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.

George Tacchi, see Foord & Dickinson

Joseph Tanners 1910-1911, Joseph Tanous 1912, Tanous Bros 1913-1917, Joseph Tanous 1918-1936, John Tanous 1938-1953. At 54 College Place, Chelsea, London 1910-1912, 103 Walton St, Chelsea 1912-1914, 349 Fulham Road 1913-1936, 23 Ives St, Chelsea 1937-1938, 130 King's Rd 1938, 116 Draycott Avenue 1939-1942, 159 King's Rd 1947-1953, various addresses after 1950 including 159-161 and 183 Draycott Avenue, SW3, 115 Harwood Road, Fulham SW6 4QL from 1970. Picture framemakers.

Joseph Tanous (b. c.1886) and his brother John (1897-1972) were the children of Joseph and Elizabeth Tanous, both described as Turkish subjects born in Beirut. In the 1901 census Joseph was recorded as an apprentice framemaker, age 15. He started his own business, apparently in 1910, initially listed under the name Joseph Tanners, taking his brother, John, into partnership in 1913 when he left school. From 1937, the two brothers traded independently, with the picture framing business being continued by the younger brother, John. Presumably as part of this process, the Period Framing Co Ltd, of which John Tanous was Director and Chairman, was wound up voluntarily at a meeting at 23 Ives St in 1937 (London Gazette 6 August 1937). In April 1940 John Tanous failed to get the Ministry of Information contract for framing works by official war artists, the contract going to Alfred Stiles & Sons (qv) (Simon 1996 p.135). Sensing that business would dry up during the war, Tanous converted his shop at 116 Draycott Avenue into an artistic café. He died aged 76 in 1972 (The Times 26 September 1972). The business name is still used by John Tanous Ltd, 115 Harwood Road, Fulham, London SW6 4QL, but since 2006 picture framing has ceased to be one of its main activities.

By 1951, the business was advertising as John Tanous Art Galleries, indicating the range of their services, as 'The House of Tanous. Patronised by Royalty. Tanous Frames have been selected by the Council of Industrial Design' (The Artist, vol.41, April 1951, p.ii). In particular their advertisement set out six framing services: (1) 'Finest reproductions in hand-carved plastic of English, Dutch, French and Italian period frames finished in Water laid leaf gold, and real gold crushed powder', (2) 'The "John Tanous-All wood" antique frame (Patent applied for) made entirely of wood, having the appearance of stripped old carved pine and oak frames, costing a quarter of the price of hand-carved frames', (3) 'Best quality reproduction plaster frames, finished in burnished bronze.', (4) 'A wide range of patterns of Primatives, Walnut veneer and gold, Tortoiseshell, Italian Silver and Renaissance styles, Velvet and Walnut and Antique cracked Venetian gilding', (5) To the Trade. 'A special line of the cheapest and best hand-made frames now being manufactured. Louis XIV, and similar styles from 10/- per foot, in colour and gold or decape finishes', (6) To Artists. 'a unique framing service compiled from a vast stock of old period frames, modernised and regilded in French colour and gold and decape finish'. Additionally, reference is made in the advertisement to Marcelle Tanous, reproduction mirrors, wall lights, etc at 309 Fulham Road and George Tanous, upholstery, curtains, furniture etc at 262 Fulham Road.

The Tanous brothers reframed more than 200 pictures for the exhibition arranged by the Redfern Gallery of the complete works of Christopher Wood at the New Burlington Galleries in March 1938, using 'a standard pattern Louis XIV design decappé specially toned for each picture' ('The English Frame Acquires Tone', unidentified magazine, c.1938); this publicity article described the taste for 'decappé frames light and chalky in tone', generally imported from Holland and France until the Tanous brothers developed an especially hard composition and a range of mouldings, each frame individually toned.

The business is said to have worked for Pietro Annigoni, Jacob Epstein, Augustus John, Sir Gerald Kelly, Sir John Lavery and Vivien Pitchforth, among others (information from Frank Wenstrum 11 June 1996, see also Sources below). Tanous framed William Nicholson's Study for Lord and Lady Strafford in their Library, 1940 (Christie's 21 March 1996 lot 95) and reframed Frederic Leighton's Flaming June for the dealer Jeremy Maas in about 1963 (Royal Academy Magazine, no.49, Winter 1995, p.38).

Ronald Louis Tanous, a picture framemaker in SW3 was made bankrupt in 1954 and again subsequently (London Gazette 27 April 1954, 9 July 1957, 27 February 1973).

Sources: William Raymond, 'Montmartre in Chelsea has been his aim', West London Press 18 May 1962 (profile and interview with John Tanous).

Frederick Tate, 18 Percy St, Bedford Square, London W by 1844-1920. Carvers and gilders, picture restorers.

