Wooden Frame for Painting and Mirror: Selection and Styles

A painting without a frame is like a thought without form. A mirror without framing is like a window to nowhere.wooden frameIt does not merely limit the space of the image or reflection. It creates a dialogue between the artwork and the interior, between art and life, between past and present.

Consider: a masterpiece in the Louvre hangs in a gilded Baroque frame for a reason. This frame is chosen with the same care as the artist's pigments. It enhances the emotional impact of the painting, sets the context for perception, and protects the canvas from damage. The same goes for a mirror: a carvedmirror frametransforms a functional object into a decorative art piece, a focal point of the interior.

Wooden frames are a classic, tested by centuries. No plastic, no aluminum can provide that sense of nobility, warmth, and connection to tradition that natural wood gives. Solid oak, beech, ash. Carving done by a master's hands. Finishing that emphasizes the texture and creates the desired mood. It's an investment in beauty that does not depreciate over time.

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Why a Frame is Needed: Functions Beyond the Obvious

Many perceive a frame as a purely decorative element. A beautiful addition. In reality, the functions of apicture framesare much more numerous, and each is critical.

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Protection of the Artwork

Painting canvases, watercolors, graphics — all these materials are fragile. Canvas sags, paper warps from humidity, paints fade from ultraviolet light. A quality frame with a stretcher, glass, and backing creates a protective barrier. Glass blocks dust and most UV radiation. The backing protects against mechanical damage from behind. The frame itself keeps the entire structure rigid, preventing deformation.

For valuable works, museum glass with a UV filter is used, blocking up to 99% of ultraviolet light. For graphics and watercolors, a mat is essential — a cardboard insert between the image and the glass, creating an air gap, preventing condensation on the glass, which can damage the work.

mirror framealso performs a protective function. It hides and protects the edges of the mirror surface, which are vulnerable to chipping. It holds the mirror in a fixed position, prevents shifting, sagging, especially important for large mirrors weighing 15-20 kg or more.

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Visual Highlighting

A frame creates a boundary between the artwork and the surrounding space. It tells the gaze: 'Art begins here, pay attention.' Without a frame, the painting blends with the wall, gets lost, especially if the colors of the image are close to the wall color.

Contrast is the main tool. A darkwooden frameon a light wall creates a clear boundary. A light frame on a dark wall works just as effectively. A wide frame increases the visual presence of the painting, makes it more monumental. A narrow frame is minimalist, suitable for contemporary graphics, photography.

A mirror in a frame becomes not a utilitarian object, but a decorative element. A carved frame attracts attention even when you are not looking in the mirror. It creates a play of light and shadow on the relief, reflections break in the facets of the carving, creating dynamics, life.

Stylistic Function: The Language of an Era

A frame speaks the language of its era. A thin gilded frame with a floral ornament is Baroque. A massive oak frame with geometric carving is Renaissance. A simple rectangular frame of light wood is Scandinavian minimalism. By choosing awooden frame, you make a stylistic statement.

A correctly chosen frame enhances the style of the interior. A classic interior requires classic frames — carved, with patina, with gilding. A modern interior — laconic, with a simple profile, with a natural finish. An eclectic interior allows mixing, but mixing consciously, creating controlled contrast, not chaos.

Commercial Value

For collectors and art dealers, the frame is part of the artwork's value. A painting in the right frame is worth more than the same painting without a frame or in a cheap plastic one. Museums spend tens of thousands of dollars on frames for masterpieces. Because a frame is not an addition, but part of the artwork.

Vintage and antique frames are valued in their own right. A carved 18th-century frame can cost more than the painting inside it. Collectors hunt for antique frames, restore them, and use them to frame contemporary works or mirrors. This is a market where quality and authenticity determine the price.

Types of wooden frames: from simplicity to complexity

Varietyframe for paintings and mirrorsis enormous. From minimalist strips 20 mm wide to monumental carved structures 200 mm wide. From smooth painted surfaces to the most complex multi-tiered profiles with gilding.

