We replaced the 1950s replica frame with a newly acquired gilded Italian 15th century moulding with blue sgraffito ornament on Cosimo Tura’s Saint Jerome. The old frame wasn’t terrible, but it is an absolute miracle to come across such an early moulding in perfect condition.

https://t.co/gmoPdF6JiL

The November edition of The Burlington with my article on Museum framing

We replaced the re-gilded French 18th century frame with a newly acquired Dutch 17th century burr walnut and ripple moulding frame on Gerhard ter Borch’s interior of a Woman playing a Lute. The difference is that we now look into rather than at the room.

We re-framed Seurat’s Study for La Grande Jatte temporarily for the upcoming Radical Harmony exhibition, the shadow of the Louis XIII frame was a massive distraction

We replaced the 20th century replica ripple frame with a newly acquired Dutch late 17th century pear wood reverse profile frame on this painting by Caspar Netscher (1670s)

There is a lot of carving on this frame

Whether or not you like Holman Hunt's work, you must admire his amazing inventiveness when it comes to frames. 50+ years' worth, & many gathered here to show what he wanted you to see...: https://t.co/X8qC3O8Cvw

We replaced a very poor 1970s version of a carved and gilded 16th century frame with a newly acquired Venetian early 16th century carved and partially gilded walnut frame on Titian‘s Noli me Tangere.

We changed the frame on ter Borch’s interior with the restful dog today. We replaced the altered and re-gilded French 18th century frame with a newly acquired brown Dutch 17th century palisander wood frame. Simple refined profiles executed in very precious materials are typical

This morning we replaced the 1960s replica frame with the carved and gilded inner edge on the Hals Portrait with a newly acquired fine Dutch 17th century ebony ripple moulding frame.

https://t.co/7V1IPF7jnV

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.

@NationalGallery There are many successful reframing which I’ve been following courtesy of Mr @psframes including one of my favourite paintings by Antonello da Messina. @NationalGallery

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.

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.

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.

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.

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.

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.