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.

Benjamin Rackstrow, 'The Crown and Looking-Glass', the lower end of the paved stones, St Martin's Lane, London ?1720s-1737?, 'Sir Isaac Newton's Head', the corner of Crane Court in Fleet St 1738-1748, subsequently 197 Fleet St. Cabinet maker, sculptor, picture framemaker etc.

Benjamin Rackstrow (d.1772) led a varied career, from picture frame making to sculpture and to opening a museum of waxwork figures. He is presumably the Benjamin Rackstrow who married Hannah Bonruc or Bourne at St Luke's, Old Street, in 1733. In a publication of 1748 he described himself as a 'figure maker and statuary' (Miscellaneous observations, together with a collection of experiments on electricity). In his will, dated 14 October 1769 and proved 1 June 1772, Benjamin Rackstrow, of St Dunstan in the West, Temple Bar, left much of his estate to Catherine Clarke, including his busts, skeletons and moulds.

Rackstrow issued his first trade card, perhaps in the 1720s, from St Martin's Lane, advertising 'all sorts of Cabinet Work, Looking-Glasses, Coach-glasses, Window Blinds, Picture-frames &c. after the newest fashion and at the most Reasonable Rates. He likewise cleans and repairs all sorts of Cabinet work, Exchanges New Glasses for Old ones and makes Old ones fashionable, NB. He also cleans Pictures in the best manner and takes off Busto's, Basso Reliev's, and Figures of any Size in Wax, Metal, or Plaister of Paris' (repr. Heal 1972 p.153). He issued a further impressive trade card, dated 1738 and engraved by Henry Copland, describing himself as cabinet and picture framemaker, and advertising a very similar range of services to before, also offering to hang bells after the new manner (repr. Heal 1972 p.154).

As a picture framemaker, we know very little of his activity. As a sculptor we know a little more, including the supply of 'three bustos and a group' in 1748 for Arbury in Warwickshire, and of two busts in 1752 and a figure of Edward VI to the Ironmongers' Company (Gunnis 1968 p.314). From a court case in 1759, we learn that Rackstrow stocked a little figure of Shakespeare, about 12 ins high, which he sold for about 12s (The Proceedings of the Old Bailey). He exhibited a coloured plaster figure and busts at the Free Society of Artists in 1763.

In later life, Rackstrow was known for his museum of waxwork figures and other curiosities which he maintained on his premises in Fleet St; these exhibits included life-size anatomical models (see Richard Altick, The Shows of London, Cambridge, Massachusetts, 1978, pp.55-6).

George and Charles Rees 1855-1858, George Rees 1858-1903, George Rees & Co 1904-1913. At 187 Drury Lane, London 1855, 131 Drury Lane 1856-1857, 66 Broad St, Bloomsbury 1858, 129 Drury Lane ('opposite Drury Lane Theatre') 1858-1860, 67 Drury Lane 1860, 57 Drury Lane 1861-1882, 43 Russell St, Covent Garden 1869-1900, 41-42 Russell St 1873-1900. Wholesale and retail moulding manufacturer, picture framemaker, exhibition agent. Trading additionally at Savoy House, 115 Strand 1875-1877, 29 Charing Cross 1877-1878 (as picture dealer) not listed 1879, 115-116 Strand 1880-1913, described also as printsellers from 1880.

George and Charles Rees, perhaps brothers, set up in business as moulding manufacturers and picture frame makers, but within a few years were each trading independently. Charles Rees continued in business on his own at 66 Broad St in 1859 and is not traced further here. George Rees (1835/6-1894?) was advertising in 1859 that his business had been established in 1800 (Reynolds's Newspaper 4 September 1859), a claim which he subsequently altered, advertising in 1877 that the business had been established for quarter of a century (Pall Mall Gazette 11 December 1877). He diversified into print selling which became an increasingly important part of his business. In the 1861 census, George Rees was listed at 57 Drury Lane as a carver and gilder, age 26, in 1871 as a picture frame manufacturer, age 35, and in 1891 as a printseller, age 54, living in Hornsey. He is probably the George Rees who died in the Islington registration district, age 58, in 1894. It is not known who carried on the business after his death.

