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This view shows a painting split down the center. The left half shows the painting before the restoration. Notice the old yellowed varnish and years of accumulated grime. The right half shows the completed job after the cleaning touch up and a new coat of varnish.

A frame was needed for a large arched painting that hangs in the fellowship hall of a church. Rather than create an arched frame of a width that would be visually pleasing, we chose to frame it with a narrow band and gild the wall to give it the illusion of a larger frame. Here you see the scaffolding in place and the gilding has been started.

A closeup view of the gilding in process. Each sheet of gold metal leaf is about 6\" square. Each is applied by hand.

This shows a view of one of the gilders at work.

In this image you can see most of the gilding has been completed.

After the gilding was completed the gold needed to be subdued so a stippled wax was applied to tone it down and give it an aged look that would work with the painting.

Now you can see the painting in place as one of the gilders does some touch up before the scaffolding is broken down.

Another view of the final touch up before the project can be called done.

This view shows the finished project. The gilded wall gives the illusion of a wide frame surrounding the large painting yet is simple in design so it works with the clean lines of this room.

See how nice the finished frame looks above the fireplace. It is no deeper than any other framed painting would be because the homeowner had the TV recessed into the wall.

As the house was built, a cavity was created for the TV to sit in. This allows for the frame depth to be minimal.

This shows how the TV sits into the wall, eliminating the need for a deep frame.

The frame is being prepped for the 22k gold finish. Notice the ventilation holes along the long rails of the frame. This will allow air to circulate and won\'t be visible on the wall.

The frame has been gilded with 22k gold, and is then burnished with an agate to give the gold a highly polished look.

This view shows the finished frame before it was hung on the wall.

This view shows how nicely the frame hugs the wall and sits flush to the TV face.

Rough layout of military memorabilia that a customer wanted framed.

Here is the completed frame with all the artifacts attached.

This is a Russian Icon that needed a frame.

Once a design was approved composition was applied along the edges.

The frame has been gessoed and a pattern was drawn onto the surface. Here you can see that pattern being scratched into the gesso surface.

Here is another view of the pattern being transferred to the gesso. This shows a punch being used to create a pattern of dots.

The yellow clay or \"bole\" is applied on top of the gesso to prepare the surface for gilding.

22k gold is laid onto the prepared surface. The red you see is a red clay \"bole\" that will give the gold a warmer tone. The red was applied on top of the yellow.

The frame is painted and will be toned down to match the aged appearance of the Icon.

Another view of the painting of the frame.

This shows a detail of one of the corners of the finished frame with the Icon installed.

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Wow! the frame is finished! Everyone involved gathered for a party to celebrate the completion.

We worked with painter Brian Stewart to capture the feeling of the sheet metal used on vintage travel trailers for this frame for his painting. We used 12k gold and actual rivets placed into pre-drilled holes to simulate the look.

Here is a detail view of the corner of the rivet frame. We also scratched lines into the gesso to simulate the sheet metal.

This frame was designed by our staff working with local painter Merry DeCourcy. Using architectural details from the building where the painting would hang we created a twist on the block corner style frame by layering smaller and smaller blocks on each corner.

In this view you can see the portrait frames in place with one of them lifted up revealing the space for the letter that will be safely hidden behind. The frames for the portraits were simple burl veneer chops that were chosen to match the panel we made.

An employee demonstrates how the frame opens to reveal the five frames behind the large painting.

This shows another view of the frame being opened on its hinges.

Once completed, the frame was delivered and hung in the client\'s home. The result was spectacular and both the artist and the client were very pleased.

Steven Levin came to us with a design in mind based on Dutch profiles and the frame he had actually painted into his painting. This was used as the cover art for the paperback edition of \"The Girl in Hyacinth Blue\" written by Susan Vreeland.

Here you can see the completed frame with the painting hanging in the Bush Library in College Station, Texas. Due to the size and weight, it actually rests on a ledge and is attached to the wall to keep it in place. The frame is not really bearing the weight, as it is not suspended.

This frame came to us in a box in many pieces after being stored in a barn for many years. This view shows most of the repairs prior to gilding.

This shows the completed restoration job, with a 22k gold finish.

These frames are interesting to restore because of the curves and three dimensional aspects. They are also interesting to fit the art back into. We don\'t want to break one of the leaves!