Frederick Thomas Tate (1811-83) and his son Frederick Kent Tate (1847-c.1920?) can be traced through successive censuses, always at 18 Percy St: in 1851 the father, a carver and gilder, was age 40, and the son age 4, in 1871 the father a master and the son employed by his father, in 1881 both father and son a gilder and framemaker, in 1891 untraced, and in 1901 only the son is recorded, age 54.

The father's trade label gives 1838 as the year the business was established and describes himself as 'Practical Gilder and Frame Maker, Picture Restorer and Dealer in Works of Art, 18, Percy St, London, W. Manufacturer of Gilt Consoles, Looking Glasses, Window Cornices and Ornamental Designs generally for Decorative purposes; Old Gilt Work Cleaned or Re-gilt in superior manner' (National Portrait Gallery, label from Thomas Woolner's plaster medallion, William Gifford Palgrave, 1864).

It was presumably the younger Tate who advertised his Handbook for the Amateur, containing practical hints for the preservation of oil paintings, also offering a restoration service (The Times 25 September 1880). In 1913, he advertised as The Tate Gallery of Fine Art, offering 'Picture Restoration and Artistic Framing' (The Year's Art 1913).

H.W. Taylor & Co 1896-1934. At 61 Queen's Road, Bayswater, London 1896-1927, 36 Spring St W2 1928-1934. Picture frame designers and makers.

Harry Walter Taylor (?1849-1934) was a partner in the business of Gething & Taylor (qv), before setting up his own company in 1896. In The Year's Art, 1899, as late of 102 Charing Cross Road, he set out his services, 'Manufacturers of Highest-class Frames for Pictures, Prints, Mirrors, Medallions, Plaques, etc., in Every Style and Material Special Designs carried out', and in The Studio the same year as 'Picture Frame Fashioners, Designers, Carvers & Modellers' (The Studio, vol.16, 15 February 1899, p.xx). From 1915, the business was listed as Harry Walter Taylor & Co, and from 1918 the premises in Bayswater were described as 'The Old Golden Palette'.

In an article on picture framing from the artist's point of view, Byam Shaw explained that he used Taylor for his less expensive frames, while going to May for 'old French frames', presumably C.M. May (qv) (Fine Art Trade Journal, vol.3, 1908, information from Jeremy Adamson). Frames made by H.W. Taylor & Co include those for Frank Bramley's Among the Roses, 1911, and Elizabeth Forbes's Blackberry Gathering, exh.1912 (both Walker Art Gallery, Liverpool, see Morris 1996 pp.41, 143).

John Taylor 1824-1849, John Taylor & Son 1850-1898 or later, John Taylor & Son (Edinburgh) Ltd by 1902-1940. At West Thistle St (also called south-west Thistle Lane), Edinburgh by 1832-1835, 55 George St 1835-1850, 54 George St (under the Assembly Rooms) 1841-1850, 109 Princes St 1851-1911 or later, 110 Princes St by 1876-1940. Picture framemakers, printsellers, auctioneers, later furniture makers and upholsterers.

See British artists' suppliers.

Thomas Temple 1799, Brookes & Temple by 1801-1808, Temple & Son 1809-1839. At Wardour St, Soho, London 1795, 105 Warden (Wardour?) St, Soho 1799, 28 Coventry St by 1801-1814, Clipstone St, Fitzroy Square 1820-1822, 50 Great Titchfield St, Fitzroy Square 1811-1839. Carvers and gilders, picture framemakers, also stationers as Brookes & Temple.

Thomas Temple (d.1833), a prominent framemaker in the Regency period, held an appointment to the Duke of York. He and his son, Thomas Maxfield Temple (1799-1865), worked for various collectors and country house owners in the 1810s, 1820s and 1830s.

In 1795 Thomas Temple, Wardour St, was present as secretary at a meeting of fifteen consumers and manufacturers of leaf gold which resolved to resist an attempt by journeymen goldbeaters to increase their labour charges (The Times 22 December 1795). From about 1801, Temple went into partnership with a stationer at 28 Coventry St, Henry Brookes (qv), until September 1808 when the partnership was dissolved (London Gazette 27 September 1808). Temple thereafter traded independently from 50 Great Titchfield St, describing himself as a carver, gilder and picture framemaker, 'removed from Coventry Street'. He was also occasionally listed as a stationer. His trade label as Temple & Son described the business as 'Carvers, Gilders & Picture Frame Makers, by Appointment to His Royal Highness the Duke of York' (example reproduced in A Hang of English Frames, Arnold Wiggins & Sons, 1996).

In 1825, Temple attended 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). At his death in 1833, he was living at 8 Frederick Place, Hampstead Road, referring in his will to his sons, Henry James Temple and Thomas Maxfield Temple.