As early as 1858 George Rees was advertising as 'Carver and Gilder, and House Decorator Fancy wood and gilt mouldings in the lengths. 10,000 yards of bordering always in stock' (National Portrait Gallery records, Duplicate of Accounts, vol.1, p.14). In the mid-1870s Rees was advertising a range of gilt, maple, walnut, oak, black and ornamental mouldings, as well as ornamental white mouldings for gilding, and a range of supplies for amateur framemakers (James Lukin, Picture Frame Making for Amateurs, L. Upcott Gill, c.1876). He advertised his services to artists in various editions of The Year's Art, in 1885 offering 'Frames of new and choice designs for the exhibitions. Artists supplied at trade prices Artists' own designs made to order', also offering a descriptive pamphlet entitled Amateur Picture Frame Making, subsequently in 1891 offering 'Some Special and New Designs for Picture Frames', and in 1893, 'Choice Designs for Frames', with further advertisements aimed at artists until 1899.

From 1897, the main focus of the business shifted to printselling at 115-116 Strand. The business was featured in the first issue of the Fine Art Trade Journal in 1905, with two views of the shop, full of framed prints, and an accompanying question-and-answer text ('Notable Shops. 1. Mr. Geo. Rees. Savoy House, Strand, London', Fine Art Trade Journal, June 1905, pp.12-14).

Emile Remy, 90 College St, Chelsea, London 1904-1910, 153 King's Road, Chelsea SW3 1911-1929. Carver and gilder, picture framemaker.

A French framemaker and gilder, Emile Remy set up business in London in about 1904, meeting with a ready reception. Not only did leading artists turn to him but he was also recommended to the National Gallery in 1916, perhaps by the collector, Robert Benson, who had prepared a report on framing at the Gallery a few years before (Simon 1996 p.119). He was one of the few framemakers used by the dealer, Joseph Duveen, who required carved revival styles of very high quality to satisfy the American market (Simon 1996 p.24).

Remy supplied some frames for Sir John Lavery, including the Renaissance-style cassetta frame with arabesque frieze on Sir Lionel Cust, 1912 (National Portrait Gallery, repr. Simon 1996 p.109). This frame has Remy's label: 'Specialist in restoration and reproduction of antique gilding, E. Remy, Frame Maker and Furniture Gilder... French Furniture Gilding, Enamelling and Decorating. Artists and Dealers supplied'. Remy may have supplied the exceptionally grand French rococo revival frame on Lavery's The Royal Family, 1913 (National Portrait Gallery, repr. Simon 1996 p.79).

Remy also framed works by Philip de László, including Sir William Pulteney, 1917, and Jerome K. Jerome, 1921, the latter with Spanish-style reverse section frame (both National Portrait Gallery, the latter repr. Simon 1996 p.109). Remy was chosen by the Duchess of Devonshire to frame copies of de László's work, as his prices were half those of another maker, Frederick Charles Buck (qv). A letter from Remy in 1928 notes that he would charge £18 each for frames 'with the engraved corners', adding that 'if it were desired to have centres as well as engraved corners, which considering the size, would make the frames a little more ornate & decorative, this could be done at an extra cost of £3 each frame'. In the event the Duchess selected the pattern with corners and centres at £21 each.

Sources: Correspondence in the Chatsworth archives, kindly communicated by Charles Noble, quoted by permission of the Trustees of the Chatsworth Settlement.

Samuel Robinson, see Criswick & Ryan

George William Rodway, 7 Durham Place, Campden Hill Road, Kensington, London W8 1909-1914, renamed and numbered 1914/5, 152 Campden Hill Road 1915-1938. Carver and gilder, picture framemaker, picture restorer.