This is a mass produced frame often seen on paintings. It has been repaired and re-gilded and toned so it retains an aged appearance.

This is a mass produced frame seen on many paintings. This is typical of the damage often seen on this kind of frame.

Here you can see the finished frame detail.

The corner has been re-built. Next it will be prepared for the gilding then gilded and toned to match the rest of the frame.

This image shows the paper after the repairs have been made by a conservator.

This drawing was successfully repaired. Prior to the restoration it had been glued to the mat on all four sides and had been punctured in several places.

Another detail view of some of the damage on this piece of art.

This is a detail view of one of the damaged areas.

This is the completed repair of the ripped up calendar. As with all restorations some of the work will be visible but minimized.

This came to us in these eight parts. The customer wanted it put back into one piece so it could be framed and enjoyed.

This is the completed frame with the Icon installed. A frame like this is best used with a decorative piece like an Icon.

This frame was custom made for our client, who wanted to incorporate classical patterns that related to other objects in his home. The finish is 22k water gilded gold with the Greek key pattern painted as an accent.

Master Framers was proud to make a frame that measured 10\" by 10\" for a historical portrait by Mark Balma.

This plaster relief panel was presented to us in pieces needing to be restored so it could be displayed in a church. It needed stabilization as well as repair to the surface. Paint was flaking off and the areas of plaster loss needed to be filled and sanded.

This shows some of the infilling that was needed to repair the damage to the panel.

After the repairs were completed, the touch up painting was done and the panel was installed into the original frame.

This shows the damage to the canvas before the restoration work began

The damage is clearly visible throughout the entire canvas. It looks rather hopeless to the untrained eye.

This view shows the restoration under way. Areas of loss have been filled and are waiting for the touch up to begin.

All the touch up has been completed and the painting has been varnished and is ready for it\'s frame.

A local artist wanted a special frame built that would conceal both a second layer containing small portrait studies and then a third layer with personal letters relating to the painting. Working with the artist we designed a Dutch Revival style frame that would open on a set of hinges. The top frame section with the painting would be hinged to open thus revealing a lovely veneer panel with five framed portrait studies. Each of those would open as well revealing a personal letter.

Once the raw frame was built, several different compo patterns were applied. These patterns give the frame the texture and the tooth for all the various toners applied once it has been gilded.

The frame has had several coats of gesso applied, and the yellow clay is brushed on top of the gesso.

This shows a corner detail prior to gilding. Notice the red clay painted on just the highlights.

After the frame was gilded and burnished, dark toners are brushed on and wiped off with a sponge to give it an aged patina.

This is the panel for the second layer being worked on. Five windows were cut into the plywood before a veneer was applied and stained.

A staff member is installing the barrel hinges that will hold the small portrait frames to the panel.

We based this frame on a frame hanging on an El Greco painting at the National Gallery in Washington, DC. This image show the various components of this frame as they are assembled piece by piece.

The compo has been added prior to the finishing on the frame.

This is the completed corner with a finish of gold metal leaf and paints.

Local landscape painter Sarah Wieben worked with the designers at Master Framers to develop this frame for her work. The paintings float within the 4\" wide moulding.

Another grouping of paintings by Sarah Wieben in the frame she designed for her work. Check out more of her work on her website: http://www.sarahwieben.com

Master Framers was hired to make a ten foot by ten foot frame for a historical painting that would hang in the George Bush Library in Texas. Follow along as this frame is finished. After the raw frame was built, we hired art handlers to carefully move the frame into the studio where the finishing will be done.

In this detail view, you can see the compo patterns and corners are in place.

The frame is now having one of several coats of gesso sprayed onto the surface. This gives it a hard surface for the gilding.

This view shows the yellow clay being sprayed on top of the gesso.

Our gilder uses a brush to apply the red clay over the yellow clay on the highlights.

All the 22k gold leaf has been applied. Next it will be burnished with an agate and toned to subdue the brightness.

With the toning done, you can see the way the light hits the various patterns and creates the visual dimension a frame of this scale requires.

You can get a true sense of the size when you see the artist Mark Balma standing in front of the framed painting in his studio before it was shipped to Texas.

The framed painting is installed on the wall at the bush Library.

A local woodcarver was utilized to carve various parts of the frame. Here is a view of the oak leaf pattern that was carved for the top of the frame.

Each column was custom built to fit the angle of each side.

