Black picture frame for oil paintings

A wide, classically profiled black picture frame, made by hand from solid wood. The face and sides of the moulding are painted black and finished to a satin sheen, with visible brush marks and a subtle patina that give the surface depth and a handmade character. On request the frame can be painted in another colour from a deeply pigmented bespoke palette, or gilded with a chosen shade of gold leaf on selected parts of the profile.

Read from the artwork outward, the moulding opens with a narrow rabbet, above which a softly rounded inner edge runs with fine, stepped detailing. The profile then dips through a shallow hollow before rising into a broad, gently convex crown that forms the main body of the frame’s face, closing at a low outer edge. The profile itself is machine-milled; its character comes from the handwork that follows: multiple layers of gesso ground, painting and finishing.

Which artworks and interiors it suits

A wide black moulding is a strong, confident surround that orders the composition and draws the eye to the work. It suits oil and acrylic paintings on canvas, landscapes, portraits and still lifes, as well as bold prints and photography. The deep profile and black colour are a natural choice for contemporary painting, while the classical line lets the frame sit just as comfortably in traditional settings. Black stays endlessly versatile: it works in modern, minimal and loft interiors as readily as in classical or gallery spaces. Explore the other black picture frames made in the workshop.

Specification

• Style: classical, wide profile
• Finish: black, satin sheen, hand-painted, with a subtle patina and visible brush marks
• Moulding width: 79 mm
• Moulding depth: 67 mm
• Rebate (rabbet): 7 mm wide, 20 mm deep (holds painting supports up to 2 cm; deeper rebate on request)
• Material: solid, low-tannin timber used in museum work and art conservation
• Corner joinery: mitred at 45°, reinforced with wooden splines
• Backing: 3 mm Dibond panel (optional)
• Glass: optional (see “Complete framing”)
• Artwork mounting: spring clips fitted at the workshop; brass plates with screws on request
• Hanging: portrait or landscape (from the menu); cord supplied as standard
• Use: oil and acrylic paintings on canvas, stretchers, painting supports up to 2 cm

The dimensions describe the moulding itself; the opening for the artwork is correspondingly smaller. Each frame is made precisely to the size of your work, so at checkout you only need to enter the dimensions of the painting.

How it is made and finished

The moulding is milled from solid wood, and the corners are mitred at 45° and reinforced with wooden splines before any gesso is applied. The surface is built up with multiple layers of gesso ground and smoothed by hand until the profile is even and clean. The moulding is then painted black and sealed with traditional shellac and wax, which gives the satin sheen and depth of colour. The visible brush marks and subtle patina are a deliberate, hand-applied effect rather than a flaw, and they make every frame slightly different. On request the moulding can be painted in another colour, or gilded with gold leaf (for example 23K yellow gold, 22K moon gold, or 12K and 6K white gold) on selected parts of the profile.

How it differs from mass production

Off-the-shelf frames are pressed from industrial mouldings and finished by machine in fixed sizes. Here each frame is prepared for one specific painting: the moulding is cut to size, gessoed, hand-painted and finished, and the corners are joined with wooden splines. Black built up in layers, brush marks and patina create a result that mass production cannot match, closer to gallery and conservation framing than to a frame off the shelf.

Function and pricing

The frame protects the painting and its edges while completing the composition. The price is based on the length of moulding needed for the perimeter of a given painting, allowing for the 45° mitres (at each corner part of the length is taken up by the angled cut). The final cost therefore depends on the size of the work and is calculated individually by the configurator on the product page. This frame can also be made as a floating (shadow-gap) frame, without a rebate, for canvases on a stretcher, where the painting appears to float inside the frame with a visible gap around the edges.

Complete framing – additional options

Every frame can be completed with a full archival mounting prepared in the workshop: glass, archival backing and matting. All components are available as a custom add-on – quote on request.

Glass – four classes available

Opti White, 4mm – low-iron glass with a neutral, colourless appearance (no green tint typical of standard float glass). Available up to 90×90 cm – the only option for larger works.

Ultra Vue UV70 (Tru Vue), 2.0mm – anti-reflective glass with 70% UV protection, low-iron. Available up to 60×80 cm.

Art View – premium-class anti-reflective glass: reflection reduced below 1%, up to 75% UV protection, scratch-resistant coating, low-iron, can be cut and mounted from either side. Meets ISO 18916 (Photographic Activity Test) – safe for archival photography. Premium quality at an accessible price. Available up to 60×80 cm.

Optium Museum Acrylic (Tru Vue) – top-tier museum acrylic: over 99% UV protection, museum-grade reflection reduction, anti-static, lightweight, shatter-resistant. The museum standard for conservation work and archival photography. Available up to 60×80 cm.

Archival backing

Dibond 3mm aluminium composite panel – two layers of aluminium with an acid-free polymer core. Rigid, chemically neutral, dimensionally stable. An industry standard in archival photographic framing and art conservation.

Mounting and matting

Acid-free foam board – chemically neutral, will not yellow over time, will not react with paper or photographic emulsions. Archival standard.

Full museum framing

Combining anti-reflective UV-filtering glass, acid-free matting, Dibond backing and conservation hinging tapes provides a museum-grade mounting – protecting the work from light damage, acid migration from typical framing materials, and mechanical distortion. This type of framing is used in museums, galleries and private collections.

To order: all of the above components are available as a frame add-on on request. Please get in touch with the dimensions of your work and your preferred glass class – I will prepare an individual quote.

Mounting and hanging

For canvases on a stretcher the frame needs no glass. The painting is held as standard by spring clips fitted at the workshop, which allow the work to be swapped quickly; on request these are replaced with brass plates and screws (supplied loose, for permanent fitting by the customer). The frame can be hung in portrait or landscape orientation, chosen from the menu. A hanging cord is supplied as standard, with a single D-ring available on request.

Made to measure

You can order this frame in any size: simply enter the dimensions of your painting on the product page and add it to the basket, and the configurator will calculate the price of the frame including delivery (up to 120×80 cm). When ordering, please give the thickness and type of the painting support, whether a stretched canvas or a rigid panel; sending photographs and exact dimensions also helps me choose the best way to secure the artwork. For more on framing oil paintings and the types of frames for canvas paintings, see the linked pages. Larger formats are quoted individually after you get in touch. The standard lead time is 20–30 working days.