Frame of the Month

A simple and effective way of framing photographs which involves mounting the photograph onto thick acid free foam board. This brings the photograph clear of the back board and produces a subtle shadow around its edge which echoes the shadow from the box frame.

This is a classic piece of high end framing to hang in an office in New York. The 5.5cm wide section has been gilded in white gold over a custom coloured clay bole. Black bole is available but it does not burnish to a high finish well and I also wanted a slightly warmer feel…

This month’s frame is a mount. I claim that a mount qualifies because it frames the drawing. In this drawing, by Jehan Daly, the head in particular is a minor masterpiece of pencil work. So in order to focus the eye on the detail, I added a pair of lines, thick and thin, known as…

A large nineteenth century oil of a puffer which needed a narrow frame for space reasons.  The frame section has a period feel to it but the canvas on its stretcher has its own presence which gave it something of a back story. The decision to float the canvas in the frame both showed the…

Children’s pictures can be a problem for parents as they seem to arrive on an almost daily basis.

A striking image of a Vietnamese peasant girl holding a lotus blossom with a rifle over her shoulder needed a frame which matched its quality of colour.

This small oil of Granada by Margaret Foreman needed a detailed moulding which was in proportion to its size. An existing moulding was re-machined and a small slip was inserted into an enlarged rebate. Then the frame was gessoed, painted and sparingly gilded. The use of gold leaf solely around the site edge focuses the…

A classic 23½ carat gold frame. The gilding was distressed with the client present to achieve a softer finish to avoid dominating the subdued tones  of the picture. The canvas is floated within the sight-edge of the frame to keep a clean edge to the picture and give a more modern feel to the finished…

St Marks The photograph here was printed on white paper with a black surround. In  its unframed state the figure in the foreground aligned with the campanile, was very much the focus of the image and the building on the left and St Mark’s itself looked merely overexposed. By using a grey mount, the effect…