This image shows a column being constructed. Notice how many pieces are in the base.

This is where the finished frame hangs. Notice the door. Because of that door the frame had to be offset to one side meaning the angles were not identical. The custom made oak base prevents the door from hitting the frame.

Here you can see the finished frame with the 5 paintings installed just before it was delivered to the church.

Some of the smaller parts were attached to the frame after they were gilded.

The many sides and angles and details of this frame presented some challenges for our gilder.

Many of the smaller parts were prepped and gilded seperately and attached to the frame later. Shown here are the 4 capitals for the columns and some of the fleur de lis that can be seen on the top of the frame.

We used leather working tools and a hammer to create some decorative patterns on the flat surfaces of the frame. By softening the gesso with a damp sponge, the surface would not crack.

Notice the subtle patterns that are highlighted in the gilded surface. After the frame was gilded, paint washes and waxes were applied and removed, leaving the appearance of an aged patina. These toners remain in the crevices and add dimension to the flat surfaces.

Once in a while a challenge walks in the door. This was the case with this frame. While not large in size it was larger than life in complexity. From the initial conversations to installation in the chapel, over 300 pieces and over 6 months went into the creation of this one of a kind frame. Take a look as Master Framers creates this spectacular triptych. We took hundreds of photos documenting the process but these few will have to tell the story here.

One of the nice details on this frame was the use of scalloped liners around each painting.

Master Framers displays examples of their custom arts and crafts period frames as well as has items for sale.

This painting will require lining, and quite a bit of reconstruction and touch up.

This is a look at the painting after all the restoration was completed. Our client was very satisfied with the final outcome.

This was presented to us in the eight parts you see here. The customer wanted it repaired so it could be framed and enjoyed. How was it damaged? Let\'s just say a bad relationship.

This is the calendar after it was mended. As with most paper restorations the repairs are almost always visible but are minimized. It was framed as the customer wanted it to be and the customer was pleased with the outcome.

The compo is rolled out like clay or dough into a long roll. Then it is cut into lengths about the size of the mold to be used.

The mold is brushed with oil so the compo will release easily from the mold.

Once the compo has been pressed into the mold a wooden board is prepared to go on the other side creating a compo sandwich.

A book press is used to apply even pressure across the mold. Notice the wooden board.

The mold is removed leaving the compo on top of the board. Notice the four ornaments.

Using a flexible flat knife, the ornaments are sliced off. The remaining compo will be pulled off the board and saved and used again.

Using a screen over a pan of hot water the ornaments are steamed to soften them and activate the glue. If they are left too long they will melt and become too soft to use and will lose their detail.

Again using a flexible flat knife or spatula, the ornament is carefully applied to the prepared surface on the frame. Since the compo is soft and flexible, it can be molded to follow the shape of the frame profile.

Here you can see the ornament in the corner. It has been prepped for a gold metal leaf finish.

A piece of gold metal leaf is applied to the prepared surface. After it is rubbed and sealed, it will be toned to match the frame. Sometimes ornaments are left brighter than the frame, or toned darker or painted to create contrast. It all depends on the ultimate effect desired.

This is a federal mirror frame showing half before the restoration and half after the restoration.

Here you can see the same corner sample without any compo ornament and two different ornaments.

The addition of a corner ornament can make your frame look like a closed corner frame. We can add a corner ornament to almost any frame. We can finish it to look like wood, gild it to match a gilded finish or we can paint it to match a painted finish.

This family piece was presented to us in its original 1950\'s painted wood frame that is too small by todays standards, and did nothing to showcase the art.

A larger gold frame that was toned and lightly distressed was selected as the new frame. The patterns and overall tone are much better suited for this painting than the original frame.

This painting by Edgar Payne was brought to us after we re-framed a Payne for the Minneapolis Institute of Arts.
A rather dated frame with a linen liner did little but distract the viewer from the painting. The focal point became the linen liner.