Flat frames: minimalism of form

A flat frame is a strip with a rectangular cross-section and minimal processing. A bevel on the inner edge for a transition to the image, sometimes a slight bevel on the outer edge. Width 20-50 mm, thickness 15-25 mm. No profile, no carving. Only pure geometry and material quality.

Such frames are ideal for contemporary graphics, black-and-white photography, abstract painting. They do not compete with the artwork, do not distract attention. They simply clearly delineate the image space. Material - ash, beech, oak. Finish - clear oil or matte paint in white, black, gray.

Flat wooden framesare good for series - when 6-9 paintings of the same size hang on a wall in identical frames. This creates a modular composition, a gallery-style presentation. Absolute frame identity is crucial: identical width, color, finish. Even a millimeter difference is noticeable.

Profiled frames: classic moldings

A classic molding is a strip with a complex profile consisting of several elements. A fillet, an ogee, a torus, a cyma reversa, a cavetto - all these elements form a three-dimensional profile that creates a play of light and shadow. Profile width 40-80 mm, thickness 30-50 mm.

The profile is milled on machines according to a given geometry. Precision is critical - the slightest deviation causes the frame corners not to join perfectly. Modern CNC machines provide accuracy up to 0.1 mm, guaranteeing flawless 45-degree corner joints.

ProfiledFrames for paintingsframes are universal. They are suitable for classical painting, reproductions, mirrors. The profile can be painted, patinated, gilded. The complexity of the profile determines the style: a simple two-element profile - neoclassical, a multi-element one with deep ogees - Baroque.

Carved frames: sculpture in wood

A carved frame is no longer just a frame, but a work of art. The surface is covered with relief carving: plant ornaments, geometric patterns, figurative elements. Every centimeter is detailed, every element creates volume, depth, drama.

Manufacturingwooden carved framesis a labor-intensive process. The base profile is milled on a machine, then a master carver works on the details by hand. Acanthus leaves with curled edges, grape clusters with individual berries, roses with petals - all this requires hours of work.

Carved frames are appropriate for classic interiors, for framing Old Masters' paintings or their reproductions. For mirrors in formal living rooms, dining rooms, bedrooms. They require a corresponding setting: ceiling moldings, wall moldings, quality furniture. In a minimalist interior, a carved frame will look out of place.

Oval and round frames: softness of forms

Most frames are rectangular - dictated by the format of canvases and mirrors. Butoval framesand round ones create a special mood. Softness, femininity, elegance. No sharp corners, no rigidity of straight lines.

Making oval frames is more difficult than rectangular ones. You cannot simply cut four strips at 45 degrees. You need to bend wood using a template or assemble the frame from many short segments. The beech steaming technology allows creating smooth curves without joints. The wood becomes pliable, is shaped using a template, and retains its shape after drying.

Oval frames are traditional for portraits. They soften the composition, concentrate attention on the face. Round mirrors in wooden frames are a trend of recent years. They add lightness and playfulness to an interior, especially effective in groups - three round mirrors of different diameters on a wall create a dynamic composition.

Choosing a frame for a painting: the art of coordination

How to choosea frame for a paintingso that it doesn't kill the artwork, but enhances it? This is a matter of taste, but taste can be trained by knowing the basic principles.

Analysis of the artwork: era, style, color palette

Start by studying the painting itself. When was it painted? In what technique? What is its style, mood, color scheme? An old Flemish painting from the 17th century requires a massive dark frame, possibly carved, with patina. An impressionist landscape requires a light frame with a simple profile that doesn't distract from the play of light and color on the canvas.

The painting's color palette determines the frame's color. For paintings in warm tones - golden-brown, honey shades of wood. For cool ones - silvery-gray, black, white. Contrast also works: a bright painting in a restrained frame, monochrome graphics in a colored frame. But the contrast must be deliberate, not accidental.