George William Rodway (b.1866) was born in Cheltenham but had moved to London by 1892 when he married in Kensington. In the 1901 census, he was listed as a picture framemaker (worker), age 34, living at 11 Holford Place Chambers, Kensington. He set up independently by 1909, with premises in Durham Place, adjoining those of Charles Ives (qv). On his trade label, Rodway advertised as carver, gilder and picture framemaker, offering to clean, line and restore pictures (example on Margaret Carpenter's John Bird Sumner, National Portrait Gallery).

David Ross 1786-1819, James Noel Ross 1816-1836. At 96 Portland St, London 1786, 113 Great Portland St 1790-1793, 98 Great Portland St 1794-1833, 35 Charles St, Middlesex Hospital 1835-1836. Joiner and composition manufacturers, carvers and gilders, picture framemakers.

David Ross's Adam-style trade card, engraved by Pergolesi, described him as 'Joiner, Carver, Gilder & Picture Frame Maker', also advertising chimney pieces, and giving his address as 'his Composition Ornament Manufactory, No. 113 Great Portland Street, Portland Chapel' (Banks coll. with added date 1786, repr. Heal 1972 p.157; Johnson coll. Trade Cards 24 (91). He took out insurance with the Sun Fire Office as a joiner and composition manufacturer from 113 Great Portland St in 1786 and from 98 Great Portland St in 1794. James Noel Ross (1787-1854), son of David and Margaret Ross, appears to have been christened at St Marylebone Church in 1787 and married Louisa Hall in this church in 1810; however, it should be noted that an individual by this name apparently died in 1798. James Noel Ross was listed in the 1851 census as a carver and gilder, age 63, living at 10 Dufour's Place, Golden Square, and he died in the St Pancras registration district in 1854.

David Ross charged Lord Howard for two pedestals for Audley End, Essex in 1786 (DEFM). He is better known for his picture framing. James Northcote used 'Ross' to supply frames for his portraits on four occasions between 1804 and 1809. Interestingly, in 1811 Sir George Beaumont wrote to David Wilkie comparing two framemakers, Benjamin Charpentier (qv) and Ross, 'Charpentier has made a pretty frame; but I think he loads his work too much with little ornaments. I like a frame with rich corners, and then more plain in the middle. Ross, although he did not finish them well, had an excellent pattern with shields at the corners; I have never seen frames set off pictures better' (Cunningham 1843, vol.I, pp.326-8). There is a reference in Sir William Beechey's account book on 1 August 1821 to a frame made by Ross.

David Ross's son, James Noel Ross, supplied Sir John Leicester in 1826 with a richly ornamented frame for £35 for George Jones's Col. Sir John Leicester and the Kings Cheshire Yeomanry Cavalry at exercises (Tabley Hall, Cheshire, see Hall 1962 p.81).

Sources: Guildhall Library: Records of Sun Fire Office, vols 338 no.522677, 401 no.630117; Jacob Simon, 'The Account Book of James Northcote', Walpole Society, vol.58, 1996, p.25.

Albert James Rowley 1899-1931, trading as The Rowley Gallery by 1916, The Rowley Gallery of Decorative Art Ltd 1932-1939, The Rowley Gallery 1941, The Rowley Gallery Ltd from 1947. At 11 Silver St, Kensington, London 1899-1904, Hornton Place, Hornton St 1903-1904, 6 High Row, Kensington 1905, 5 High Row 1906-1908, 140 Church St, Kensington 1909-1941, 161 Church St 1918-1919, 142 Church St 1919-1941, 87 Campden St, Kensington Church St 1937-1965, 15 St Mary Abbots Terrace, Kensington High St W14 1946-1953, 115 Kensington Church St W8 7LN from 1967. Picture framemakers, decorators and furnishings.

Albert James Rowley (b.1875), born in Notting Hill, London, was recorded as a picture framemaker, age 25, living at Barnes, Surrey, in the 1901 census. He later claimed to have established his business in 1898. He traded as A.J. Rowley of the Rowley Gallery, describing himself as a house decorator, providing picture and photograph frames amongst other furnishings (Johnson coll., trade cards 1(69)).