Henry James Temple (b.1814) does not appear to have played a part in the business. His older brother, Thomas Maxfield Temple (1799-1865), was made bankrupt in 1839, when James Charles Guillet (qv) of Silver St, Kensington Gravel Pits, was appointed as his assignee (The Times 17 October 1839, 12 February 1840); Temple's stock-in-trade was advertised for sale on his premises early the following year (The Times 10 January 1840). His business seems to have passed to Robert Thick (qv). He died in Camberwell in 1865.

For Thomas Temple's early framing work for the artist, Henry Edridge, see Henry Brookes.

Thomas Temple, or more probably his son Thomas Maxfield Temple, had links with William and John Seguier, who were advisers to many collectors at the time, and it would seem that the Seguiers brought the Temples considerable business. For example, there are several pictures with the Temple label in the Daniel Mesman bequest to the Fitzwilliam Museum in 1834, a bequest which John Seguier was charged with framing, hanging and arranging; these pictures include Lorenzo Pasinelli's A Sibyl, and Albert Klomp's Cattle in a Landscape. Both William and John Seguier were advisers to the Duke of Wellington (Jervis 1982 p.18), among whose papers there are various bills and correspondence showing that up to his bankruptcy in 1839 Temple was the Duke's main framemaker; there are a few frames at Apsley House with the Temple label, including the massive French-style frame for the full-length, Queen Mary Tudor, after Antonio Moro (repr. Jervis 1982 p.51), made following correspondence between the Duke and his architect, Benjamin Dean Wyatt, in 1829.

Thomas Temple & Son may be the picture framer working for the Duke of Devonshire, documented in the Chatsworth furnishing accounts, 1820-34 (DEFM). The business framed pictures for various other collectors including two works for John Howard, 15th Earl of Suffolk, Ferdinand Bol's The Falconer and a copy of Paul van Somer's Countess of Berkshire, both labelled Temple & Son (English Heritage, The Suffolk Collection).

Descriptions such as 'Temples bands & middles' appear in the ledgers of John Smith (qv) from 1812, suggesting that Temple was among the sources used by Smith for composition ornaments for his picture frames, whether as a subcontracting supplier or a source of moulds (see also Simon 1996 p.140).

Sources: The Dutch Connection: The founding of the Fitzwilliam Museum, exh. cat., Fitzwilliam Museum, 1988, p.6, for the Mesman bequest and Seguier; The Suffolk Collection: Catalogue of Paintings, 1974, nos 7, 48.

Robert Thick, 35 Clipstone St, Fitzroy Square, London 1835-1854. Carver and gilder, picture framemaker and restorer, previously a grocer.

Robert Thick (1798-1869) was active as a framemaker in the 1840s and early 1850s, with a distinguished list of clients. He appears to have been christened at St Marylebone in 1798, the son of Robert and Catherine Thick, and to have died in the Kingston registration district in 1869, age 70. His early years are obscure but by 1835 he was trading as a potato merchant and he was listed in London directories as a grocer, 1836-9. He worked as a framemaker from 1839 to 1854. He was recorded in the 1851 and 1861 censuses living at Ham in Surrey, in 1851 as a master gilder employing two men, in 1861 as a proprietor of houses.

In January 1854 Thick transferred his business to Henry Critchfield (qv), according to Francis Draper (qv), who eventually succeeded to the Critchfield business. Critchfield told Sir George Scharf, Director of the National Portrait Gallery, that 'Thick was ruined by excess of work at Windsor Castle. Henderson, previously employed at Windsor Castle, not being able to gain payment in time, cut his throat in despair'.

A great deal can be learnt from Thick's frame ledgers (collection Duke of Wellington, see Jervis 1982 p.18), including his practice of giving Seguier, agent to various collectors, a small payment for business introduced. Here, the focus is on the Duke of Wellington, Sir Robert Peel and the National Gallery, followed by a summary list of some other significant customers. Thick replaced Thomas Temple (qv) as framemaker for the Duke of Wellington (Jervis 1982 p.18), making frames for old masters and hanging pictures from 1841 to 1852. The earliest entry in his ledger is for a whole length frame for a portrait of Marquess of Anglesey at £8.8s on 9 April 1841. He made more than 30 frames for the Duke over the next ten years.

Thick worked for National Gallery, 1840-54, making a few frames and various picture tablets, but mostly gilding, repairing, extending, dusting and cleaning frames, and packing and hanging pictures. He made a frame for James Ward's Council of Horses for £5.10s in 1848 (destroyed; formerly Tate Gallery), a mahogany case lined with velvet for Jan van Eyck's A Man in a Turban for £5.5s in 1851 (National Gallery) and gilt frames for Gilbert Stuart's Benjamin West (Tate Gallery) and Zurbaran's St Francis in Meditation for £3 and £9.10s respectively in 1853 (National Gallery).