The size of the painting affects the width of the frame. A small 20x30 cm painting in a wide 10 cm frame will be overwhelmed. A large 120x150 cm canvas in a narrow 3 cm frame will lose visual weight. An empirical rule: the frame width should be 1/10 to 1/15 of the painting's shorter side. For a 40x60 cm painting, a frame 4-6 cm wide is optimal.

Mat: a buffer between the painting and the frame

A mat is a cardboard frame between the image and the frame. It serves several functions: creates visual rest for the eye, increases the perceived size of the painting, protects the image from contact with glass. The mat width is usually 5-10 cm.

The color of the mat is critical. White or cream are universal, suitable for most works. Colored mats are chosen to match one of the colors in the painting, but not the dominant one, rather a secondary one. This creates a connection but does not overload the composition. Black mats are dramatic, suitable for black-and-white graphics and photography.

Double and triple mats — when several cardboard frames of different colors are nested inside each other — create additional depth and richness of composition. The inner mat can be narrow, 5-10 mm, of a contrasting color, creating a thin dividing line. This is a museum mounting technique that requires skill.

Interior Compatibility

A painting does not exist in a vacuum. It hangs on the wall of a specific interior. Andframemust take this context into account. If the interior has wooden moldings, it is logical for the frame to be made of the same wood, with the same finish. If the furniture is dark oak, the frames can also be oak.

Stylistic unity is critical. A classic interior — classic frames. Modern — modern. Mixing styles is acceptable but requires a sense of proportion. One Baroque carved frame in a minimalist loft can be a provocative accent. Ten such frames — stylistic chaos.

The color of the wall influences the choice of frame. On light walls, both light and dark frames read well. On dark walls, dark frames get lost; either a light color or gilding that creates contrast is needed. On colored walls, the frame should either repeat the wall color, blending with it, or be neutral — white, black, natural wood.

Frames for mirrors: when reflection becomes decor

A mirror without a frame is functional but faceless.mirror frameturns it into an element of interior design, a focal point, an art object.

Size and proportions

Mirrors come in different sizes and formats. Small tabletop 20x30 cm, medium wall-mounted 60x80 cm, large floor-standing 180x80 cm, huge half-wall 250x150 cm. Each size requires an appropriate frame.

For small mirrors, the frame can be relatively wide, up to 8-10 cm. This creates visual weight, making a small object noticeable. For medium mirrors, a frame width of 6-10 cm is optimal. For large ones — 8-15 cm. A frame that is too narrow on a large mirror looks stunted, fails to hold the composition.

The proportions of the mirror determine the shape of the frame. A vertical mirror in the hallway — an elongated rectangular frame. A horizontal mirror above a chest of drawers — a wide horizontal frame. A square mirror — a square frame. A round one — a round frame. Breaking this rule is possible but requires design flair.

Location and function

A mirror in the hallway is functional. You look into it when leaving and arriving. The frame should be sturdy, not distracting, of a neutral color. A mirror in the living room above the fireplace is decorative. You rarely look into it, but it creates a focal point, reflects the chandelier, enlarges the space. The frame can be carved, gilded, spectacular.

A mirror in the bedroom above a dressing table is intimate. The frame can be delicate, feminine, light. A mirror in the bathroom is utilitarian. The frame must be moisture-resistant, treated with a protective coating. Oakmirror framewith yacht varnish will last for years even in a humid environment.

Mirror compositions are a trend in modern design. Three to five mirrors of different sizes in similar frames on one wall create a dynamic gallery. They reflect different fragments of the room, create a play of angles, visually expand the space. It is important to maintain unity of frames: one type of wood, one style, one finish color.

Carved frames for mirrors: the luxury of details

Carved Mirror Frames— this is the classic style of palace interiors. Heavy oak or beech frames with floral ornaments, scrolls, cartouches. Gilding on the protruding elements of the carving creates a play of highlights in the mirror's reflections.

