Peter Schade
@psframes
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Working with Frames, here private personal views, mostly on frames. Retweets are not endorsements.
London, England
Joined November 2014
We re-framed Rembrandts Anna and the Blind Tobit this week. We replaced the re-gilded French 18th century frame with 20th century gilded slip with an un-cut Dutch 17th century ebonised pearwood frame. Suddenly the light shines out of the window inside the painting
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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.
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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.
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We re-framed Rembrandt‘s A Woman taken in Adultery today, replacing a 19th century French 18th century style frame with a very fine, newly acquired Dutch 17th century ebony moulding; the light comes out of the painting in the black frame, it transforms the experience
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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.
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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.
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I am carving ornaments for an Italian 18th century spandrel today
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Today we re-framed Théo van Rysselberghe’s Costal Scene. We replaced a modern gold and white frame with a Spanish late 19th century punched silver frame. The silver makes the water shimmer and the exposed orange bole electives the blue composition.
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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.
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We changed the frame on Rembrandts Old Man last week, heavy over gilded carved French 18th century frame replaced by early 17th century Dutch black painted and gilded oak moulding frame. The camera exaggerates, but the effect is similar to the eye.
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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.
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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.
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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.
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I carved the quatrefoil, that was missing at the front over 10years ago; it is great to see it with the stone for which the chair was made.
The Stone of Scone has now been safely installed in the Coronation Chair of St Edward.
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I am carving a rather elaborate sample section of a mannerist 16th century frame today
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Almost finished carving the capital of an all’antica Tabernacle
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Today we re-framed the Gallery’s best Pieter de Hooch; previously in a 20th century replica of an English 18th century centre corner frame, now in a newly acquired antique Dutch 17th century ebonised pear wood ripple moulding frame.
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We re-framed Domenico Ghirlandaio‘s Madonna and Child in a newly acquired original late 15th century carved, gilded and painted arched top frame. The fictive arched niche in the painting suddenly recedes and looks like a continuation of the frame. This is a very rare find.
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We made a new frame for Filippo Lippi’s Medici Altarpiece, it was unveiled in Berlin last night and will be on permanent display from Tuesday. We replaced a much later black cassetta frame with a carefully researched replica of a frame type that the painting might have first had.
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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
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Today I finished the carving of an English 18th century style frame
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A painting transformed- restored and re-framed: Charles I on Horseback by van Dyck
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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.
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Today we changed the frame on Jan Lievens Self Portrait. The English gilded 18th century centre corner frame was replaced by a newly acquired Dutch 17th cent ebony frame. The effect on the apparent depth in the composition is striking. His sleeves seem to have doubled in volume.
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We re-framed Jan van de Cappelle’s recently cleaned and restored Seascape in a newly acquired Dutch 17th century ebony reverse profile with ripple mouldings.
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We re-framed this painting by Godfried Schalcken yesterday. The Dutch 17th century burr walnut ripple frame with the gilded cast bronze corner appliqué is the only one of this kind in our collection. It is particularly wonderful for this picture.
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Small painting by Juan de Flandes re-framed today. We replaced a replica with an early 16th century frame; the narrower moulding and the darker original gilding work well for this.
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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.
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Francois carving a truly epic amount of double guilloche moulding
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It’s a long journey to carve all these fine mouldings, I am on the last length.
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Difficult to capture in a photo, but this is going to be big.
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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.
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Nearly finished carving the central part of a late 15th century predella. This is the last shell.
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We changed the frame on Picasso’s 1914 Still Life yesterday. We replaced the 1970s dealer frame with an austere 17th century black plate frame; it looks much more modern and daring, draws out the subtle shades of grey and black and makes the composition more three dimensional.
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Finally finished the woodwork on this Florentine late 15th century replica aedicular frame. Too large for indoor photography.
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Today we replaced the adapted and heavily re-gilded 18th century French centre corner frame on this Frans Hals for a Dutch 17th cent style ebony frame; this is a 19th/ early 20th century copy and possibly only the place holder for an original, but the improvement is significant.
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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.
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We purchased one of the most beautiful and fitting 15th century carved walnut and gold frames for the newly restored Piero della Francesca Nativity
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This is a most exciting new acquisition, which has just arrived from Italy. I was reportedly part of Bardini’s collection. I have not seen anything like it for sale in the last 25 years.
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Michelangelo's Manchester Madonna reframed in a most beautiful early 16th century frame today @NationalGallery
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We re-framed this picture by Wouwermans after conservation work in a newly acquired Dutch 17th century ebony wedge frame. The new low reflective glass also makes a difference.