Thick also worked for one of the most important collectors and patrons of the period, Sir Robert Peel, from 1841 until 1850, making frames and cases, hanging pictures and making repairs (Simon 1996 p.170). Many of his frames for Peel were in the Lawrence style, including those for Frederick Richard Say's Earl of Ellenborough, c.1846, and Duke of Newcastle, 1848 (National Portrait Gallery, the former repr. Simon 1996 p.116).

Thick undertook a limited amount of work for Ford Madox Brown and rather more extensive work for F.R. Say but otherwise made few frames for artists. It was perhaps through Peel that Say came to use Thick for much of his own picture framing, 1848-51, as is apparent from Thick's order book, where two of Say's Royal Academy exhibits can be identified including Miss Beechey, a 6 1/2 ins frame ordered July 1849 and the Archbishop of York, a 7 1/2 ins frame ordered February 1850. The latter is one of several frames marked in the order book, 'Ryan', perhaps the name of a craftsman or conceivably an indication that the manufacture of the frame was subcontracted to James Ryan (qv).

Among other clients, perhaps the most noteworthy are Sir Thomas Baring, the Earl of Burlington, the British Museum, the Duke of Cambridge, the Marquess Camden, the Earl of Carlisle, Lord Crewe, Earl De la Warr, the Earl of Dartmouth, the Dilettante Society, Prince Esterhazy, Sir Augustus Foster, Thomas Frewin, Henry Thomas Hope, Philip Henry Howard, the Earl of Liverpool, the Earl and Countess of Macclesfield, the Earl of Malmesbury, J. Mitchell, Lord Palmerston, Granville Penn, Samuel Rogers, the Royal Collection at Buckingham Place, Hampton Court and St James's Palace, William and John Seguier, the Duke of Somerset, Charles Standish, Lady Stratheden, J. Tollemache, Watson Taylor, Harcourt Vernon, the Earl of Wemyss and Sir Richard Westmacott. He invoiced John Abel Smith for picture frames, 1845-6 (West Sussex Record Office: ADD MSS/22,518).

Sources: Robert Thick account and order books, kindly made available in 1995 by the late Duke of Wellington, thanks to his archivist, Georgina Stonor.

John Thirtle, Magdalen St, Norwich 1822-1839. Landscape painter, carver and gilder, looking glass and picture framemaker, drawing master, printseller.

The Norwich landscape painter, John Thirtle (1777-1839), a talented watercolourist, was the son of John Thirtle, a shoemaker. He was apprenticed to the Norwich carver and gilder, Benjamin Jagger, in 1790 (Stabler 2006 p.225). He exhibited with the Norwich Society from 1805, but rarely showed his work after a disagreement in 1816. To make ends meet, he also acted as a drawing master and a picture framemaker. His trade label from Magdalen St takes three forms, the most elaborate of which describes him as 'Carver, Gilder, Picture Frame and Looking Glass Manufacturer, Wholesale and Retail' (repr. Stabler 2006 p.85). His will, very short and simple, dated 31 July 1838 and proved 3 December 1839, describes him as a carver and gilder. His business was then taken over by William Boswell (qv).

It has been suggested that much of Thirtle's work as a framemaker may have come through his fellow Norwich School artists, such as Joseph Clover, who is documented as using his services between 1825 and 1838, James Stark and George Vincent. The Norwich Castle Museum contains labelled Thirtle frames on pictures by J.S. Cotman, J.B. Crome, Robert Dixon, Thomas Lound, James Sillett, Joseph Stannard and George Vincent (Moore 1985 p.78); examples include Vincent's View in Glen Sharrah, 1823, and Trowse Meadows, near Norwich, 1828 (Moore 1985 p.46).

Sources: Marjorie Allthorpe-Guyton, John Thirtle 1777-1839, exh. cat., Norwich Castle Museum, 1977; John Stabler, Norfolk Furniture Makers 1700-1840, Regional Furniture Society, 2006.

William Thomas 1822-1864, Mrs Ann Thomas 1864-1873, Robert Thomas 1874-1884. At 17 Charlotte St, London 1822-1824, 39 London St, Fitzroy Square 1823-1851, 29 Berners St 1851-1865, 51 Wigmore St 1865-1869, 11 Wigmore St 1869-1872, 60 George St, Portman Square 1873-1884. Carvers and gilders, house and ornamental painters, paper hangers and decorators, picture framemakers.

William Thomas (c.1792-1864) undertook framing work for several leading artists and for the Royal Collection. He may have had ambitions as an artist himself, if a directory listing at 22 Charles St, Middlesex Hospital, in 1820 can be linked to him. Shortly afterwards he can be found trading as a decorator and gilder, on the evidence of his early trade label (DEFM), but he soon broadened his activities to include picture framing.