Promoting his business was always important for Rowley. In 1902, he was advertising, 'Artist's Framing Tastefully Carried Out' (The Year's Art 1902). His distinctive 1912 advertisement, in bold sans serif capitals at a time when most framing businesses were using more old-fashioned typefaces, carefully positioned the Rowley Gallery, claiming that, 'Experts all agree that the Frame is a vital part of a Picture. Mr. Rowley has reserved a Gallery for Artists to study the effect on their work of Frames in various styles. Fine design and subtle colour characterise the inimitable quality of the Rowley frames' (The Studio, vol.55, February 1912, p.xxv). In 1921, the Rowley Gallery was offering 'Distinctive gifts with a touch of colour. Home decorations' (The Studio, vol.82, November 1921, p.ix), and in 1922 simply, 'Carved Frames in all sizes' (The Year's Art 1922).

Apart from picture framing, Albert James Rowley took a special interest in decorative inlaid wood panels, holding a series of exhibitions in the early 1920s in London, Cheltenham and Sunderland (various exhibition catalogues are held by the Victoria and Albert Museum, four by the National Art Library and others by the Furniture Dept). Among the artists designing such panels were Rowley himself, Frank Brangwyn, W.A. Chase and Edward King. Four of these panels are now in the Victoria and Albert Museum, two given by Rowley himself in 1916 and 1924, a mirror designed by Chase and a panel by Rowley, and two acquired in 1968 and 1976, a screen designed by Chase and a panel designed by Brangwyn.

In 1928 Rowley was listed as an artist craftsman. In 1929, his invoices described his business as 'Designers and Producers of Original Decorations for the Home. Picture Restorers: Carvers: Gilders: Mount-cutters and Liners. Artists' Agents', identifying the following specialities: 'Rowlian Wood-inlay Pictures, Mirrors, Screens, Decorative Furniture, Pottery, Wall panelling' (National Portrait Gallery records, 22-B-4).

By 1933 the directors were listed as A.J. Rowley and his son, L.A. Rowley. The premises were rebuilt in 1933, with an exterior to the design of Frank Brangwyn, including three large carved wood panels depicting activities carried on in the Rowley Gallery studios and workshop, and a remarkable interior designed and carried out by the Rowley Gallery itself, with walls panelled in Japanese golden senwood with burnished silver fittings and black floors (The Studio, vol.106, 1933, pp.106-7; vol.108, September 1934, p.ix). The premises were destroyed in 1941. By this time Lawrence A.J. Rowley, the son of the founder, had taken over the management of the business.

When Lawrence Rowley became ill in 1969, two long-standing customers, Jack Rutherford and Jonathan Savill continued the business (see summary company history, typescript, June 1982). In 1995 it was purchased by three employees, Christopher Hamer, Ka Yin Lam and Cathy Williams, who became directors, carrying on trade as framemakers, gilders and restorers.

Several well-known artists went to the Rowley Gallery. Harold Speed used distinctive polished oak Whistler reeded frames for his portrait drawings, some of which were made by the Rowley Gallery, including his John Redmond, 1907, Sir Charles Dilke, 1908, and Marquess of Lincolnshire, 1909 (all National Portrait Gallery, all with Rowley label). Edward Wadsworth used the Rowley Gallery for some frames, restrained in appearance, apparently in the 1920s and 1930s (Barbara Wadsworth, Edward Wadsworth: A Painter's Life, 1989, p.239). Wadsworth's Self-portrait, c.1937, is in a plain gilt moulding frame, marked Rowley (National Portrait Gallery). The artist, Gluck, used Rowley in the 1940s, for example for the white Whistler frame on her Self-portrait, 1942 (National Portrait Gallery, repr. Simon 1996 p.22).