Making such frames is the highest level of carpentry craftsmanship. The carving is done in a combined manner: the basic relief is cut on CNC 3D machines, then a master carver works out the details by hand. The carving depth reaches 30-50 mm, creating dramatic shadows. Each leaf, each volute, each flower — a separate sculptural form.

Patination enhances expressiveness. Dark patina is applied to the recesses of the carving, the protruding parts remain light or are covered with gold. The effect of age, noble wear makes the frame even more valuable. A new frame looks like an antique, which is highly valued in a classic interior.

Wood species for frames: characteristics and aesthetics

Not all wood species are equally suitable for makingframes made of wood. Sufficient strength, stability, and the ability to hold fine details during carving are needed.

Oak: strength and expressive texture

Oak frames are the choice for those who value reliability and expressiveness. Oak is dense, hard, practically eternal. The texture with large pores and medullary rays creates a characteristic pattern. Color ranges from light golden to dark brown depending on the treatment.

Oak is ideal for massive frames — large mirrors, large paintings. It holds its shape, does not warp, does not crack. Carving oak requires powerful tools and hard cutters, but the result is worth the effort: oak carved frames last for centuries.

Oak finishing is diverse. Natural oil highlights the grain, creating depth. Staining provides a rich palette from light walnut to black ebony. Brushing—removing soft fibers with a brush—creates a textured surface that emphasizes the annual rings.

Beech: uniformity and stainability

Beech frames are versatile. Beech has a fine-pored, uniform structure without a pronounced grain. This makes it ideal for painted projects: only the relief of the carving or profile is visible under the paint, not the wood texture.

Beech stains easily, accepting any shade. It can imitate oak, walnut, mahogany, wenge. It can be painted white, gray, black, any RAL color. Paint applies evenly on beech, does not highlight pores, and does not require multiple priming coats.

For carved frames, beech is indispensable. Its uniform structure allows carving the finest details without chipping. Flower petals 2-3 mm thick, thin stems, intricate patterns—all are within beech's capabilities. After carving and painting, a beech frame looks like plaster molding, but stronger and more durable.

Ash: Contrasting Beauty

Ash frames have a distinctive, contrasting grain. Dark latewood rings alternate with light earlywood, creating a dynamic pattern. The color is light—creamy, yellowish, grayish. Under clear oil, ash looks modern and fresh.

Ash has high mechanical properties: strength and elasticity allow creating thin, elegant profiles that won't break. Ash bends well after steaming, which is important for oval frames.

AshFrames for paintingsAsh frames are good in Scandinavian, eco-interiors, and modern classic styles. Light wood visually lightens the frame, making it less massive. This is important when you need to frame a picture without overloading the wall.

MDF: when shape complexity is more important than texture

For particularly complex carved frames, MDF—medium-density fiberboard—is sometimes used. The material is uniform, has no grain, and can be cut in any direction without chipping. This allows creating the most intricate three-dimensional ornaments that would require weeks of work in solid wood.

MDF frames are always painted. The material has no texture and looks unnatural under transparent finishes. But under paint or patina, MDF is indistinguishable from solid wood. It holds its shape, does not warp, and is stable.

The drawback of MDF is lower prestige. It is not solid wood, not natural timber. For collector frames, for expensive artworks, MDF is not suitable. But for mass production, for decorative mirrors, for budget projects, it is a reasonable choice.

Frame styles: from Baroque to minimalism

A frame is a style marker. It speaks the language of its era, its aesthetic system. Understanding styles helps make conscious choices.wooden frame.

Baroque: drama and opulence

Baroque frames are theater. Wide, 12-20 cm, massive, covered with carving. Floral garlands, putti, volutes, cartouches, mascaron masks. Deep relief creates dramatic shadows. Gilding is abundant, often solid, sometimes with patina.