In 1825 William Thomas attended 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 the 1851 census he was listed as a carver and gilder, age 58, born Westminster, with many children; in 1861 his age was given as 65, his wife Ann as 61, with sons William and Thomas and daughter Maria. He died at the age of 71 in 1864 (The Times 9 February 1864). He was succeeded in business by his widow, Ann, trading as decorator and gilder, and in turn by his son, Robert Thomas (1829-84), trading initially as gilder and decorator, and from 1880 as a picture restorer. Another son, the artist William Cave Thomas (1820-84), exhibited at the Royal Academy from 39 London St in 1843.

William Thomas held appointments to Queen Adelaide, the Duchess of Kent, Queen Victoria and the Prince of Wales, the future Edward VII; he worked extensively for the Crown from c.1840. Already on his trade label in 1834, he noted his appointment to Queen Adelaide and described himself as 'Carver & Gilder, House and Ornamental Painter, Paper Hanger, Decorator &c Workmen sent to any part of the kingdom', a description which he continued to use for many years (Simon 1996 p.168). His warrant to the Prince of Wales was struck out in 1863.

Thomas supplied a set of gilded composition frames for the Picture Gallery at Buckingham Palace in 1850, initially estimating the sum of £1053 for 185 gilt frames, reduced by various deductions to £919; an example is Jan Steen's A woman at her toilet (repr. Noble 1993 p.172). Over the years, the Thomas business supplied numerous frames for pictures in Queen Victoria's collection (Millar 1992, see index p.357; see also Joy 1969 p.684), including for works by Sir Edwin Landseer 1840-9 (date of works not necessarily frame date), John Lucas 1842, Sir George Hayter (after) 1842, Sir Francis Grant 1843, John Frederick Herring 1845-6, Charles Lock Eastlake 1850, Franz Xaver Winterhalter 1850, 1853, 1861-2, Henrietta Ward 1857, Emma Gaggiotti Richards 1861, Albert Graefle 1864, Charles Burton Barber 1872-81, Henry Richard Graves 1874, Otto Weber 1874 and Gourlay Steell 1876. Some of the frames for work by Winterhalter were especially elaborate or involved special travel (Millar 1992 pp.307, 310, 325. There are payments to William Thomas, 1854-65 (PP2/6, 4624 to PP2/91, 8369), to his widow Ann Thomas 1864-9 (PP2/81, 6732 to PP2/140, 15592).

The business's work for other clients is not well documented. 'W. Thomas' supplied picture frames to the 3rd Earl of Egremont, 1823-4 (West Sussex Record Office, PHA/10610). Robert Thomas supplied picture frames to the Duke of Portland in 1878 (Nottingham University Library, Portland collection, Pw K/4531).

William Thomas made frames for Sir Francis Grant and, it seems, Sir George Hayter, both royal warrant holders. Hayter would have come across Thomas in the course of his work for Queen Victoria but whether Thomas worked for him personally remains to be established. Portraits by Hayter with Thomas's label include Baron Hatherton, 1834, and Thomas Waghorn, by 1847 (both National Portrait Gallery, the former repr. Simon 1996 p.169). Thomas's frame for the portrait of Hatherton employs butterfly keys to join the corners, an unusual method at the period, also found on his frame for Francis Grant's J.G. Lockhart (Scottish National Portrait Gallery). Other works by Grant framed by Thomas in various styles include 1st Earl Russell, 1853, and 3rd Earl of Lucan, 1855 (both National Portrait Gallery, the latter repr. Simon 1996 p.104), and John Naylor, 1857 (Walker Art Gallery, Liverpool).

Sources: Charles Noble, 'Fashion in the gallery: The Picture Gallery's changing hang', Apollo, vol.138, 1993, pp.170-5, fig.2.

Alexander Thomson, Head of Calton (also listed as Calton Hill), Edinburgh 1799-1809, 16 York Place 1809-1811, renumbered 1811, 34 York Place 1811-1813, 79 High St, 'near the Fountain Well' 1814-1823. Carver and gilder, picture framemaker.

Little is known of Thomson other than his work framing Henry Raeburn's pictures. He is probably the 'Alexander Thomson Wright' who became a Burgess in April 1793. Confusingly there are carvers of his name recorded at two different Edinburgh addresses in the immediately ensuing years, at McDougal's St, foot of Leith Wynd, 1793-1797, and at Bristo St 1794-1797. He is possibly the 'Alexander Tomson, Carver & Gilder, an imposing rascal' who features in Lord Rosebery's cash book in October 1794 as receiving a payment of £24.3s. His premises at Calton Hill, or 'head of Calton', were within 400 yards of Raeburn's York Place studio. His frame trade label gives his address as Leith Walk, a street a few hundred yards away.

