Stéphane Breitwieser decides his unframed paintings feel undignified and resolves to give them suitable frames. Wandering Mulhouse, he discovers Christian Meichler’s small framing shop and is welcomed by the proprietor. A link through the painter Robert Breitwieser sparks conversation, and a rare friendship forms between two devotees of late Renaissance and early Baroque art.

Meichler regards Stéphane as a sensitive, discerning collector. External assessments echo this complexity: psychotherapist Schmidt later calls him an exceptional aesthete, while court-appointed psychologist Lucienne Schneider (in 2004) describes him as narcissistic and obsessional yet particularly vulnerable, with misconduct rooted in psychological suffering and an intense attachment to art.

As their bond deepens, Meichler and Stéphane enthuse over “timeless” paintings. Stéphane lies that he is Robert Breitwieser’s grandson and that he buys art at auctions. Trusting the discretion of fine-art framers, he pays for expensive frames despite limited means; Anne‑Catherine sometimes joins him and advises on selections.

Meichler frames Stéphane’s first stolen portrait beautifully. Next, he frames the icon of Saint Jerome and, unaware of its origin, displays it in the shop window for days. The public exposure jolts Stéphane, who realizes his caution has slipped even as he has been learning framing skills in the shop, including how to secure works with brads.

To reduce risk without ending the friendship, Stéphane claims fear of transporting fragile items and stops bringing artworks in. He provides measurements, collects finished frames, and mounts the pieces himself. Meichler remains unaware of the crimes, and the two continue to study auctions and dream about art. Yet Meichler senses danger in Stéphane’s gluttonous desire to possess beauty, a tormented love he believes will lead to trouble.