Gold Leaf Studios was commissioned by the family of the original owners of the paintings to make five replicas of the frame, and George Washington University graduate artist Bradley Stevens was commissioned to make replicas of the five paintings. After first contacting the National Gallery of Art for permission to copy the frame, we then went to Frame Conservation Department's chief frame conservator, Steven Wilcox. He helped us to make molds of the corner ornament, while Glasgow University's Sarah Parkerson took measurements and helped with rubber mold making. This mold was made with a two-part dental rubber that set up quickly with no residue or harm to the surface of the frame.

     There were three design elements that needed to be copied: an acanthus leaf in the corner, an alternating ribbon-and-flower pattern on the outermost edge, and a lambs-tongue design on the inner rim. A mold of Roma Plastilina clay was used to get the exact shape of the molding. Talcum powder was first dusted on the surface (for release without sticking), and then the clay mold was carefully laid on a piece of stiff cardboard so as not to distort the shape. Plaster was then poured into the mold so the exact shape of the frame's profile was produced. With a little refinement, it was then sent to a woodworker with a shaper to grind the knives that could cut this profile to exact specifications. The moulding was then produced in basswood (in two parts) and joined them together with Titebond wood glue and clamps reinforced with wood screws.

     After the miters were cut on a double miter saw, splines were inserted and the five frames cut and joined. The next step was to mix the rabbit skin glue and whiting (calcium carbonate) for the gesso. (Gold Leaf Studios had been having some trouble with glue and gesso consistency lately but found a source—Sepp Leaf Products—that was the best we had seen in many years.)