British picture framemakers, 1750-1950

A selective directory, to be revised and expanded annually. 1st edition November 2007. Contributions are welcome, to Jacob Simon at jsimon@npg.org.uk. Cross-references to other makers are indicated by adding '(qv)' after the relevant name. Bibliography and resources.

William Hallett senr. A candidate for a proposed supplement to this Directory, to include framemakers before 1750. Contact Jacob Simon at jsimon@npg.org.uk.

Richard Harding, see Isaac Dallain

John Harris c.1795-1814, Harris & Pearse 1814-1828, Samuel Pearse 1826-1834, Pearse & Biggs 1834-1835, William Biggs 1835-1852, Biggs & Sons 1853-1856, Biggs & Son 1857-1868, W.H. Biggs & Co 1869-1884, Walter Henry Biggs & Co 1885 (as fine art dealers). At 28 Gerrard St, London 1794-1797, 1800-1808, 26 Gerrard St 1799, 30 Conduit St, Hanover Square 1806-1809, 31 Conduit St ('one door from Bond Street') 1810-1878, 7 Maddox St 1879-1884, 65 Mortimer St, Cavendish Square 1885. Carvers, gilders and framemakers, picture restorers, print publishers, later picture dealers.

This long-standing business was founded by John Harris (d.1826) in about 1795, and perhaps as early as 1792 or before. It was active in Conduit St for much of the 19th century in a changing series of partnerships, as framemakers, picture restorers and latterly picture dealers.

John Harris, Harris & Pearse, to 1828: John Harris traded independently until he took Samuel Pearse into partnership from about 1814. It seems likely that John Harris is the carver and gilder of this name recorded in Gerrard St from 1799, and whom the artist George Morland sometimes visited, using his address at 28 Gerrard St for his Royal Academy exhibits in 1797; he is apparently the Harris who published etchings of Morland's work, 1792-6. 'J. Harris' also published other prints, including Rowlandson prints from 38 Dean St, 1787-90, a satirical print, A charge at Ascot, in 1800 (BM satires no.9575), and William Ward's mezzotint of Robert Muller's George Morland in 1805. It should be noted that there were several men by the name of John Harris operating in London, including another print publisher at 3 Sweetings Alley, Cornhill, so there is room for further research to distinguish one publisher from another. Subsequently Harris & Pearse published J.R. Smith's Stephen Hemsted in June 1814 (J.C. Smith pp.1469, 1474).

In 1825, the partnership of Harris & Pearse was represented at a meeting of more than fifty master carvers and gilders who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). In his lengthy will, dated 8 April and proved 14 August 1826, John Harris described Samuel Pearse as his business partner, making him one of his executors and leaving him the leases of his house in Conduit St and another in Bruton St where the partnership also carried on business; he also made a bequest to his godson, John Pearse, Samuel's son.

John Harris used his frame label to advertise: 'Pier Glasses, Picture Frames & Mirrors, Girandoles, &c. Drawings Mounted, Pictures Clean'd, Lined & Repaired' (example on Andrew Robertson's miniature, Joseph Gwilt, 1810, National Portrait Gallery). Customers of Harris & Pearse included the Hazlerigg family of Noseley, Leicestershire, who were billed for picture frames in June 1819 (perhaps including one for a picture by James Northcote), and Lord Crewe of Crewe Hall, who was charged for framing work in 1828 (DEFM).

Samuel Pearse, Pearce & Biggs, 1826-35: Samuel Pearse (c.1788-1834) was trading on his own account by March 1832, offering to clean, line and repair pictures (DEFM). He invoiced the future Lord Hampton of Westwood, Worcestershire for framing work in 1832 (DEFM). He died in 1834, when he was 42 (The Times 12 July 1834), referring in his lengthy will to his partnership with William Biggs.

As Harris & Pearse, the business invoiced Dulwich College for repairing picture frames in 1821, as Pearse & Biggs for cleaning and repairing frames in 1834, and as 'Mr Biggs' for cleaning, gilding and repairing frames, and relining and cleaning pictures in the Dulwich Gallery, 1835-53 (information from John Ingamells, 2005).

