The Story Behind This Sofa
A painted frame is more revealing than a gilded one, and therefore more work.
Gold leaf breaks up light and hides a good deal - a tool mark, a slightly uneven ground, a joint that is a hair proud. Flat white does none of that. Under a matte pale finish every one of those shows, so the carving is sanded further, the joints are dressed more carefully, and the whole frame is inspected under raking light before any colour goes on.
The paint is then built up in thin coats, each cut back before the next. The commonest failure in painted carved furniture is paint that drowns the detail - a thick coat rounds off every sharp arris and turns crisp acanthus into soft lumps. Thin coats, cut back repeatedly, keep the edges the carver cut.
Finally the antiquing: a darker tone worked into the recesses and wiped back off the raised surfaces, so the deep carving holds shadow and the high points stay bright. Without that step an all-white carved frame photographs as a white blur, because there is nothing to separate one layer from the next.