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Gill & Lagodich Gallery / Fine Period Frames & Restoration

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Gill & Lagodich Gallery / Fine Period Frames & Restoration

The Art World Source for antique and custom-made artist frames. Visit our Tribeca gallery by appointment or chance.

We provide custom framing services and curatorial expertise to museums, collectors, architects, interior designers, artists, photographers, and other interested individuals. Current inventory of over 2000 period frames, American and European, 16th-century to contemporary. Our wood and gilding restoration studios produce the highest quality frame restoration and sizing services; custom-made frame replicas and fabrication of frames designed by artists, architects and designers.

03/25/2026

In our gallery: Early Italian frames en route from Tribeca to Milan.

11/08/2025

Happy Birthday to Max Kuehne, born November 7, 1880. Here, “East River Harbor,” 1913, oil on canvas, 20” x 24-1/8” framed by Gill & Lagodich for the Mint Museums, North Carolina. First-half 20th century American artist-made painting frame; Max Kuehne, maker. Cassetta profile with incised decoration, patinated white gold with matte gilded panel. Molding width: 4-1/2 in. “Max Kuehne’s painting offers an unusual bird’s eye view of New York, looking from the dockyards of Brooklyn to the lower tip of Manhattan. Although not a part of Robert Henri’s inner circle, Kuehne was a student of his for a brief time and was clearly influenced by Henri’s belief that artists should seek their subject matter in their everyday surroundings. Kuehne often made frames for himself and for his friends. He preferred the cassetta (Italian for “box”) profile, whose flat planes he skillfully toned and incised with geometric and floral decorations, as seen in the frame surrounding East River Harbor.”—museum label. Shown on the wall at The Mint with George Luks, “Carnival Scene,” circa 1918, also framed by Gill & Lagodich.

11/04/2025

Our new gallery is a block from City Hall and, yes, It’s Election Day in New York. VOTE!!!!! Pictured here, John Steuart Curry, “John Brown”, 1939, oil on canvas, 69 x 45 in. Framed by Gill & Lagodich for the Metropolitan Museum of Art (2014). Custom-made replica American molding frame, first-quarter-19th-century, beveled wood with worn ebonized patina and gilded flat liner. Molding width 6-1/2 in. “Throughout the 1930s, Kansas-native Curry was closely associated with Thomas Hart Benton as a member of the artistic movement known as Regionalism. John Brown reprises the subject of Curry’s mural in the rotunda of the Kansas State Capitol. One of the most controversial figures in nineteenth-century American history, Brown opposed the extension of slavery in the 1850s into the Kansas Territory. Curry depicted Brown larger-than-life in an open, stark landscape besieged by a tornado—a meteorological symbol of the conflict—with a slave at his side. The abolitionist’s crazed expression and animated hair and beard suggest the messianic fervor that fueled his opposition to human bondage.” —Metropolitan Museum label. ©John Steuart Curry.

10/03/2025

Theodoros Stamos, Shofar in the Stone, 1946, oil on masonite, 39-5/8” x 24-1/2”. Framed by Gill & Lagodich for the Mint Museum, Charlotte, NC (2018). Period mid-20th century American Modernist frame, polychrome patina on chestnut, beveled profile with patinated white gessoed liner, molding width 4” “It must be faced that for the painter there exists a spiritual power which communicates life and meaning to material forms and that he must achieve this power before taking part in the elaboration of forms.”—Theodore Stamos, 1954 “In the 1940s Theodoros Stamos, still in his twenties, embarked on a series of paintings including Shofar in the Stone, which are characterized by their use of abstracted forms from the natural world. By the end of the decade Stamos had given up recognizable subject matter almost entirely as he began to experiment with the large fields of luminous color for which he is best known today. Biomorphic forms-abstract shapes inspired by natural elements-were of interest to many American artists in the 1940s, including Stamos’s colleagues Mark Rothko and William Baziotes. In Shofar in the Stone one can pick out the light blue form of the shofar, a ceremonial horn, near the center of the composition. It is surrounded by the darker form of the stone that is partially covered in a green mossy substance and topped by an orange leaf. A craggy root-like (or possibly hand like) shape extends downward into the brownish-gray soil.” —Mint Museums label Gift from the Savas Private Collection, Courtesy of Georgianna Statiatelos Savas honoring the artist’s wishes. 2009.75”