The business framed Thomas Phillips's 6th Earl of Plymouth, 1834 (Knole House, Kent), labelled, 'Pearse & Biggs, Late Harris & Pearse, Carvers and Gilders', and his Lord Byron in Albanian dress, 1840 (John Murray collection), labelled, 'William Biggs, late Pearse & Biggs, Carver and Gilder. No 31 Conduit Street, One door from Bond Street'. Samuel Pearse may perhaps be the 'Mr Pearse' referred to in Turner's correspondence in 1827 (John Gage, editor, Collected Correspondence of J.M.W. Turner, Oxford 1980, p.108).

William Biggs, Biggs & Sons, Biggs & Son, W.H. Biggs & Co, from 1835: William Biggs (c.1797-1851) and his wife, Charlotte Elizabeth, had four sons christened at St Pancras Old Church between 1825 and 1833, including William Joseph in 1825, Alfred in 1827 and Henry in 1828, and two further sons, George c.1834, and Walter c.1835. William Biggs was listed in the 1841 census as a carver and gilder, and again in 1851 when his age was given as 54. He died later that year, leaving instructions in his lengthy will for his business to be carried on under certain conditions, and making bequests including to William Joseph Biggs.

The partnership between his widow, Charlotte Elizabeth, and their sons, William Joseph and Alfred, trading as Biggs & Sons, carver and gilder, printseller, dealer in pictures and drawings was dissolved on 1 January 1857, in so far as regards William Joseph (London Gazette 23 January 1857). William Joseph appeared before a court for insolvent debtors later that year (London Gazette 4 December 1857). In the 1881 census, William J. Biggs, age 53, was listed as an auctioneer.

Alfred Biggs was listed at 31 Conduit St in the 1861 census as a carver and gilder, employing six men and one boy; his household included his mother, Charlotte, and his two brothers George and Walter, both listed as commercial travellers. Alfred and his mother, Charlotte Elizabeth, carvers and gilders of 31 Conduit St, were subject to debt proceedings in 1868 (London Gazette 4 August 1868). In the 1871 census, both Alfred and Walter Biggs were listed in the same household as carvers and gilders.

Walter Henry Biggs advertised as W.H. Biggs, picture framemaker, established in 1795 (The Artists' Directory, 1874, p.10) and as W.H. Biggs & Co, picture restorers, picture framemakers, carvers, gilders and decorators (no author, but Charles H. Savory, The Illustrated Carver and Gilder's Guide..., 1st ed, ?1874). W.H. Biggs & Co had an account with the artists' colourmen, Roberson, 1878-82, from 7 Maddox St (Woodcock 1997). In the 1881 census, Walter H. Biggs, was listed as a fine art dealer, age 45. Walter Henry Biggs, trading as W.H. Biggs & Co, picture dealer, picture framemaker and carver and dealer, of 7 Maddox St, entered into liquidation arrangements in 1883 (London Gazette 9 January 1883). In the 1891 census he was listed as an auctioneer and valuer.

Reginald Easton's watercolour, William IV, c.1838? (National Portrait Gallery) has an elaborate frame, with the label of William Biggs.

Sources: George C. Williamson, George Morland: his life and works, 1904, pp.78, 100; Leicester and Rutland Record Office, DE 3168/256, for the Hazlerigg family, and Sotheby's Nosely Hall, 28 September 1998 lot 209 for Northcote.

William Haselden, see Bielefeld & Haselden

Charles Hauff 1899-1914, Charles Hauff Ltd 1915-1938. At 27 Coptic St, New Oxford St, London WC 1899-1903, 69 Great Russell St, WC 1903-1911, 17 Gilbert St W 1913-1926, 62 Great Russell St 1915-1926, 42 Museum St WC1 1927-1938. Publishers' agent and wholesale frame importer, also fine art dealers and publishers.

Charles Hauff, trading as Charles Hauff & Co, dealer in prints and photographs at 93 London Wall, entered into proceedings for liquidation in 1873 (London Gazette 24 January 1873). Charles Hauff (c.1835-1905) was listed in the 1901 census as a fine art dealer, age 66, born Germany, living in Camberwell, with several children including a son, Charles, described as a clerk. He is presumably the Carl Heinrich G. Hauff who died in Camberwell age 70 in 1905. The business may have passed to Charles Hauff's son, Charles Henry Hauff (b.1872). It was wound up voluntarily in 1938 (London Gazette 5 August 1938).

