Proposing a critical decision-making framework for gilded wood conservation by Malgorzata Sawicki Introduction The conservation of gilded wood – from architectural interiors, polychrome sculpture, altarpieces, panel paintings, furniture, to picture frames - presents a nexus of complex material, aesthetic, and ethical challenges. A conservator specialized in this field, determining whether, where, and how to intervene in the life of such an artefact, needs to keep a careful balance between maintaining historical and material integrity and reinstating sufficient aesthetic unity for the object to be understood.

The four square paintings which compose the 1570s Allegories of Love in the National Gallery are both strikingly beautiful in Veronese's characteristically lucent colouring and expressive style, and slightly opaque in their meaning. They passed through some of the greatest European collections of the 16th to 19th centuries before arriving in Trafalgar Square, and their original frames were left a long way behind in their travels.

Introduction This is the second article on the minor but important category of framed sculptural domestic crucifixes and crucifixion scenes, which generated in Italy, for instance, powerfully affecting small altarpieces like the carved boxwood and walnut example featured in Part 1, and blossomed in an extraordinary diversity of crucifixes in every available medium from the 10th century onwards. Andrea di Piero Ferrucci (1465-1526), monumental white & red marble altarpiece (

  Oksana Lysenko In the field of decorative art, picture frames occupy a special niche due to their primary purpose - to complement or embellish a painting. Frames have served this rôle since ancient times. In the 17th century, the Dutch poet, scientist and composer Constantijn Huygens wrote: '...an Ebony frame can enrich a poor canvas, and make it look or sell as well as a good one.' …

by Adriano Amendola This paper was first published in the Getty Research Journal, no 4, 2012, and is republished here with the permission of the Getty Research Institute. It makes use of a wealth of digitized documentary material in the Getty Research Institute's Provenance Index Database in order to investigate a little-known aspect of the display of Roman collections in the 17th and 18th centuries: namely, the typology and decorative function of the frames chosen for drawings.

 This article began as a much shorter essay in Judy Egerton's catalogue raisonné, George Stubbs, painter, Yale, 2007, and is published here to coincide with a small exhibition on Stubbs in the National Gallery (until 31 May 2026). It is dedicated to Sophie, horse whisperer. Stubbs was lucky in the patronage of some of the wealthiest men in 18th century England, who could afford not only to commission large and expensive paintings, but to frame them in a style appropriate to their subject and setting.

by Monika Rdzanek-Solecka This article began life as a presentation, 'Images of frames in paintings from The National Museum in Warsaw (Poland) as a source of information about historical framing styles', given at the Hobart frame symposium, which was held from 16th-18th February 2026 in Tasmania, Australia: FRAME: Concept, History and Conservation: Symposium 3. Wojciech Stattler (1800-75), Portrait of Alfred Potocki and Adam Potocki,

 FRAME: Concept, History & Conservation: Symposium 3 was held from 16th-18th February 2026 at the Theatre Royal in Hobart, Tasmania, Australia’s southernmost capital city. This was the third in a series of frame symposia organised in Australia, following those held in Melbourne in 2016 and Sydney in 2019, both under the auspices of the Australian Institute for the Conservation of Cultural Material.

 FRAME: Concept, History & Conservation: Symposium 3 was held from 16th-18th February 2026 at the Theatre Royal in Hobart, Tasmania, Australia’s southernmost capital city. This was the third in a series of frame symposia organised in Australia, following those held in Melbourne in 2016 and Sydney in 2019, both under the auspices of the Australian Institute for the Conservation of Cultural Material.

The new National Museum of Art, Architecture and Design opened on 11th June 2022 is the largest art museum in the Nordic countries. The National Museum’s mandate is to develop, conserve, research, mak...

A large and varied sale of 358 lots of frames, this will be held at 22 via San Marco, Genoa, on Wednesday 15 April 2026, from 10.00 am to 6.00 pm local time. Viewing is from 10-14 April. This review offers a a very small glimpse of what is on offer; see the online catalogue for the whole collection. Note that in the catalogue the dimensions aren’t consistently given as height before width, although the frames below have their measurements in the right order as far as is possible to determine.

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Here is a review of a recently published book on frames by Maarten van 't Klooster. Or, rather, here are three reviews of the same book - one by a layperson (at whom the work is primarily aimed), sandwiched between two by a frame specialist (one in English and one in Dutch, since that's the language of the book). With luck, it will be successful enough to be published in an English translation, and possibly in other languages - because the more books we have to explain to the uninitiated how beautiful, fascinating and important frames are, the better-served every painting and every museum visitor will be.

Digital currency donations have been turned into sterling to make them much less easy to track, sources say

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by Gema de Cambra Florensa Introduction This article attempts to describe, identify and locate the origin of a group of unusual Spanish Baroque frames. Several examples of these architrave, flat or plate frames, finished in silverleaf, lacquered, and decorated in monochrome with scrolling foliate ornamentation on the frieze, have passed through the author's workshop. They date from the 17th and early 18th centuries, share identical construction methods, were made from the same materials, and have very similar decoration.

This is the fifth of a series of short articles on the reframing projects undertaken by the National Gallery, London, under the Head of Framing, Peter Schade. The articles were originally published in the National Gallery’s Review of the Year, from 2008-09 onwards, and are republished here by kind permission of the Gallery, and with added illustrations. 5: Review of the year April 2012 – March 2013: Framing, by Peter Schade…

Seamus Culleton has been in a detention facility in Texas for nearly five months despite having no criminal record

We can stop him now, or the American constitutional republic will be over.