Peter Schade @psframes

Working with Frames, here private personal views, mostly on frames. Retweets are not endorsements. London, England Joined November 2014

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Peter Schade @psframes

4 weeks ago

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)

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Peter Schade @psframes

a month ago

There is a lot of carving on this frame

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The Frame Blog @TheFrameBlogMag

2 months ago

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...: theframeblog.com/2025/07/20/hol…

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Peter Schade @psframes

2 months ago

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.

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Peter Schade @psframes

3 months ago

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

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Peter Schade @psframes

3 months ago

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.

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Peter Schade @psframes

3 months ago

theframeblog.com

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Peter Schade @psframes

3 months ago

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.

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Tomasz Lis @TomaszLisPiano

4 months ago

@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

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

4 months ago

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.

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Peter Schade @psframes

5 months ago

It’s beginning to look old

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Peter Schade @psframes

6 months ago

Finally, I have found the right backdrop for my workbench

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Peter Schade @psframes

7 months ago

We framed Cézanne’s Bathers today. The conventional 18th century gilded frame was replaced with a provincial 16th century Italian frame, the faded blue painted finish is similar to artist frames of the late 19th century. The composition is opened up and has more depth.