It was perhaps the convenience of dealing with a framemaker within easy reach that contributed to Raeburn's decision to move his business to Alexander Thomson in about 1798. Alexander Thomson's name is first linked with Raeburn's in successive entries in the account book of Hugh Scott of Harden, a Raeburn patron in the 1790s. A payment on 17 April 1799 for picture frames costing £24.1s is followed the next day by one to Raeburn himself of £26.5s, or 25 guineas, for a portrait of Mrs Scott. In 1801 Thomson framed a picture of game which Raeburn sold to John Brown of Laufine. In 1806 and 1812 Thomson is documented by receipts as framing Raeburn's portraits. In November 1808 he published Charles Turner's mezzotint of Raeburn's portrait of Alexander Adam, the imprint line describing him as 'Carver, Coltenhill'.

But the most intriguing link is provided by the Edinburgh directories of the period which show Thomson as working from the same address as Raeburn at 16 York Place, renumbered as 34 York Place, from 1809-1813. He also had furnished lodgings in Shakespear Square in 1810 and 1811. Subsequently from 1814 Thomson was listed at 79 High St in the Old Town, 'near the Fountain Well' according to his trade label, half a mile from Raeburn's studio.

In 1822 Thomson wrote from 79 High St to Sir Duncan Campbell of Barcaldine seeking payment of his account for a picture frame and box at 11 guineas (National Archives of Scotland, GD170/2744, Campbell of Barcaldine papers). Alexander Thomson may be the individual who died 27 December 1827 (Scotland's People).

Sources: Houliston 1999 pp.63-4, 77.

Michael Tijou 1795-1824, (Michael) Tijou & Son 1823-1828, William Tijou 1828-1833. At 22 Greek St, Soho, London 1795-1802, 16 Greek St 1802-1826, 17 Greek St 1819-1833. Carvers and gilders, picture frame and looking glass makers.

There were Huguenot craftsmen by the name of Tijou active in London in the early 18th century, notably Jean Tijou, the celebrated ironsmith. By the early 19th century, there were several London families by the name of Tijou, with a number of individuals operating as carvers and gilders, making identifications problematic. One couple, Michael and Sarah had six children between about 1789 and 1798, christened at St Anne Soho, probably the Michael Tijou, carver and gilder in Greek St, Soho, discussed here, although the birth of his son Henry has not been traced and he seems to have had further children later in life (see below). Another couple, Michael and Elizabeth had five children between 1813 and 1827, christened in Southwark; this Michael may be the son of Michael and Sarah. A third couple, Thomas and Mary had three children between 1808 and 1811, again christened in Southwark, of whom Francis Tijou, born 1810, must surely be the carver of this name working in Lambeth in the mid-19th century. There were members of the Tijou family working as carvers and gilders in Southwark, Vauxhall and Lambeth from at least 1811 until 1862 or later.

Michael Tijou (d.1835/6) was active by the 1790s, with several notable clients. Looking first at his life, the entire stock of ancient and modern pictures of 'Mr Tijou who is removed to No. 16, and is leaving off the Picture Business', was sold on his premises at 22 Greek Street in 1802 (The Times 23 September 1802). Michael Tijou continued occasionally to offer items for sale on his premises including furniture and portraits (The Times 2 February 1821). According to the Survey of London, it was perhaps Michael Tijou who had a new shop front inserted at 17 Greek St, possibly in 1824.

William Tijou (1798-1838) was apparently born in 1798, the son of Michael and Sarah Tijou, and died age 39 in 1838 (London Dispatch and People's Political and Social Reformer 16 December 1838). He was chairman of a meeting in 1825 of more than fifty master carvers and gilders, including M. Tijou and Sons, and T. Tijou, who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). The business acted as agent for the Birmingham Society of Arts for their exhibition in 1829; Tijou would 'either pack the pictures in the houses of the respective Artists, or remove them into Greek-street for that purpose, as may be most agreeable to the Exhibitors themselves' (Trevor Fawcett, The Rise of English Provincial Art, Oxford, 1974, p.207).

In his will, dated 15 January 1835 and proved 4 April 1836, Michael Tijou described himself as carver and gilder of Vauxhall Bridge Road, and left his estate in trust for his many sons and daughters, which he lists with their dates of birth between 1818 and 1829 as his natural or reputed children by Sophia Esther Tijou, from Henry in 1818 to Sophia Phyllis in 1829, with a delightful nod to one of his greatest patrons, Sir John Leicester of Tabley Hall, in christening John Thomas Tabley Tijou in 1823. A sale of Michael Tijou's pictures, 'collected by him during a long series of years' was held in 1836, including work by Gainsborough, Martin, Morland, Northcote, Turner, Ward and Westall (The Times 26 March 1836).