The profile of a Baroque frame is complex, multi-tiered. An outer torus, a deep cavetto, a middle torus with carving, an inner fillet. Transitions between elements are sharp, creating contrast of light and shadow. The corners of the frame are decorated with additional carved elements—corner cartouches, volutes.

BaroqueFrames for paintingsBaroque frames are appropriate for works from the same era—religious paintings, portraits of nobility, mythological scenes. For mirrors in luxurious interiors—palatial, imperial. They require high ceilings, rich wall finishes, and matching furniture.

Classicism: Symmetry and Restraint

Classicist frames are stricter than Baroque ones. Proportions are mathematically precise, ornaments are symmetrical, carving is restrained. Width 6-10 cm, profile of 3-5 elements. Decoration is limited—laurel wreaths, meanders, egg-and-dart, beadwork.

Gilding is present but not dominant. It may only be on protruding elements, while recesses remain the natural wood color or are patinated. This creates noble restraint.

Classicist frames are universal. They suit a wide range of works—from academic painting to reproductions of old masters. For mirrors in studies, libraries, living rooms. They fit into traditional interiors without overloading them with excess.

Art Nouveau: flowing lines and stylization

Art Nouveau frames from the early 20th century feature fluidity, flowing forms. Plant motifs are stylized, turned into abstract lines. Irises, lilies, winding stems create wavy contours. Asymmetry is acceptable, even welcome.

Profile width 5-8 cm, not too massive. Carving is light, more relief than deep. Colors are natural—light wood, sometimes with a greenish or silvery patina. Gilding is rare; if present, it is matte, subdued.

Art Nouveau framesMirror FramesArt Nouveau frames create a romantic mood. They are good in bedrooms, boudoirs, artists' studios. They pair with Art Nouveau furniture, textiles with plant patterns, and stained glass.

Art Deco: geometry and luxury

Art Deco of the 1920s-30s is geometricism, symmetry, luxury of materials. Frames with clear lines, stepped profiles, geometric ornaments. Zigzags, trapezoids, sunbursts. Profile width 6-10 cm.

Materials are contrasting. Dark wood—ebony, stained oak—with metal or mother-of-pearl inlay. Or light wood with black inserts. Contrast is a key technique of Art Deco.

Art Deco frames are striking, dramatic, suitable for graphics from the 1920s-30s, for black-and-white photography of that period. For mirrors in Art Deco interiors—with chrome furniture, geometric rugs, ceramics with metallic sheen.

Minimalism: conciseness and quality

Minimalist frames are simplicity brought to perfection. Narrow profile 20-40 mm, rectangular or square cross-section, minimal bevel. No carving, no decoration. Only material quality and perfect execution.

Light wood — ash, beech, maple. Transparent finish — oil or matte varnish, emphasizing the texture. Or painting in neutral colors — white, gray, black. Matte surface, no gloss.

Minimalistwooden framesare ideal for contemporary art, abstraction, photography. For mirrors in minimalist interiors, where every item must be functional and aesthetic simultaneously. The frame does not distract, it simply clearly delineates the space of reflection or image.

Custom frame making: the path to uniqueness

Standard frames from the catalog suit most tasks. But sometimes something special is needed. A frame of non-standard size, unique profile, specific carving. Then the path is an individual order.

Design development

The process begins with a discussion of the task. What needs to be framed — a painting, mirror, panel? What are the dimensions? Where will it be located — in which interior, on which wall? What is the desired style, mood?

The designer offers several concepts. Sketches, 3D visualizations, samples of profiles and carvings. The wood species, profile width, type of carving, finish are discussed. Iterations are possible — changing details, proportions, ornaments — until the perfect result is achieved.

It is important to understand technological limitations. Some shapes cannot be carved from solid wood — elements that are too thin, undercuts that are too deep. An experienced designer knows these boundaries, offers solutions that combine aesthetics and technological feasibility.

Production and quality control

After design approval, production begins. Wood is selected for quality — without knots, cracks, with straight grain. Blanks are milled on machines, carving is done in combination — machines plus manual finishing.

