The black on this frame is built up, not painted on.
A single opaque coat of black would give you a flat, dead surface - the look of moulded plastic, and unmistakable at close range. So our artisans seal the teak first and then lay the black in thin, translucent layers, letting each one dry before the next, until the depth is right. Even at full strength the grain of the timber is still faintly readable through it, and that is deliberate: it is what tells your eye this is wood and not a coating.
Then it is rubbed back. Where a hand would naturally fall - the outer edge of a scroll, the top of the cornice bar, the shoulder of a volute - the black is worked lightly with an abrasive until a hint of warmth comes through from the teak beneath. The frame arrives with the softening that a piece would otherwise take twenty years to acquire.
Only after all of that does the gilding go on. Gold laid over a flat black looks stuck on. Gold laid over a black with depth in it looks like it belongs there.