Other works framed by the business include Minnie Agnes Cohen's crayon, William George Aston, 1911, labelled from 140 Church St, within a green wreath, 'THE/ ROWLEY GALLERY/ Frame Makers', and Charles Buchel's Marguerite Radclyffe Hall, 1918, with pictorial label from 140 Church St, 'Rowley Frames' (both National Portrait Gallery). The business undertook occasional day-to-day framing work for the National Portrait Gallery, 1928-37. The Rowley Gallery also sold works of art, as well as making frames, so the presence of a label does not necessarily mean that a work was framed by the business.

Charles Rowley by 1845-1876, Charles Rowley & Co Ltd 1876-1909, Charles Rowley & Co (1910) Ltd 1910-1911 or later. At 38 Oldham Road, Ancoats, Manchester 1845-1855, 36 Oldham Road 1855-1864, works at Boond St, Ancoats from 1863, 22 Boond St, New Cross 1876-1890 or later, renamed by 1895, 22 Luna St by 1895-1903 or later, 24? Luna St 1906-1910, also at 27 Princess St by 1883-1886 or later, 21 St Ann St, Manchester 1888-1897, 5 Barton Square 1899-1911 or later, 39 Wilmslow Road 1909, works 27 Robert St, Cheetham 1911. Picture framemakers, carvers and gilders, initially also a periodical publications dealer and a bookseller, later also printsellers, art dealers and artists' suppliers.

Charles Rowley (1839-1933) was the son of a picture framemaker, also Charles Rowley (1803-1886) who was recorded in the 1881 census as a 78-year-old 'Retired Picture Frame Manufacturer', living at Crumpsall, Lancashire. Charles senr, initially a warehouseman and a warper, built up a considerable framing business in Manchester. He was listed in the 1851 census as a printseller and picture framemaker, in 1861 as a picture framemaker employing 55 men, women and boys, with his son, Charles junr, listed with him as a picture framemaker, in 1871 as employing 36 men, 14 boys and two women, including his wife and daughter as assistants in the sales department. By now his son, living in Moston, is listed separately as a manager carver and gilder. Charles Rowley exhibited renaissance-style picture frames at the International Exhibition in London in 1862; he also exhibited at the Paris Universal Exhibition in 1867, where he showed carved frames designed by Muckley (headmaster of the Manchester School), Harry Rogers and J. Whitehead.

By the time that Charles junr joined as an apprentice, there was a shop in Barton Square, workshops in Luna St and a timber yard in Chapman St. His occupation was recorded as picture framemaker at the time of his marriage in 1862 to Jane Cocks. By his early thirties Charles Rowley junr had suffered from ill-health, weakening his connection with the business but he was still listed in the 1881 census as a carver and gilder, living in Moston, with no children, and in 1891 as managing director, dealer in works of art and picture frames. His political and social campaigning activities are considered in more detail below. In 1896 the business advertised in The Year's Art as Charles Rowley & Co Ltd, 'For the Manufacture of all kinds of Picture Frames, Carving and Gilding Work, etc', and in 1897 additionally as Ormolu Frame Makers. The business had an account with the artists' colourmen, Roberson, 1887-1908 (Woodcock 1997). It advertised as the sole Manchester agent for Cambridge colours, made by Madderton & Co (The Year's Art 1900). The business, Charles Rowley & Co Ltd, was wound up voluntarily in 1909 (London Gazette 19 November 1909).

Charles Rowley junr was influenced by John Ruskin's idealistic socialism and by his interest in art; he sat on the committee of the Art Museum, and he went on to become head of the Manchester Municipal School of Art, lecturing on art. Rowley was concerned by the plight of the poor and in 1875 he stood as a Liberal councillor for Manchester City Council, later introducing activities designed to bring 'higher feeling' into the slums; these developed into the Ancoats Recreation Committee, with its Sunday lectures, see www.chethams.org.uk/news.htm. In 1911 Charles Rowley published his memoirs, Fifty Years of Work without Wages.

