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Bring us the wall. We measure, mark, level, and hang, with the right anchors for plaster, drywall, brick, or concrete, and we do not leave until the piece reads true from every angle.

Crating, customs paperwork, condition reports. A framed piece going to Lagos travels the same way it does to Logan Square. Meticulously.

How we hand-deliver framed work across Chicago. From workshop bench to your wall in ninety minutes, with our own people, in climate-controlled trucks.

An ornate gilded moulding for a contemporary print. When the figure inside it can carry the weight of a classical frame, give it the classical frame.

Crimson lacquer outside, comic-textured liner inside. When the frame argues with the artwork on first read, then agrees with it on close inspection.

Hand-painted liner, mixed in the workshop. The case for not buying every finish off the shelf, when the title of the piece is asking the frame to do some holding.

A floater frame finished in raw stone. When the artwork is asking to feel suspended in air rather than boxed against the wall.

Four prints, framed identically, hung as a quartet. The choreography of identical framing across a series, where any deviation reads instantly.

Color-matching a frame is not about repeating a hue from the artwork. It is about finding the color the print is already implying without showing.

Two frames for one artist: a deep gold for the still life, a matte orange for the abstract. Why we do not always match across an artist's wall.

Inner gold, outer black. The pairing is older than any of us, and it works on a contemporary canvas for the same reason it has worked for three centuries.

Why we built two frames for one print. When the inner frame holds the artwork and the outer frame holds the inner frame, the math gets interesting.

Hand-stitched cotton, dyed to the saturation of paint. We built a frame to match: a hand-painted liner inside ornate gilded moulding, formal enough to insist this is portraiture, not decoration.