Framing Old Masters

Since the 19th century, this painting has been swamped in a Victorian Rococo style Gallery frame, the polar opposite to an authentic setting, created by this high quality reproduction of an original Italian Renaissance tabernacle frame.

It was hard to focus on the sitter surrounded by a blaze of synthetic tortoiseshell in this 20th century reproduction frame. The oak frame is authentic for the period perfectly complementing the blue background and squirrel with an acorn.

The heavy corners and centres as well as bright gilding of this anachronistic French 18th century frame disturb the composition. Following cleaning and conservation, the portrait was further enhanced by the sympathetic colour of this 17th century Dutch frame veneered in palisander wood.

This major landscape was previously fitted into a magnificent French 18th Century portrait frame turned sideways, creating an over-the-top presentation with distracting ornamentation. By contrast the antique period Dutch frame both enhances perspective and harmonises with the artist’s palette allowing our calm contemplation of the subject.

This lyrical depiction of the Virgin ascending was trapped in a claustrophobic collector’s frame, its obtrusive centres and corners undermining the radiant oval of cherubs. The substitution of this 17^th century linear Baroque reverse leaf frame surrounds the scene with a shimmer of flickering gold, subtly invoking Van Dyck’s recent travels to Venice and Rome, and his study of Guido Reni.

The previous reproduction Louis XV frame was a stylistic mismatch, clashing with the still life’s composition and colour scheme. The painting was transformed by this antique Dutch 17th century ebony frame giving an uncluttered focus and intensification of the image.