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The astonishing transformation of Bellini’s Assassination of Saint Peter Mater
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This newly made Tabernacle frame (here only a montage) will make a profound difference to the display of one of the great Renaissance masterpieces in the Gemäldegalerie Berlin. The Altarpiece by Filippo Lippi was painted in about 1459 for the Magi Chapel of Palazzo Medici
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I am lucky that I have the carving of a complex little Venetian 16th century frame to immerse myself in and to take my mind off the virus.
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Today we re-framed this large Portrait by van Dyck. We replaced a strange silver 1970s frame with a carved oak auricular Dutch 17th century frame. This is the first frame of this type at the NG, they are exceedingly rare. Ours was never gilded it was made to resemble leatherwork
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The finishing touches on the new frame for van Dyck’s Equestrian Portrait of Charles I - going up with the painting tomorrow, if all goes well.
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Finally got round to finishing the carving of the sample length
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I saw the frame we made for Jacobello del Bonomo’s Man of Sorrows for the first time hanging in the Gallery just now. The panel was previously unframed in a modern shadow box.
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Raphael’s Saint Catherine has been re-framed in a newly acquired all’antica early 16th century aedicular frame. It transforms the painting from a gallery picture into a powerful devotional image. On view in the new frame for the fist time at the NG’s Raphael exhibition (9/4/22).
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Just finished carving this Tuscan mid 16th century walnut frame
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It’s taken me a moment to get my head around carving this tripple twisted column.
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We re-framed this Rubens Landscape today; previously in 19th century neo classical, now in Flemish 17th century ebonised walnut frame with gilded inner edge.
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The very big walnut frame with inlayed guilloche pattern is coming together
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Liotard Breakfast re-framed today; low quality 20th Century Rococo frame replaced by authentic French mid 18th century Pastel frame
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I noticed for the first time today that there is a niche cut into the wall of Santa Croce to allow room for one of the masks on the capital of Donatello’s fabulous Annunciation (only on the right side). It goes to show that one can always see something new.
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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.
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For big projects it’s sometimes useful to make a trial sample- carved walnut replica of a 16th century Italian frame
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Actually, we reframed the Juan de Flandes (left) in a newly acquired antique frame and made a copy of this for Michel Sittow’s Ascension (right). Both part of the same series of devotional panels painted for Isabella of Castile.
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This is the most exciting ‘new’ frame this year and will be unveiled in the Raphael Exhibition - National Gallery (9/4 - 31/7)
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A new frame for our large Parmigianino Madonna, covered in yellow bole
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Here is the Botticelli/ Lippi before and after restoration and re- framing
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We changed the frame on Gerrit Dou’s Poulterer’s Shop from a low quality gilded early 20th century Rococo style to a 17th century wood and black mouldings cabinet makers frame- I saw it in the Gallery for the first time today.
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We had to put glass it front of Rogier’s Magdalen for protection in the new display - it’s a fragment and was always without frame, but even that image gains depth in the right frame and functions better as a work of art.
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We were extremely lucky to be able to replace the 20th century silvered replica with a newly acquired Italian carved and gilded 17th century frame on the National Gallery’s new Cavallino Saint Bartholomew. On display from today.
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…on closer inspection these long rows of carved double guilloche turn into stacks of disapproving owls 🦉
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Really big projects come to a point when the majority of the work has been done, but nothing seems to move forward.
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Just managed to finish carving the first frame from my new stash of poplar
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Today, we framed this Parmigianino Portrait in a newly acquired Italian 16th century frame with unusual pierced gadrooning and beautiful original gilding.
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Tooling of gold is almost always done to create texture and shadows, Pesellino uses punching on gold for the opposite effect. The light reflected by the punched dots is the highlight which cleverly creates the shape of the hat.
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Making these frames for Mantegna’s Triumphs was a great effort involving the Gallery’s framing department and freelance specialists. It’s exciting to see them on public view.
Mantegna: The Triumphs of Caesar – you can hear the trumpets and smell the elephant dung
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We replaced the 20th century carved and gilded replica frame with a newly acquired Dutch 17th century ebony frame on this painting by Jan Steen. (this was done last week while I was on holiday)
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This Mantegna Portrait at the Uffizi seems very unlucky with the frame it currently has
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We have just framed two recently restored van Dyck Portraits in near identical frames. One original 17th century Italian and one a copy which I hand run and carved and Amanda gilded and finished.
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My copy of this Venetian 16th century Tabernacle frame is now finished (original on the left)
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I was not quite sure what to do with this splendid, but almost impossible to use Florentine 17th century tondo frame; in the end I took it home where it looks very beautiful.
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