We chose a simple profile with a multi layered painted finish and a narrow gold liner as the replacement frame. The frame is no longer a distraction, but creates a visual package showcasing the painting.

oil on canvas 30 x 48

oil on canvas 24 x 36

oil on canvas 24 x 36

oil on canvas 26 x 36

oil on canvas 24 x 25

oil on canvas 14 x 18

oil on canvas 28 x 40

oil on canvas 20 x 29

oil on canvas 30 x 24

oil on canvas

Steve Levin came to us requesting a few frame profiles in a finish that he could use repeatedly on his work. Working closely with Steve, we found that this \"warm\" black, slightly distressed finish was a very suitable solution. Some have a gilded lip, some do not.
To see more of Steve\'s work, check this website;
http://www.arcadiafinearts.com

Steven J. Levin

Sarah Wieben worked with the finishers at Master Framers to develop a multi layered finish that adds depth to her already layered landscapes. The 4\" wide frame \"floats\" around her paintings inviting the viewer into the landscape.
To see more of Sarah\'s work visit her website;
http://www.sarahwieben.com.

A view of Sarah\'s paintings which were featured during the St. Paul Spring Art Crawl in 2008. All of them were framed in her signature frame.

Two more of Sarah Wieben\'s paintings, framed in her signature frame, designed by Master Framers and Sarah Wieben.

Another example of how well this frame works on Sarah Wieben\'s paintings.

Using the same simple tabernacle style frame Stephen had us add the greek symbols for \"alpha\" and \"omega\" to the frame on this painting titled \"The Lost Parable\"

After seeing the large scale painting by Stephen Gjertson a customer of Master Framers commissioned Stephen to create a scaled down version to fit his fireplace mantle. This is one of five versions of this painting that Stephen has painted.

This is another view of the large tabernacle frame designed by Stephen Gjertson and manufactured by Master Framers.

Stephen Gjertson designed this simple tabernacle frame for this large painting that hangs in a local church. As you can see there was not an inch of wall space to spare. Master Framers made and finished the frame in gold metal leaf and the process was featured on a local television station\'s late evening news and then picked up by a cable network seen all over the world. To see more of Stephen\'s work and to learn more about him, visit his website, http://www.stephengjertsonstudios.com

This is a detail of the frame Master Framers manufactured for the portrait of Governor Arne Carlson of Minnesota. The artist worked with the designers at Master Framers to create a frame with references to the The University of Minnesota and to the \"Star of the North\". This hangs in the state capitol building in St. Paul Minnesota.

This shows the same frame style on a variation of the painting, The Lost Parable. On this version, no ornaments were added to the frame.

This shows another example of the simple linear tabernacle style that Stephen likes on his paintings. This one has several compo ornaments that relate to the symbolism in the painting.

\"Behold the Lamb of God\" is framed in a tabernacle frame that was designed by Stephen and the staff at Master Framers. This was one of the first frames where we collaborated with an artist to design and make a frame of this kind. It was the subject of an article written for one of our trade magazines several years ago.

Master Framers was contracted to create frames for two portraits that hang at the James J Hill House in St. Paul MN. Using grainy photographs of one of the original frames Master Framers created new frames to fit into a very specific space along either side of the main staircase in this historic home. The challenge was creating a frame with a graceful arch that would follow the arch already built in the oak paneling. The finish is 22k gold and a stained panel on mahogany.

This portrait graces the wall on the opposite side of the main staircase from the portrait of James J. Hill. Again the challenge was creating a new frame based on a grainy photograph of the original frame on the original portrait of Mr. Hill. The finish is a combination of 22k gold and a stained panel on mahogany.

This view shows the detail in the existing woodwork at the Hill House, and how the new frame was made to follow that arch.

This view shows the opposite wall and the detail in the woodwork. The new frame was made to follow the graceful arch in the woodwork.

Master Framers built this large frame added the composition corners gilded and toned the frame to fit into the stores overall decor. While it looked large in our workshop it seems small in the store! The Foursome recently moved from Wayzata to Plymouth where they opened in a new location. Stop in and take a look at this frame the next time you are shopping for some clothes!

We were asked to create a frame for two different sized paintings and the frames would be installed into a corner with a center post with gilded text on it. This view shows the completed 3 piece frame as we did a test of the rare earth magnets we used to hold the pieces tight. The two frames also hung on a cleat screwed to the wall.

Once the lighting was adjusted, we took a photo of the assembled frame. If for any reason part of it needs some work, it will be easy to remove just that part. The artist is local painter Eric Menzhuber.

The center post is attached as well as one of the frames.

We used rare earth magnets to hold he frame to the center post, as well as a cleat hanger at the top of the frame.

The base was painted and once in place, it was weighted with over 300 lbs. of sand.