It was claimed that Charles Hauff was the first to introduce Florentine frames into England (Fine Art Trade Journal, vol.1, 1905, pp.78ff, information from Jeremy Adamson, 1998). The business described itself in The Year's Art as 'Wholesale Representative for Great Britain to Messrs Braun, Clément & Cie., Dornach, Alsace, Paris, &c.,' and advertised imported Florentine frames, 'Hand-carved and gilt', in 'any design and size' (1900), subsequently offering 'New Art Frames' (1903) and a pierced Florentine leaf frame (1905). Florentine styles were replaced by 'American frames' in advertising by 1908, and frames were no longer featured from 1909.

Nick Hawker, see Robert Sielle

Edward Hawkins, see Edward Hill & Co

Nicholson & Hay 1823-1828, D.R. Hay 1829-1847, D.R. Hay & Co 1848-1867. At 8 South St David St, Edinburgh 1823-1826, 51 George St 1827-1828, 37 George St 1829-1830, 89 George St 1831-1837, 90 George St 1837-1867. Decorative painter, picture framemaker and writer on art and design.

The leading decorative painter in Scotland, David Ramsay Hay (1798-1866) was working for Sir Walter Scott at Abbotsford as early as 1820. He was recorded in partnership with George Nicholson at 8 South St David St by 1823 but the two men went their own ways in 1828, with his former partner trading independently as George Nicholson & Co from 51 George St. In 1838 Hay's listing describes him as 'house painter and interior decorator to the Queen' and in the early 1840s he was appointed 'decorative painter to Her Majesty, Edinburgh'. In the 1851 census he was described as a master house painter, age 54, and in 1861 as a painter, age 63, employing 25 men and boys. He was succeeded in business by Graham & Reith, who were listed in 1867 as successors to D.R. Hay & Co.

Hay's firm developed a picture framing department and in 1841 he applied to the Royal Scottish Academy, which he understood was about to appoint a framemaker, stating that 'for the last 10 years', he had practised 'that art without sparing expense or trouble in my endeavours to improve it'. Subsequently, Hay advertised that he had engaged an experienced superintendent in the carving and gilding department and was now able to offer at a considerably reduced price picture frames without lowering their quality (The Scotsman 28 November 1846). Hay produced an estimate in January 1841 for the Royal Scottish Academy for producing labels at £7.10s in lacquer or Japan, £10.15s in gold powder or bronze and £14 in real gold leaf, reflecting the differing costs of materials (Simon 1996 p.46, mistakenly referring to a frame rather than labels).

Hay acted as Edinburgh agent and picture framemaker for David Roberts, who had been a fellow apprentice. In a similar fashion he handled and framed pictures which Robert Scott Lauder sent from Rome to be exhibited at the Royal Scottish Academy. These included his portrait of David Roberts in eastern dress, 1840 (Scottish National Portrait Gallery); Hay wrote about this picture in November 1840, 'I have not yet got it framed, being fastidious about the pattern, and, therefore, intend making an intirely new one for it' (National Library of Scotland, acc.10970, information from Iain Brown, 8 January 1996).

Sources: R.C. Denis, 'Hay, David Ramsay (1798­1866)', Oxford Dictionary of National Biography, Oxford, 2004; Lindsay Errington, Master Class: Robert Scott Lauder and his pupils, exh. cat., National Galleries of Scotland, 1983, p.18.

Hay & Lyall, Aberdeen, active late 19th/ early 20th century. A candidate for a proposed supplement to this Directory. Contact Jacob Simon at jsimon@npg.org.uk.

Henry Haynes, 21 Seymour Place, Camden Town, London 1826-1830, 52 George St, Euston Square 1831-1852 (also listed as Great George St 1836, 1839), 16 Great Windmill St 1839-1856. Carver and gilder, picture framemaker.

Henry Haynes (c.1798-1855?) was listed in the 1851 census at 52 George St as a carver and gilder, age 53, employing six men, together with his 20-year-old son, John, a carver, and other members of his family. Henry Haynes is possibly the man of this name who died in the St Pancras registration district in 1855. His premises in Great Windmill St were part of a property also housing the Union Plate Glass Establishment (The Times 6 March 1843).

Haynes was employed by Lord Northwick to frame pictures for his picture gallery at Thirlestaine House, Cheltenham, apparently in the 1840s, as organised by Henry George Eckford (see British picture restorers, forthcoming). The artist, William Powell Frith, was using Haynes as his framemaker in 1848, as is evident from his correspondence with his patron Thomas Miller (Doran 2006 p.157).