Rowley came into contact with the Pre-Raphaelites, apparently through Ruskin, who frequently visited Manchester. He met Ford Madox Brown in 1875 and commissioned several works from him and purchased others in his capacity as dealer. He managed to promote his work in Manchester to the extent that Brown was awarded the commission to provide murals for Alfred Waterhouse's new Manchester Town Hall in 1878. Brown moved to Manchester temporarily and lived in one of Rowley's properties for a time. Rowley appears to have used one of his showrooms, probably that in St Anne St, to exhibit Brown's paintings. In 1885 Brown drew Rowley's portrait in coloured chalks (Manchester Art Gallery). Rowley's label is found on several of Brown's works, including Cordelia's Portion, c.1865-9 (Fitzwilliam Museum, Cambridge) and Madeline Scott, 1883 (Manchester Art Gallery), and on some works by Brown's close supporter, Frederic Shields, including his drawing, The Angel of the Passion, 1880 (Fitzwilliam Museum).

Rowley also worked for Dante Gabriel Rossetti, claiming in his autobiography, 'I made some fine frames for Rossetti, and so saved him much over London prices' (Simon 1996 p.88). This was probably in the late 1870s, judging from a letter from Rossetti to Rowley, dated 13 February 1879 (Michael Silverman, Manuscripts, cat. 16, summer 1997, no.40).

Sources: M. Hewitt, 'Rowley, Charles (1839­1933)', Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, Oct 2005 (www.oxforddnb.com/view/article/48820, accessed 23 Nov 2007); Art Journal Illustrated Catalogue of the International Exhibition, 1862, p.193; The Illustrated Catalogue of the Universal Exhibition published with the Art Journal, 1867, p.47; Obituary, The Times 7 September 1933; Mary Bennett, Ford Madox Brown: A Catalogue Raisonné, Yale University Press, forthcoming; Prof. Michael Rose, 'Charles Rowley: The Ancoats Rough and The Ancoats Don', The Ancoats Journal, no 13, summer 2005, pp.4-5. With thanks to Lynn Roberts for her research on Charles Rowley.

James Ryan 1832-1833 or later, Criswick and Ryan by 1836-1839, James Ryan 1840-1877. At Bramwell's Yard, Rose St, Soho, London 1832-1833 or later, 6 New Compton St, Soho 1836-1839, 7 Great Newport St 1840-1842, 13-14 Long Acre 1842-1852, 116 Long Acre 1853-1877, also at 66 Warren St 1842-1843. Carver and gilder, composition picture and looking glass framemaker.

James Joseph Ryan (c.1807-1877 or later) was born in London. He appears to have traded independently until joining in partnership with James Creswick or Criswick by 1836 in a joint venture, Criswick and Ryan (qv). This partnership was dissolved in October 1839 (London Gazette 15 October 1839). Ryan then set up in business on his own and by the age of 44 he was employing 41 men including apprentices and boys, according to the 1851 census. He was listed in the 1847 Post Office London Directory as James Joseph Ryan. He suffered from fire damage to his premises in 1840 and again in 1853 (Caledonian Mercury 13 January 1840, The Era 27 March 1853). In the 1861 census he was recorded at 116 Long Acre as a gold beater with a 23-year-old son, William, a framemaker. In 1871 census he was recorded at the same address as a frame manufacturer.

Ryan advertised in The Art-Union: his 'Splendid Stock of Glass and Picture Frames, the most modern and elegant patterns ever offered to the public; at prices that will defy competition', also offering console tables, girandoles, brackets, cornices etc, as well as fancy wood frames (December 1842 p.291), claiming that every article was manufactured on the premises at his wholesale and retail manufactory (January 1845 p.3), and offering gilt portrait frames at wholesale price to artists presenting their card (July 1845 p.243). Subsequently he advertised his stock of gilt portrait frames and fancy wood frames (The Art-Union Advertiser April 1848 p.lxix). He was listed as a composition ornament, looking glass & picture frame manufacturer, carver & gilder in 1852 and as a composition framemaker, carver and gilder in 1862. He was probably the holder of an account with the artists' colourmen, Roberson, 1844-53, from Long Acre (Woodcock 1997).

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