We re-framed Pieter Lastman’s Juno with Jupiter and Io today. We replaced the gilded French Style replica frame with a newly acquired Dutch 17th century ebony ripple frame. It revitalises the composition and balances beautifully with other frames in the room.

We re-framed the two Beccafumi Allegorical Figures today; we replaced the fully gilded neo-classical frames with newly acquired Italian 16th century walnut mouldings. We managed to reduce the shadows at the top- the darker frames help to deepen the compositions.

One of the most dramatic recent framing changes has been the removal of the additional 16th century style replica frame from the narrow original moulding on this portrait by Ghirlandaio at the Ashmolean. These narrow portrait frames were once common, but have almost all gone.

An octagonal ceiling painting of Christ Resurrection by Tintoretto, which had been turned into a rectangular galley picture, was re-framed at the Ashmolean Museum this week. I carved a frame based on Venetian 16th century ceilings to cover the additions.

We replaced the sharp 1970s piano polished ripple and gilded sight edge frame with a newly acquired Dutch 17th century ebonised fruitwood reverse moulding on Jacob van Ruisdael’s Watermill this morning.

Today we replaced the gilded (several times re-gilded and cut) French 18th century frame with a Dutch 17th century Ebony hollow with ripple sight edge on Rembrandt’s Self Portrait at the Age of 34 - now R. has a tangible presence in the room, the illusion has come to life.

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.

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