Michael Tijou supplied picture frames to the 3rd Earl of Egremont, 1799-1806. He and his son, Henry, acted for Sir John Leicester, apparently supervising the opening of Leicester's Gallery of modern British pictures in Mayfair. As part of this process, Michael Tijou appears in connection with pictures by Thomas Lawrence in 1817 and Edwin Landseer in 1820 and 1821. In 1824 in an idiosyncratically spelt and familiarly worded letter to Sir John, Tijou referred to his son Henry, who also wrote to Sir John with information about his framing work for John Nash the architect on a portrait of George IV by Sir Thomas Lawrence. Henry Tijou helped organise the sale of pictures which took place following Leicester's death in 1827 but part of the collection survived intact and is now shown at Tabley House, Cheshire.

Michael Tijou worked for various leading artists: John Hoppner refers to him in correspondence with Sir John Leicester in 1806 (Hall 1962 p.80); Joseph Farington quotes him concerning the death of both John Opie in 1807 and George Henry Harlow in 1819, in the latter instance as taking charge of his funeral (Farington, vol.8 p.3002, vol.15 p.5333). James Northcote is documented as using 'Tiyou' to supply picture frames for his portraits on four occasions between 1806 and 1816. For a time, Tijou acted as Thomas Lawrence's framemaker, as Joseph Farington noted when Lawrence spoke to him about settling an account with Tijou in 1816, and then with Tijou's solicitor the following January (Farington, vol.14 pp. 4921, 4956). Nevertheless, Lawrence appears to have continued using or recommending Tijou for some framing work. His Frederick Duke of York, c.1822 (Sotheby's 6 July 2007 lot 209) bears the frame label of M. Tijou & Son from 17 Greek St as 'Carvers, Gilders, Glass & Picture Frame Manufacturers', advertising, 'Old Glasses New polished & Silvered. Old Pictures restored. Secondhand Glasses of large Dimensions'. 'Mr Tijou' received a payment of £68.10s.6d from the estate of Thomas Lawrence in 1830 (V&A National Art Library, MSL/1938/1923).

Sources: 'Greek Street Area: Portland Estate: Greek Street', Survey of London, vols 33, 34, St Anne Soho, 1966, pp.170-90 (available at www.british-history.ac.uk. Date accessed: 07 April 2007); West Sussex Record Office, Egremont papers, PHA/8024, 8064, 9219, 10619; Douglas Hall, 'The Tabley House Papers', Walpole Society, vol.38, 1962, pp.81, 83, 89, 109-10; Peter Cannon-Brookes, Tabley House, guidebook, 1991, p.8; Jacob Simon, 'The Account Book of James Northcote', Walpole Society, vol.58, 1996, p.25.

John Tootle, see George Morant

John Tousey, The Golden Head, Wardour St, London by 1749-1750 or later, The Golden Head, Bow St, Bloomsbury by 1763-1781 or later. Carver and gilder.

Our understanding of this apparently Huguenot family of carvers is incomplete. John and Elizabeth Tousey had two sons by the name of John Tousey, the first christened at St Anne's, Soho in 1712, the second at St Martin-in-the-Fields in 1723. John Tousey, or Touzey, was listed as a carver in the 1749 Westminster election poll book. He took out insurance with Sun Insurance at the Golden Head, opposite Broad St in Wardour St in November 1750, and at the Golden Head, Bow St, Bloomsbury in March 1764. He was listed in Bow St in Kent's Directory in 1780 as a cabinetmaker, upholsterer and dealer in plate glass, and he was recorded as 'Towsey' in Bow St in a list of furniture makers compiled by the Duchess of Northumberland, c.1776 (Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, p.154). It should be noted that a further individual by the name of John Tousey was christened in 1740 at St Paul's Covent Garden, the son of John and Catherine Tousey.

John Tousey's brother, Jacob, took Gideon Saint (qv) as apprentice in September 1743 (DEFM). In his will, dated 8 April and proved 11 July 1764, made from one of his majesty's ships in Jamaica, Jacob Touzey described his brother, John Touzey as a carpenter and gilder, leaving everything to him, including his prize money.

It remains uncertain whether John Tousey is to be identified with John Le Tousey, carver and gilder, late of the parish of St Marylebone, who was made bankrupt in 1761 (London Gazette 27 March 1762). Jacob and John Le Touzey were mentioned in the will of their mother, Sarah Le Touzey, dated 18 September and proved 8 November 1762. Further, it should be noted that an individual by the name John Le Fousey, perhaps a misreading for John Le Tousey, was apprenticed to Jacob Gosset in 1726 (DEFM); this is not necessarily the John Tousey mentioned above, son of John and Elizabeth Tousey, born in 1712 and christened at St Anne's, Soho. It is also worth noting that a 'John Tousey' became a member of the Royal Society of Musicians in 1740.