Sources: DEFM (noting his presence at 16 Great Windmill St as early as 1839); Oliver Bradbury and Nicholas Penny, 'The picture collecting of Lord Northwick: Part II', Burlington Magazine, vol.144, 2002, p.607.

William Hebden, 51 Sheen Lane, East Sheen, London 1903-1908, Hebden & Sons, 4 West Hill, Wandsworth 1908-1910. Carvers and gilders, picture framemakers and artists' colourmen.

Walter William Hebden (1870-1936), born in Brighton, married three times. He was described as a gilder on his marriage certificate in 1890 and again in 1899, and as a picture framemaker in 1908. He had moved to London by the time of his second marriage in 1899, and he was living at 15 Sheen Road, Richmond, as a coffeehouse keeper, at the time of the 1901 census. He traded as a carver and gilder from 1903, initially as William Hebden, and then as Hebden & Sons, presumably with his son, like him called Walter William Hebden (b.1892). He emigrated with his family to Melbourne in Australia in 1910.

Hebden's business as a picture framemaker was short-lived. A label is known from 51 Sheen Lane describing William Hebden as Practical Carver and Gilder, Picture Frame Maker, Mount Cutter & Artist's Colourman. As Hebden & Sons, the business was listed at 4 West Hill, Wandsworth (mistakenly given as Heldon & Sons in 1908). These premises were previously and subsequently occupied by another framemaker, Christian Lamm (qv). Hebden's canvas mark on a work dating to 1908 has been recorded.

Sources: Information on Walter William Hebden, his background and family kindly supplied by Stuart Hebden, 11 June 2007, with thanks also to John Hebden.

Alfred Hecht, 326 King's Road, Chelsea, London SW3 1947-1974. Picture framemaker.

Alfred Hecht (1907-91) came to England in the mid-1920s and at first tried metal broking and the textiles business (Simon 1996 pp.135, 186). Following the Second World War, he traded as an art dealer (he was listed as such in 1947), before setting up his well-known framing business in or before 1950. He undertook framing work for artists such Ceri Richards, Graham Sutherland and Francis Bacon, as well as the dealer, Frank Lloyd Fisher at the Marlborough Gallery, according to Jim Bradford, a former employee (verbal communication, 29 September 1994). Bradford found Hecht a most agreeable employer, whose framing work was based on 'self-appointed good taste', rather than on set ideas on how to go about framing. While Hecht was no longer listed in trade directories after 1974, he continued to undertake some framing work, including for the 1977 Graham Sutherland exhibition at the National Portrait Gallery. He was Sutherland's framemaker from 1953 or before and was in the course of sitting to the artist for his portrait at the time of the Sutherland's death in 1980 (Simon 1996 p.186).

Hecht enjoyed entertaining, as the diaries of the Labour politician, Jennie Lee, tell: 'Alfred Hecht, who liked describing himself as a picture frame-maker, was indeed a picture frame-maker, but in addition he had the gift of recognising genius long before the general public came to recognise it. In his home we spent happy carefree evenings with artist friends, some of whose early promise came to nothing, while others, among them Henry Moore, Graham Sutherland, John Piper and Francis Bacon, were to reach the highest pinnacles of their profession.' Hecht was described by Roy Strong as 'a very superior framer who lives over his shop in the Kings Road'.

'When I die,' Hecht used to say, 'let my epitaph be: "Alfred Hecht, the man who invented the coloured mount".' (Derek Granger, obituary for Alfred Hecht, The Independent 12 January 1991).

Sources: Jennie Lee, My Life with Nye, Penguin books, 1981, pp.188, 270, 294; Roy Strong, The Roy Strong Diaries 1967-1987, 1997, p.122.

James Henderson, active 1820s, 1830s. A candidate for a proposed supplement to this Directory. Contact Jacob Simon at jsimon@npg.org.uk.

George Hennekin, 9 Marylebone St, Golden Square, London 1784, 12 Marylebone St 1785, Berwick St 1797, 7 Charles St, Berners St 1800-1809. Carver and gilder, picture framemaker.

George Hennekin (?1746-1812) is presumably to be identified with George Michael Hennekin, christened 8 June 1746 at St James's Westminster, the son of Simon Hennekin (qv). He is possibly George Henniken, cabinet maker, who insured his house at Wethey Court, White Cross St, London, with the Sun Fire Office in 1775 (DEFM). His neoclassical trade card from 9 Marylebone St describes him as 'Carver and Gilder in General Pictures & Prints Fram'd & Glaz'd. NB Laymen for Artists' (Johnson coll. Trade Cards 24 (49). Like his father, he makes special mention of laymen for artists. In his will, dated 5 February 1797 and proved 29 August 1812, George Hennekin of Berwick St, St James's, made bequests to his wife, Mary, and his sister, Ann.

