition of the incongruous carving.

Bold. But imo an improvement.

We also re-framed Gossaert’s Portrait of an Elderly Couple last week. We replaced the narrow modern replica with an original 16th century Antwerp oak cassetta frame. The wood finish is original. The wider frame opens the composition and gives the painting a greater presence.

‘Often the most appropriate frame is the most invisible frame.’ Meet the National Gallery’s head of framing, Peter Schade, who quietly transforms how the UK’s masterpieces are seen

Looks as if these three displays of #Caravaggio ⁦National Gallery⁩ ⁦Museo del Prado⁩ ⁦Ulster Museum⁩ have joined in a curatorial zeitgeist

We changed the frame on Pisanello’s Vision of the Virgin and Child. Only for a limited time the painting can now be seen in an authentic Italian 15th century frame, while the 19th century shrine is undergoing restoration. Quite a lot more of the work is visible at the top.

We framed the Tiger a few years ago in this splendid Genoese 17th century frame. The proportions are very good, but the best part and something that very few people will see is the water damage to the bottom side. It mirrors the rain, which Rousseau worked into the varnish.

The last side of this very big frame is coming together

Uccello's Battle of San Romano National Gallery has just been reframed in a technique which revives the Renaissance skill of intarsia, or wooden inlay, creating a stunning and appropriate setting for this important and striking work. See theframeblog.com/2024/07/26/nat…

We re-framed the newly restored Battle of San Romano by Uccello last week. We replaced a 20th century gilded replica with a newly made 15th century style intarsia frame, made from walnut with boxwood inlay.

High culture graffiti outside the Philharmonie in Berlin

We re-framed Rembrandt‘s Bathing Woman a few years ago. The previous framers must have taken the water reflections at the front as scuff marks and covered them with the golden frame. The beautiful ebony frame gives depth to both the foreground and the distance.

Difficult to capture in a photo, but this is going to be big.

We re-framed Bellini’s Agony in the Garden today. We replaced a composite 1960s replica with a Venetian early 16th century cushion moulding cassetta frame.

Vincent even made a little sketch of it for Theo, and in later letters explained that he thought it should be given a very simple frame with thin strips of wood. Rather different to the one it now hangs in.

We re-framed this Landscape with Christ teaching from Saint Peter's Boat by Herman Saftleven today. We replaced the 19th century gilded fluted hollow with a late 17th century Dutch ebonised fruitwood frame.

Did you spot these hidden details in our frames?👀 Our Head of Framing, Peter Schade, shines at light on some of the intricate details found on our frames, and the history behind them.

Beautiful detail from the central panel of the San Pier Maggiore Altarpiece by Jacopo di Cione