10/02/2025

Happy Birthday to Arthur Frank Mathews, born October 1, 1860. Here, “Afternoon Among the Cypress,” ca. 1905, oil on canvas, 26-3/16 x 30-3/16 in. Framed by Gill & Lagodich for the Metropolitan Museum of Art (2002). Custom-made hand-carved and gilded replica frame, copy of c. 1905 design, per photograph in Arthur Mathews Furniture Shop period scrapbook archived at Oakland Museum of California, that shows MMA painting in original frame (now lost.) “Mathews was not only a painter but an architect and a designer of interiors, furniture, and decorative objects. Through his publications and teaching, he did much to popularize his variation of Art Nouveau, sometimes referred to as the California decorative style. Mathews’s landscapes celebrate California’s distinctive topography, plant life, and tawny, golden tonalities. In “Afternoon among the Cypresses,” he silhouettes the bent limbs and wide flat crowns of the Monterey-peninsula cypress trees to achieve a strong decorative effect. Heavy foreground shadows and the darkened copse contribute to the moody, slightly mysterious impression.” —Met Museum label. “At the end of the nineteenth century, as a reaction and revolt against the smog and tyranny of the newly industrialized world, a group of English craftsmen and artists began to preach a return to simplicity. Their words began the Arts and Crafts Movement, which rapidly spread throughout Europe and America. By the beginning of the twentieth century, followers of the Movement were flocking to California to enjoy the splendor of the state’s fresh air and natural beauty. In 1906, Arts and Crafts followers Arthur Mathews (1850-1945) and his wife Lucia Mathews (1870-1955) started producing hand-made furniture and decorative house wares in a small San Francisco workshop named The Furniture Shop. Their style was distinctly Californian, highlighting the native flora and picturesque landscapes for which the state was known. The Oakland Museum of California houses the largest collection of Mathews works in the world.” —OCMA text

09/29/2025

Happy Birthday to George Hitchcock, born September 29, 1850. Here, “Flower Girl in Holland,” 1887, oil on canvas, 31-1/8 x 58 in. Framed by Gill & Lagodich for the Art Institute of Chicago (2000). Period c. 1880s American Barbizon painting frame; gilded applied composition ornament on wood, molding width 6-1/2 inches. “An expatriate American who settled in Egmond, Holland around 1883, George Hitchcock was influenced by his Dutch surroundings as well as strains of late-nineteenth-century Continental painting. In this work, he combined an Impressionist palette with the pronounced perspective, hard-edged details, and rural subject matter that characterized academic Realist painting of the period, demonstrating his debt to both styles. Hitchcock painted many scenes of peasant women in tulip fields, often imbuing them with ethereal, Madonna-like qualities.” “After studying in London, Paris, and at the Hague, George Hitchcock settled in 1884 in the Netherlands, living and working for twenty years in Egmond. Attracted to the region’s landscape and peasant communities, the artist specialized in scenes featuring women in traditional dress set among voluptuous, blooming flowers. Here, Hitchcock revised the environment behind the Dutch flower seller, editing out other houses nearby in favor of a bucolic vista. Although he employed academic techniques such as fine modeling of his figures, Hitchcock nevertheless earned a reputation as a daring colorist for the brilliant hues and open brushwork that likewise characterize his compositions. —AIC didactic texts, Potter Palmer Collection,1888.169