Simon Hennekin, Wardour St, London 1749, Broad St, Soho 1762, Edward St (opposite Broad St), Soho 1763-1776. Carver and gilder, framemaker.

Simon Hennekin, sometimes spelt Henekin, married Elizabeth Cook at St Marylebone in 1743 and had four children christened at St Anne's Soho or St James's Westminster, 1744-53, including George Michael Hennekin, presumably to be identified with George Hennekin (qv), carver and gilder. Simon Hennekin was listed in 1763 in Mortimer's Universal Director as being 'eminent for making laymen for Painters, &c'; he also advertised from Edward St, 'Frames of all sorts', as well as carving and gilding for buildings, ships, signs and furniture (trade label, Heal coll. 32.31, repr. Ayers 1985 p.142). He sent his advertisement as carver and gilder, Broad St, Soho, to Sir John Cust of Belton Hall, seeking his custom in February 1762 (Lincolnshire Archives, BNLW 2/1/4/1).

A layman by Simon Hennekin, contained in a box with his label, belonged to the wardrobe designer, Ann Whytell in 1769, and is now in the Los Angeles County Museum of Art (repr. American Art Journal, vol.27, 1995, p.23).

Sources: DEFM.

Walter Ernest Hewitt, see Gething & Gainsboro

Edward Hill & Co 1869, Hill, Honer and Hawkins 1870-1871, Edward Hill 1872-1910. At 151 Essex Road, Islington, London 1869-1910. Carver and gilder, picture framemaker and art dealer.

From successive censuses from 1861 to 1901, we learn that Edward Hill, born in Bruton, Somerset in 1839 or 1840, came to Islington by 1861, when he was recorded as a gilder and cabinet maker, age 21, at 12 Edward Cottages, subsequently being described as a carver and gilder, or as a gilder, at 151 Essex Road. The partnership between Edward Hill, John Honer and Edward Hawkins as carvers and gilders at 151 Essex Road was dissolved in October 1871 (London Gazette 31 October 1871). In 1897 Hill advertised as artistic picture framemaker, established 29 years, referring to his stock of second-hand frames (The Year's Art 1897, and subsequently). Edward Hill was made bankrupt in 1910 (London Gazette 10 June 1910).

Hinchliff & Co, see Bielefeld & Haselden

Joseph Hogarth 1835-1868, Joseph Hogarth & Sons 1869-1890. At 60 Great Portland St, London 1835-1845, 5 Haymarket 1845-1866, 96 Mount St 1866-1886, 473 Oxford St 1887-1890. Printsellers, picture framemakers and mounters of drawings.

Joseph Hogarth (1801-1879?) appears to be the individual christened in 1801 at St Pancras Old Church, the son of Joseph and Ann Hogarth, and who died age 77 in 1879 in the Uxbridge registration district. Joseph Hogarth is perhaps be identified with J.B. Hogarth, print colourer and mounter, listed at 30 Denton St, Somers Town in 1826 and 11 Somers Town Terrace in 1828, and as Joseph Hogarth, stationer, at 11 Somers Town Terrace and 19 Mortimer St, Cavendish Square in 1832, also recorded at New Road, opposite St Pancras Church, in 1832 (British Museum collections database). He was listed in 1839 as a mounter and inlayer of prints and drawings, in the 1841 census as a print mounter, age 39, and in the 1861 census as a printseller, age 59, employing 12 men and boys, born St Pancras, with two daughters and one son listed as assistants in the business. The partnership between Joseph Hogarth and Elhanan Bicknell as printsellers and publishers at 5 Haymarket was dissolved in August 1854 (London Gazette 12 September 1854).

Joseph Hogarth's billhead in 1848 described him as 'Printseller and Publisher', specifying other services including picture frame making (Johnson coll.). A sale of his surplus stock of prints was advertised by Christie's in 1866 when the business moved to Mount St (The Times 12 March 1866). Initially listed as printseller, by 1864 he was described as a printseller and picture framemaker and in 1867 as printseller, publisher and picture framemaker by special appointment to the Prince of Wales, with the additional description from 1870 as picture restorers and dealers in works of art.

