A coloured frame can transform the way we see artwork, but choosing the right one is more of a skill than you might think, as design journalist Claudia Baillie explains.
When curating a home gallery, we often spend hours selecting the perfect artwork, only to treat the frame as an afterthought. And while classic oak or gilt will always have their place, more of us are reaching for colour – a shift that can transform a piece from a simple picture on the wall to a beautifully resolved design statement.
The secret, explains Georgia Spray, founder of art platform Partnership Editions and author of new book, How to Start an Art Collection, lies in achieving balance rather than a match. ‘People often select a bright frame because that colour already stands out in the art, but by accentuating it further, it can become overpowering. This pulls the eye to the frame, rather than letting it wander across the work.’
That balance begins with understanding the piece. ‘Ask yourself: does the frame detract from the overall feel of the painting?’ says Julia Collins, London-based art dealer and founder of Collins & Green Art. ‘A calming seascape will look wrong in a bright pink frame, and similarly, a graphic poster might look odd in ornate gold. Something like vintage botanical prints, however, will benefit from coloured frames, particularly if they’re hung in pairs or sets.’ Contemporary pieces can thrive when framed in colour as they share a modern energy, but for traditional works, a gentler touch might be needed. ‘You can still use colour effectively by choosing muted tones like a sage green for a landscape, or a navy or brown to ground a portrait,’ advises Georgia. For those wishing to experiment, Neptune’s Didmarton frame can be customised in 48 paint shades, from zingy Nettle to rich Burnt Sienna.
Proportion matters just as much, and the frame’s profile will affect how it lands. ‘A chunkier design works nicely in a subtle shade, while a slimmer frame is a great way to use bold colour,’ explains Georgia. Punchy hues tend to require more breathing room too. ‘With a vibrant frame, choose a generous mount. Works on paper are more suited to colourful frames than canvases or textiles are, as you can use the mount to create space.’
Finally, consider how the frame’s finish interacts with the light and the wider room. ‘High gloss makes colours sing,’ says Georgia, ‘and will create a sophisticated contrast if you’re matching your frame to a painted wall.’ Meanwhile, matt painted frames have a velvety depth, and stained finishes allow wood grain to show through, adding organic warmth. Neptune’s marquetry Montpellier frame, handcrafted using tulipwood, offers the same tactile appeal.
At the end of the day, there are no hard rules when it comes to framing, although Julia warns that matching things very closely can make a space look too ‘done’. ‘But always follow your instincts,’ she concludes. ‘Don't overthink how a frame looks, and search for the enjoyment. Ultimately, it’s your home and, if your heart loves your frame, then why ever not?’
Discover Georgia’s work at partnershipeditions.com and Julia’s at collinsandgreenart.co.uk.
