Randy Murphy receives nothing but accolades in the art business.

And for those who are unacquainted with his name, he does a meticulous job of framing works for affluent individuals and top-tier institutions.

For instance, when I entered his sprawling space, which he jokingly describes as “looking like the Alamo,”

I immediately spotted Tibetan portraits that were destined for a museum he didn’t name.

Murphy is thoroughly self-effacing and reluctant to name-drop or engage in grandstanding with regard to the high demand for his skills or his obvious success.

He does, however, observe the following: “I’m the last step in getting an exhibition together.

It’s always, always a huge rush at the end (just before a show), and I have to make it work. I can’t be late.”

This emerges matter-of-factly from the epitome of a trendy-looking guy with jeans, glasses, and a wry smile.

Plus, he also owns the aforementioned mammoth studio—which has an area cordoned off that is frequently used by top photographers with upscale clients.

If that’s not enough, he’s a compendium of information about seemingly endless topics, including: art, music, architecture, and aesthetics.

He has a sharp eye, and he uses it in ways that benefit his clients—and anyone with whom he comes into contact.

He’s a whiz when it comes to Dallas’s history.

Plus, his mind darts from topic to topic with the speed of a Formula One racer,

and any visit with him is sure to be both informative and entertaining.

He’s charming— and mischievous to be sure—but thoroughly good-natured.

His live-and-work studio space is a jaw-dropping 15,000 square feet in size and situated in a need-to-know-it-to-find-it locale near Dallas’s Fair Park.

Once inside, an immaculate space opens up to a warren of huge rooms, computer equipment,

stacked art, and enormous industrial windows—some of which blaze with the brilliant green of leafy trees just outside his impeccably maintained space.

It’s an odd oasis in a rather unusual neighborhood, but it’s difficult to imagine a better place for someone who is a master framer

and an inveterate collector of art (and photographic negatives)

that range from antique glass slides from the turn of the century to negatives and prints from the nineteen-forties and beyond.

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