Joseph Hogarth framed a few of George Richmond's drawings, including John Bird Sumner, c.1849, and Henry Parry Liddon, 1866 (both National Portrait Gallery; see Simon 1996 p.175); he also published prints after some of Richmond's portraits, 1846-9, including that of Sumner. There is a priced manuscript catalogue of what appears to be Messrs. Hogarth's stock of drawings and pictures, compiled in about 1840, in the V&A National Art Library.

It is sometimes said that the Hogarth frame, a black-and-gilt frame used for engravings, takes its name from Joseph Hogarth the framemaker, rather than William Hogarth the artist, but while Joseph Hogarth was among the businesses making such frames, there appears to be no early evidence identifying the origins of this term (see Susan Lambert, The Image Multiplied, 1987, p.186, and Ronald Paulson, Hogarth's Graphic Works, 3rd ed., 1989, p.19, both of whom link the term to Joseph Hogarth).

The second generation: George Bicknell Hogarth (b.1844), presumably Joseph Hogarth's son, was listed in the 1871 census as a dealer in works of art, age 27, at 96 Mount St. George Bicknell Hogarth and Andrew David Hogarth, trading as J. Hogarth & Sons, picture dealers, 473 Oxford St, formerly 96 Mount St, were made bankrupt in 1890 (London Gazette 5 May 1893). Subsequently, Andrew David Hogarth traded from 196 Goldhawk Road, Shepherd's Bush.

For the National Portrait Gallery, the business mounted a collection of portrait drawings by Sir Francis Chantrey in the late 1880s. At this date the business's headed paper offered, among other services, 'Specially prepared hand made mounts, free from all chemical & other impurities, for the preservation of water colour drawings' (National Portrait Gallery records, Duplicate of Accounts, vol.3, p.11).

Sources: G.W. Friend, An Alphabetical List of Engravings declared at the office of the Printsellers' Association, London 1847 to 1891, 1892, pp.2, 7, 45 etc.

John Honer, see Edward Hill & Co

James Hornell, see A.R. Skillen

Gerrard Howard, John Howard. Candidates for a proposed supplement to this Directory, to include framemakers active before 1750. Contact Jacob Simon at jsimon@npg.org.uk.

Solomon Hudson, Oxford Market, London 1776, 16 Great Titchfield St, Cavendish Square by 1782-1793. Carver and gilder, cabinet maker and upholder.

A leading late 18th-century carver and gilder, with a significant workshop, judging from the value of his household goods, utensils and stock at 16 Titchfield St, insured with the Sun Fire Office in 1787 (Guildhall Library, vol.342 no.529400, see DEFM). Solomon Hudson, probably the carver and gilder, married Ann Ashton at St Margaret's, London in 1762 and they had eight children who were christened at St Marylebone between 1765 and 1778, including a son, Solomon, in 1766.

On 24 July 1776 Solomon Hudson wrote from Oxford Market to the 3rd Duke of Portland at Burlington House, noting that he was previously employed by the duke as a carver and gilder at Burlington House, offering his services again, either in London or at Welbeck, and adding a postscript that he was a tenant of the duke, paying ground rent for a house in Portland Place (University of Nottingham, Portland papers, Pw F 5670). In 1787 Hudson subscribed to George Richardson's A Treatise on the Five Orders of Architecture (DEFM). He may be the carver, 'S.H.', who published Twelve New Designs for Frames for Looking-Glasses, pictures &c. in 1779.

Hudson's work, listed in the Dictionary of English Furniture Makers, includes looking glass frames for West Wycombe Park, Buckinghamshire in 1780, extensive work for Sir John Griffin Griffin for his London house and for Audley End, Essex, 1781-90, including girandoles to Adam's design, a large oval Maratta frame for Lady Griffin's portrait in 1783 and a 'rich picture frame to a pattern' for a view of Audley End House in 1789, as well as work for Blickling Hall, Norfolk, including pier and chimney glasses and frames for tapestry and full-length portraits of George III and Queen Charlotte for a total of more than £400 in 1782.

In September 1793 Hudson was paid for rich frames and glasses, made in 1791 for pastels by John Russell of the Prince of Wales and Mrs Fitzherbert (Millar 1969 p.109). He retired from trade in 1793 and his remaining stock was sold on his premises by Mr Christie in June that year.

William Hurwood, see John Smith

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