The platform was covered with linen. This shows the underside with the bracing used to make it strong.

This view shows the platform covered in linen.

A humidity gauge was recessed into the platform. It can be removed at any time and replaced if necessary.

One of the installers is making sure the cover is positioned correctly on the base and platform.

This view shows the finished case with the artifacts in place.

After removing the protective wrapping from the cover, the inside is cleaned using an air compressor.

The acrylic cover was wrapped in a brown protective paper that needed to be removed before attaching the box to the case.

We attached the chairs with thin Mylar strips that we threaded through slits we cut in the backing mat. This is nearly invisible and holds each chair securely. The acrylic shelves were actually an L shape that we pushed through 2 narrow slots that were cut into the mat.

This view shows half the chairs in the frame behind Museum Glass.

These chairs are quite small as you can see by the ruler and the finger. The finished framed size was about 14\" x 9\".

Our customer presented us with a challenge. Create an attractive way to display her collection of miniature sterling silver chairs. After weighing many options we chose the black suede background and clear acrylic shelves for support.We chose to use Museum Glass for two reasons. One for the UV protection and the other for the clarity it gives. It is almost invisible. Finally a simple aluminum leaf finish was used to finish the frame. This was custom built to the depth we determined was necessary for the chairs and shelves.

Detail of a corner. We used rivets to simulate the look of a hand hewn metal skin.This frame was 12k gold with a red rub burnished.

This shows the detail work along the bottom rail of one of the frames. We carved out the wood and placed a chrome detail into the space.

A side view of the top emblem. We carved and built a support into which we placed the Ferrari emblem.

A view from the front of the emblem on the top rail of the frame.

A different treatment of the chrome Ferrari attachment on the bottom rail of one of the frames.

One of the custom frames we made for a customer who has a passion for all things Ferrari. He supplied us with the attachments to the frames. Our job was to make them look good. We also did some detail work on the corners adding rivets to make it look like metal.

Another one of the custom frames made for the Ferrari enthusiast.

This frame was finished in 22k gold and the profile is the same shape, but reversed in its orientation.

A collection of baseball cards and related items we framed for one of our customers. This was a very large piece!

An assortment of postcards and a spoon related to Minnehaha Falls. Why throw these in a drawer? Framed items like these bring a sense of history to life.

A fossil that was displayed in an acrylic box. For the background, we carved out the background for a snug fit, and covered it in black linen.

This box is meant for table top display. We made a simple wood frame and painted a piece of wood to use as the base. The cover will sit down snug into the frame with the painted platform inside it.

This view shows the cover married to the base. The objects that were going into the boxes were hand carved clay heads that are about 50 years old.

a detail view of an acrylic box and platform we had made for a customer. We used Museum Optium Acrylic for the anti-reflective qualities.

A full view of the case.

A sideview that shows the \"frosted\" base or platform that the art rests on.

We can alter the colors for the panels to work with the art as well as tone the gold lighter or darker depending on the desired final outcome. We can also add or subtract liners to widen the frame or make it more narrow.

The artist came to us with his vision for a frame, so we worked with him to create this simple but elegant frame to showcase his fantasy painting.

Here you can see the detail features on this frame. We cut the shapes out of 1/8\" MDF. He chose to do the entire finish in black to keep the frame secondary to the painting. It is an example of a very sucessful marriage of frame and painting.

A customer came to us wanting something appropriate for her 16th C. religious painting. She knew she wanted a tabernacle style frame and this is the result. We did not order this frame from an outside source. We made it in our shop in St. Paul MN. It has a stenciled pattern on the top and bottom panels and some compo ornaments at the top of the columns.

Artist Robert Olson commissioned us to create a frame for this female nude, to be a centerpiece in his studio. The understated finish with the gilded liner draws the viewer right into the painting.

We made this frame for Stephen Gjertson based on his designs for a number of his frames.This image can also be seen in the Frames for Artists page.

This frame was made for a local church for a painting by Stephen Gjertson. You can also see the image on the Frames for Artists page and the Frames for Churches page.

A smaller version of Stephen Gjertson\'s painting and frame was used for a residential setting.

The artist, the journalist and 2 of the Master Framers employees who worked on the project standing in front of Gjertson\'s painting in St. John\'s Lutheran Church in Mound MN.