'Touzey' made frames and a pier glass for Edward Knight, Kidderminster, 1765-9 (Penny 1986 p.813). He worked on some 36 paintings for Lord Coventry, 1766-8, at a cost of £43. Descriptions such as 'Touzets bubble' appear in the ledgers of John Smith (qv) from 1812, leaving open the possibility that there may have been another craftsmen of this name at work in the early 19th century who was used by Smith for composition ornaments for his picture frames.

Sources: Guildhall Library: Records of Sun Fire Office, vols 90 p.367, 153 p.379; Betty Matthews, 'Handel and the Royal Society of Musicians, Musical Times, vol.125, 1984, pp.79-82; Joan Lane, 'The Furniture at Croome Court', Apollo, vol.145, January 1997, pp.28-9.

Robert Tull, St James's, Westminster, London 1753-1758, Dufour's Court, Broad St, Soho 1756. Carver and gilder.

Robert Samuel Tull (c.1731-1758) was apprenticed to the well-known Huguenot carver and gilder, Jacob Gosset (qv), for the considerable premium of £42 in 1745. This would suggest that he was born in about 1731 given that most apprentices were bound at the age of fourteen. If the apprenticeship ran for seven years, as was commonly the case, then Tull will have completed his training in 1752. Tull's account book provides insights into the position of a minor carver and gilder in mid-18th century London. It covers the years from 1753 until his death in 1758. His next door neighbour on one side was the well-known carver, Sefferin Alken (qv), evident from listings in the Poor Rate books, and two along on the other side was George Pow, a craftsman who features regularly in the account book.

Tull fell ill and the last entry in his hand in the account book was made on 27 December 1757. He signed his will on 7 January and was dead by 25 February 1758 when his wife was granted the administration of his estate. In his will Tull made small bequests to his mother, Ann, and his three spinster sisters, Ann, Barbara and Dorothy but left the residue of his estate to his wife, Charlotte. As his executors, Tull named both his wife and his 'good friend' George Hobbs, who took over Tull's premises in Dufour's Court, and is presumably the Mr Hobbs whose business with Tull is recorded in the account book.

His account book gives details of the work he executed as a sub-contractor for neighbouring Huguenot framemakers, such as Gosset (perhaps Jacob Gosset, his master), Mr Cunot, presumably Jean Antoine Cuenot (qv) and Mr Pettet, presumably Paul Petit. Tull often worked on individual frame components rather than the complete product, so that, for example, he charged Gosset 6d for 'carving the edges of a small frame', 1s for 'sizing 2 large frames and gould sizing a large broad one', 1s.3d for 'mending a common frame and packing one up' and 3s.2d for 'guilding a large frame at home'. Cuenot and Petit were both charged for carving but not for gilding, Petit paying 12s for 'carving a 3/4 frame with Shellworke'. This sub-contracted work formed a significant part of Tull's business in 1753 and 1754 (Simon 1996 pp.143, 162-3).

Tull also worked as a framemaker in his own right, for artists such as the Scottish pastel portraitist, Catherine Read, and patrons including Lawrence Dundas and the Earl of Carlisle. His association with the Jacobite engraver, Sir Robert Strange, and with Catherine Read brought him numerous customers from the aristocracy and the gentry, many of whom were of Scottish origin or of Jacobite sympathy. While much of this work was for picture frames, he also regularly supplied mirror frames and glasses and carried out a range of other carved and gilt work. Ebenezer Tull, 'The British Ruysdale', an amateur painter producing landscapes in the style of Gainsborough and Ruisdael, who was a master at the Charity School of St George's, Southwark, may have been another customer as is suggested by a payment from 'Mr Tull in the Borough' for a black frame at 6s.6d in January 1757.

Sources: Robert Tull account book (coll. Jacob Simon).

Richard Turley, 21 Crogsland Road, Kentish Town, London 1891-1922. Carver and gilder, looking glass and picture framemaker.

This carver and gilder appears to be Richard George Turley, born 1858 in the Northampton registration district, who married in 1883 in the Islington registration district. In the 1881 census, Richard G. Turley was recorded as a gilder, age 24, living at 80 Kentish Town Road, with his older brother, William W. Turley, age 28, who was listed as a carver and gilder employing one man. Richard Turley appears in the census in 1891 as a picture framemaker, age 34, and in 1901 as a gilder and picture cleaner, age 43, in both censuses living at 21 Crogsland Road, but with his birthplace variously given as Pancras and Leeds. Turley offered the additional services of cutting mounts and mounting drawings.

Richard Turley was described as 'my framemaker' by John Collier in 1898, when arranging for him to frame a portrait of Professor Thomas Henry Huxley for the National Portrait Gallery (National Portrait Gallery records, RP1174).

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