09/28/2025

Happy Birthday to Frederick MacMonnies, born September 28, 1863. Here, Young Chevalier, ca.1898, oil on canvas, 75-1/8 x 50-5/8” Framed by Gill & Lagodich for the Virginia Museum of Fine Arts (2013). Period Early 20th-century American Spanish Revival painting frame. Roman-gilded applied composition ornament and paint on carved wood; Newcomb-Macklin, New York Makers. Molding width: 5-1/8” The first major late 19th-century image of a child to enter VMFA’s American art collection. “This striking figure painting by Frederick MacMonnies – an active member of the expatriate art colony in Giverny, France – was made after a trip to Spain to study the revered paintings of Diego Velázquez. The experience inspired a series of MacMonnie’s own monumental canvases, of which Young Chevalier is the most impressive and theatrical. Believed to depict Grenville Hunter – the nearly six-year-old half-brother to painter Ellen Emmet, one of MacMonnies’s students – the picture is a bravura artistic statement revealing the influence of Old Master Spanish painting on American expatriates by way of the French avant-garde, specifically, Edouard Manet.” VMFA label. Painting provenance: Provenance: Collection Vance Jordan Fine Art, NYC. Credit Virginia Museum of Fine Arts, J. Harwood and Louise B. Cochrane Fund for American Arts Note: at left, Charles Sprague Pearce, Peines de Coeur, 1884, 61-5/8 x 47-3/8 also framed by Gill & Lagodich in period 1880s American Barbizon frame.

08/28/2025

Philip Reinagle, R.A. (1749 – 1833),“Portrait of an Extraordinary Musical Dog,” oil on canvas, 1805, 28-1/4” x 36-1/2”, framed by Gill & Lagodich for the Virginia Museum of Fine Arts; period 18th-century English frame, swept profile, openwork rocaille, gilded hand-carved wood.

08/06/2025

Happy Birthday to George Tooker, born August 5, 1920. Here, “Window VIII,” 1966, egg-yolk tempera on gessoed board, 24 x 20 inches. Framed by Gill & Lagodich for the Saint Louis Art Museum. Period c. 1940s American frame, stained wormy chestnut, wide cassetta profile, molding width 4-7/8 in. “Suffused light caressing this man’s torso conveys a sensual vulnerability, and backlighting emphasizes his peaceful expression. The artist, George Tooker, took great care to convey the tender beauty of the Black male body. Tooker created a series of paintings between the 1950s and 1980s in which a window frames single or coupled figures. The compositions were inspired by the artist’s New York City neighborhood, where residents were drawn to their windows to seek respite from the heat or to view the street life below. Tooker was an openly gay man who identified as biracial; his mother was Cuban, and his father was white. He intentionally depicted figures with mixed or often ambiguous gender, sexual, and racial identities in order to break down the prejudices that posed dangerous consequences for such communities. Tooker’s paintings have layered meanings. The Arabic inscription across the top, loosely translated to “may God please [or satisfy] you,” was included in honor of the then-recently slain activist Malcolm X, whom Tooker admired.” —museum label. Museum Purchase, by exchange; painting image © Estate of George Tooker, Courtesy of DC Moore Gallery, New York.

07/26/2025

Happy Birthday to Edward Hopper, born July 22, 1882. Here, Chop Suey, 1929, oil on canvas, 32” x 38”. Lot offered at Christie’s, New York, 13 November, 2018, est. $70,000,000–100,000,000. “Chop Suey is one of the best pieces of American Modernism to have come to auction in generations … The $91,875,000 paid for the work set a world auction record, not only for Edward Hopper but for any piece of pre-war American art.” Gill & Lagodich originally designed and fabricated this elegant frame model for Hopper’s iconic nocturne Nighthawks (Art Institute of Chicago); patinated white gold, hand-combed gesso on ogee profile, molding width 5 inches, design based on molds and profile of original Nighthawks frame as chosen by Hopper’s dealer Frank Rehn.

06/22/2025

We were honored to make this frame for The Chrysler Museum of Art scaling up the design from one of Degas original sketches to suit this larger painting. We matched the gilding to an original Degas frame at The Met museum.

Address

BY APPOINTMENT 52 Duane Street, Ground Floor Retail
New York, NY
10007

Opening Hours

Monday	9:30am - 5pm
Tuesday	9:30am - 5pm
Wednesday	9:30am - 5pm
Thursday	9:30am - 5pm
Friday	9:30am - 5pm

Telephone

+12126190631

Website

http://www.gill-lagodich.com/

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