We were asked to make a large tabernacle frame that would hang on a large painting by Minnesota artist Stephen Gjertson. This was commissioned by a church in Mound, MN. Our local NBC affilliate came to us and asked to film the project from beginning to end. Here is the raw blank being built for the frame. The size was approx. 5\' x 9\'

We use a spray gun to apply the latex paint which will be the surface beneath the gold metal leaf finish. We use yellow ochre as the base over the entire frame and apply red highlights on certain areas.

This view shows the scale of the frame in the gilded state. The next step is to tone it to subdue the brightness of the gold.

Once it is unwrapped, the painting will be installed into the frame with metal clips and screws. The frame will hang on a wood cleat. This will keep it flush to the wall and distribute the weight evenly.

Our local NBC affiliate, KARE 11 filmed the entire project and edited it down into one of their \"extra\" segments. It was picked up by cable and satellite affiliates and was seen all over the world. We had customers tell us they saw it in China and Europe. Now that is great free advertising!

To display a collection of baseball cards tickets medallions and a panorama print we designed a frame shaped like a home plate. The collection commemorates the final year the MN Twins played in the Metrodome as well as a game of special significance to the owner of the collection. The finished size is 48 inches by 48 inches.

To add interest we elevated many of the items. They appear to be floating above the background.

By elevating some of the items, shadows were created which add interest overall.

This Dutch Revival style frame is a casting from a frame we made for a customer. It is made of a synthetic material and hand finished in an antique gold with a great patina. The size is approx. 31\" x 25\" and is 7\" wide. It is deep enough for a stretched canvas. $450 for the frame. For another $150 we will stretch a good quality canvas on keyed bars to fit the frame.

This view shows the detail of one of the corners. If you like Dutch frames, this is a fantastic buy at $450.

This French style frame is a wonderful antique. the ornamentation is all carved wood with a bit of compo. The finish has a few issues but nothing major. The patina is very nice. Approx. size is 26\" x 22\" and it is 4\" wide. For a frame of its age it is in very nice condition.
To make a new frame like this will cost about $4000. We offer this at $750. Any restoration desired will be at the purchaser\'s expense. For $150 we will stretch a good quality canvas on keyed bars made to fit this frame.

In this detail view, you can see the aged patina, the cracks in the finish and the textured panel. The detail is very good. It is a real deal at $750. Still life? Portrait? Landscape? Mirror? Add $150 for a stretched canvas on keyed bars made to fit the frame.

This Hudson River style frame is one we made a few years ago. The finish is 22k gold and has some issues so we are offering it for a very nice price of $450. For $150 more we will stretch a good quality canvas on keyed bars so you can paint a masterpiece to sell or keep. The size is approx. 22\" x 27\" and 3.5\" wide.

This detail view of one corner shows the delicate compo patterns that line the top ridge and the inside lip of this frame. A light toning has given this frame a nice patina that makes it look much older than it is. Great for a landscape, portrait or a mirror....

This frame is a blend of Italian and Spanish influences. Cast in synthetic materials from a frame we made, the finish simulates the cracked gesso and paint that would be a natural result of age. It measures aprox. 32\" x 28\" and is 6\" wide. The cost is $450. Add a good quality stretched canvas on keyed bars for another $150.

A great image of the detail found in this frame finish. It looks like it should crumble, but it won\'t....a great value at $450.

A Spanish style frame with large ornamented corners and bold patterns enclosing the wide panel. This is a frame cast in synthetic materials from a frame we made. The finish is an antique gold that simulates real gold with \"lap marks\" where the gold leaf sheets would overlap as the leaf was laid. We also added worm holes to simulate more age and damages of time. The size is approx 25\" x 31\" and it is 7\" wide. Great for a portrait or a mirror! $450. Add $150 for a good quality stretched canvas on keyed bars.

Notice the \"worm holes\" and the simulated lap marks that add an element of age to this frame.

This is a detail of the top in its broken condition.

After the restoration was compete. Wow!

This frame had sustained some major damage, mostly surrounding the top section, which was in pieces.

The completed frame before the mirror was installed.

Sarah designed the frames for her paintings in her \"Destiny of our own Making\" series. They were made at Master Framers.

Some of the frames incorporated circular medallions that were painted as well. Designed by Sarah, the frames were made by Master Framers.