Frame assembly requires jeweler-like precision. Corners are cut at 45 degrees on a miter saw with an accuracy of 0.1 degrees. Joined with a mortise and tenon with glue. Clamped in corner clamps until the glue is completely dry. Even a minimal gap in the corner is unacceptable — it catches the eye, ruins the entire impression.

Finishing is the final stage. Sanding sequentially with sandpaper from coarse to fine, until smooth. Priming if painting is planned. Application of paint, patina, gilding. Final coating with oil or varnish. Each layer dries, is sanded. The process can take a week — rushing will kill the quality.

Timing and cost

An individual order requires time. From design development to the finished frame takes 2-6 weeks depending on complexity. A simple rectangular frame without carving — 2 weeks. A complex carved frame with gilding — up to 6 weeks.

Cost depends on size, complexity, material. A simple 50x70 cm beech frame — from 8000-12000 rubles. A carved 100x120 cm oak frame with gilding — from 60000-100000 rubles. Exclusive projects are calculated individually.

But it is an investment in quality, uniqueness, durability.A solid wood frame, made to order for a specific artwork and interior, will last for decades. It will become part of family history, passed down along with the painting or mirror.

Popular questions about wooden frames

How to care for wooden frames?

Dust is removed with a soft dry cloth or a small brush for carved elements. Wet cleaning is permissible with a well-wrung cloth, without soaking. Carved recesses are cleaned with a soft brush. Oil coating is renewed every 3-5 years. Varnished — re-varnished when wear appears.

Can wooden frames be used in damp rooms?

For bathrooms, choose oakMirror Frames — oak is the most moisture-resistant. Treatment with moisture-protective compounds is mandatory: yacht varnish or special oil for damp rooms. Ensure good ventilation, avoid direct water contact with the frame.

How to choose the frame size for a painting?

The frame width should be 1/10 — 1/15 of the smaller side of the painting. For a 40x60 cm painting, a 4-6 cm frame is optimal. For large paintings, wider frames can be used — up to 10-15 cm. Consider the presence of a mat — if the mat is wide, the frame can be narrower.

Can wooden frames be painted?

Yes,wooden framesaccept paint excellently. The surface is primed, then 2-3 layers of paint are applied with intermediate sanding. Use acrylic paints for interior work. Carved elements are painted with a thin brush. Finish — matte or semi-matte varnish for protection.

How much do wooden frames cost?

Prices depend on size, material, complexity. Simple 30x40 cm beech frames — from 3000-5000 rubles. Medium 60x80 cm frames with a profile — from 8000-15000 rubles. Large carved 120x150 cm oak frames — from 40000-80000 rubles. Individual orders are calculated personally.

How to mount a frame with a mirror on a wall?

For frames weighing up to 5 kg, two hook-screws in the wall are sufficient. For frames 5-15 kg, use wall plugs and hooks. For heavy frames 15+ kg, use special mounting systems — z-shaped brackets, anchors. Distribute the weight across several mounting points. For drywall walls, use toggle bolts or mount to the studs.

Can a painting be inserted into a ready-made frame independently?

Yes, if the frame has a removable back. Remove the back, place the painting with glass and mat, secure the back again. For museum mounting, use mounting corners, do not glue the painting directly to the backing — this will allow it to be removed without damage.

How to choose a frame for an oval painting?

Oval paintings require oval frames. Standard ovals are limited, often requiring custom orders. The frame width for an oval is typically 5-8 cm — wider ones look bulky. Oval frameswooden framesare more complex to manufacture, therefore more expensive than rectangular ones.

Is glass needed in a frame for a mirror?

The mirror itself is glass; additional glass is not required. A mirror frame holds the mirror panel and protects its edges. Some frames have a bevel on the inner edge, which beautifully trims the reflection.

Where to buy quality wooden frames?