Here one can see a detail of a corner showing the circular medallion with a painting inset. The frames were made with basswood and finished with a clear sealer by Master Framers

Painted stand with trim mouldings. We can make these any size and height.

This stand is painted black with a faux finish on the top.

A detail view of the faux finish top.

Another style of stand, this time with a faux finish that has the look of stone.

This stand has some trim moudings and we gilded it as well as did a painted finish.

We can also make small bases to elevate your pottery pices or small works of art. They can be finished in a variety of ways, from paints to wood stains to gold or silver leaf.

This frame can be seen on a landscape by Homer Dodge Martin. It features a 22k gold finish with several different patterns of decoration.

Featuring a number of intricate patterns in a 22k gold finish, this frame can be seen on a seascape by William Trost Richards.

One of the newest frames made by Master Framers, this can be seen on a portrait by Alfred Stevens.

This frame was hand carved and finished in 22k gold for a landscape by Edgar Payne.

A design unique to Master Framers, this frame can be seen on a painting by Phillip Little. The finish is a burnished bronze.

Framing a Seurat, this frame is a great example of simple lines and a delicate wash on top of 22k gold.

Found on an emil Nolde, this frame is a great example of simple clean lines. The 22k gold with a deep dark red clay and a dark wash make it work exceptionally well on this painting.

Once again, the clean lines of this frame and the red undertone work exceptionally well on this painting by Matisse.

This frame can be seen on a very nice painting by Fernand Leger.

Look for a Gauguin painting and you\'ll see this frame made by Master Framers a number of years ago. Again the finish is 22k gold with a nice red undertone and rub.

This is another example of clean lines, 22k gold and can be seen on a painting by Robert Delaunay.

This is a frame that was restored by Master Framers. It arrived with layers of overpaint and grime that once stripped, revealed a lovely 22k gold finish. It can be seen on a portrait by George Chickering Munzig.

This frame arrived with an arched opening and not the circle you see here. We remade the spandrel and finished it to match the existing frame. It can be seen on painting by Charles Edward Perugini.

This frame was made for the Minnesota Museum of American Art. The painting is by Frances Cranmer Greenman and is a \"Portrait of Dewey Albinson\". Our intent was to make it appear to have been made by the artist for the painting. Many artists designed and finished their own frames, and still do today. It is quite a large frame, approximately 73\" x 41\".

A detail of one of the corners of the new frame. We used multiple layers of paints as well as gold metal leaf to achieve a finish with depth. The wide panel was lightly carved and creates a nice pattern to break up that flat space. You can see this in a show at the Minnetonka Center for the Arts through March 26th.
For more information, see their website at www.minnetonkaarts.org

Our intent was to create a frame that would not overshadow the painting, but introduce texture to draw the viewer into the painting. We think this accomplished the objective. It\'s a small piece, about 9 x 12 inches.

This shows the latest frame we made for a painting by Alexandra Exter. A combination of 12k white gold and layers of paint, this was a true collaboration between the curator and our design staff to create a unique profile for this frame. You can find it in Gallery 67.

Portrait of a 19th Century Voyageur telling a story around a campfire. Our frame captures the warmth of the fire and the dark tones of the background in a successful mix of 22k gold and a layered paint finish.

This painting depicts a 19th Century Voyageur telling a story around a campfire. It was painted by local artist David Geister. The frame is a mix of 22k gold and a layered painted panel. We think it is the perfect blending of the warmth of the fire and the cool of the night.

A detail of one of the corners. Note the red coming through the gold and the blue paint, and the gray wash on top of the blue.

Corner detail after stripping the over paint

Corner has been prepped for gilding.

The corner has yellow and gray bole as the base beneath the 22k gold finish.

The completed corner. Notice the burnished 22k gold and the matte oil gilded gold.

Stripping one of the rails of the frame. It was a mix of 22k gold, spray paint and oil gilded gold.

This shows the center of the rail stripped to the gesso. Bits of the original finish can still be seen.

The rail has been prepped for its finish.

The completed section.

The completed frame with the restored painting installed. We also built the crate and packed it for shipment to Michigan. Our customer installed the painting, and delivered it to his customer. It hangs in a well known Jazz Club in the Detroit area.

A framer in Michigan shipped us this beautiful frame in need of help. Previous restoration attempts and multiple layers of spray paint along with broken parts made this a good candidate for restoration.