Choose reputable manufacturers with experience, a portfolio, and reviews. The company STAVROS has been creatingframes for paintings and mirrorsfrom solid wood for over 23 years. Wide catalog, custom order possibility, delivery across Russia. Showrooms in Moscow and St. Petersburg — you can see the products in person.

Conclusion: framing beauty correctly

frame for a paintingormirrorsis not a secondary detail. It is part of the artwork, part of the interior, part of your aesthetic statement. A correctly chosen frame enhances the emotional impact of a painting, turns a mirror into a decorative object, and creates harmony in the space.

Wooden frames possess unique qualities. The warmth of natural material, the nobility of texture, the durability of solid wood, the possibility of creating the most complex carved ornaments. They are beyond fashion, beyond time. A classic wooden frame is appropriate in any interior — from palatial to minimalist.

The choice of a frame is a process requiring attention. One must consider the era and style of the artwork, the color palette of the painting, the proportions of the mirror, and the features of the interior. The width of the profile, the type of carving, the wood species, the finish. Every decision affects the final result.

The company STAVROS has been creatingSolid wood framesfor the most demanding clients. The catalog features over 30 frame models of various styles and sizes. From minimalist rectangular to luxurious carved Baroque. From compact 30x40 cm to monumental 200x150 cm.

Materials — solid oak, beech, ash, as well as MDF for complex carved projects. All wood is kiln-dried to 8-10% moisture content, guaranteeing stability and absence of warping. Processing on modern European equipment — CNC milling machines for profiling, 3D machines for carving.

Carved elements undergo final hand finishing. Experienced master carvers work out the details, creating depth, liveliness, and an author's touch. Each carved frame is unique — even identical models have differences, giving them the value of handcrafted work.

Finishing is done using classical techniques. Natural-based oils highlight the wood grain. Stains create a rich palette of shades. Paints for painted projects are acrylic, water-based, eco-friendly. Patination — dark patina in the recesses of the carving, creating an antique effect. Gilding — gold leaf or composition leaf, applied by hand.

Each frame undergoes multi-stage quality control. Dimensions are checked with millimeter precision. Corners must join perfectly, without gaps. Carved elements are checked for clarity of relief, absence of chips. Finishing — for uniformity, absence of drips, unpainted areas. The client receives a flawless product.

STAVROS fulfills custom orders. If standard sizes or styles do not suit — we will create a frame according to your parameters. Provide the dimensions of the artwork, a photograph, a description of the desired style. Designers will develop a concept, create a 3D visualization, and coordinate all details with you. Then craftsmen will manufacture the frame from the chosen wood species. The lead time for a custom order is 2-6 weeks.

Assembly service — inserting a painting or mirror into the frame. Professional assembly with glass, mat, backing, hangers. You receive a finished product that only needs to be hung on the wall. This saves time and guarantees correct mounting.

Consultations with specialists will help select a frame that suits the artwork and interior. We will provide recommendations on size, style, wood species, finish. We will calculate the cost of a custom order. We will answer all questions.

Delivery to Moscow, St. Petersburg, all of Russia, and CIS countries. Frames are packed in cardboard boxes with protective inserts. Large frames — in wooden crates. Carved elements are protected with soft materials. Delivery by transport companies with tracking capability.

STAVROS showrooms in Moscow and St. Petersburg. Here you can see the products in person, assess the quality of carving, wood texture, various finishing options. Consultants will assist with selection and place your order.

Create an interior where every painting is framed worthily. Where every mirror not only reflects but also decorates. ChooseSolid wood framesfrom STAVROS — and your home will be filled with beauty that does not age. The beauty of natural material, the craftsmanship of carvers, the traditions of woodworking.

Visit the catalog on the STAVROS website. Explore the models, styles, sizes. Find what resonates with your taste. Contact us — tell us about your project. We will help bring it to life in wood. A material that retains warmth, remembers the master's touch, and serves for generations.