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ANNOTATED BIBLIOGRAPHY OF FRAME PUBLICATIONS, 1995 to 2007 Prepared with assistance from Lynn Roberts. For earlier publications, see the bibliographies in Paul Mitchell and Lynn Roberts, A History of European Frames, 1996 (also published in The Dictionary of Art, 1996), and Jacob Simon, The Art of the Picture Frame, Artists Patrons and the Framing of Portraits in Britain, National Portrait Gallery, 1996. Contents Books and articles concerned in some way with framing, and published during 2007, range from brief studies on a single frame or design (Sarah Medlam's article on a Louis XVI trophy frame; a Christie's sale catalogue entry on frames designed by Alessandro Marchesini for two of his history paintings), through essays on an artist (Stubbs), to major works of research on the frames of an architect (Bettina von Roenne on Schinkel) or of a period (John Payne's Framing in the Nineteenth Century; Marilena Mosco's Cornici dei Medici). This very varied collection is an index of the continuing interest in the study of and research into the history of picture frames, in different countries and during different periods. Marilena Mosco's work is particularly valuable, in that she draws together the parts played by patrons, architects, designers, artists, and craftsmen, within a specific time and place, in creating the extraordinary products of the Auricular style which are 'Medici' frames. Her evidence comes from inventories and written records, from drawings and designs, and from the frames themselves, resulting in an impressive art historical work. However, John Payne's research in the collection of the National Gallery of Victoria has produced an equally striking, although very different book, which adds to our knowledge of British frames as much as Australian, and examines the flow of stylistic and technical influence through the purchase of paintings and the migration of craftsmen. Bailey, W.H., Defining Edges: A New Look at Picture Frames, Harry N. Abrams Inc, New York, 2002, 136pp, copiously illustrated mainly in colour. Considers individual works of art in relation to their frames, from a Byzantine gospel cover via pictures by Michelangelo and Ferdinand Bol to late 20th-century paintings. The works are grouped in loose categories: 'The Frame as Altarpiece', 'The Frame as Window', 'Frames Designed by Artists', etc. Reviewed by Jacob Simon, The Art Newspaper, May 2003. Davis, Deborah, The Secret Lives of Frames: one hundred years of art and artistry, New York, 2007, 223pp, lavishly illustrated almost completely in colour. Published for the centennial anniversary of the Julius Lowy Frame and Restoring Company, this comprises brief and rudimentary histories of the firm and its collection of antique frames, categorized by nationality and by style. Information is drawn from the principal current sources of frame history, summarized and simplified; the focus of the work is as a picture book. Lemka, Olaf, and Roberta Bartoli, Inscribed Frames from the 16th Century, Antike Rahmen und Antiquitäten, Berlin, no date but c.2005, 26pp, 22 colour illustrations. A delightful and illuminating booklet on Spanish and Italian frames of the 16th century, mainly of the cassetta type, where the flat frieze has been inscribed with a quotation (often Biblical), a prayer or memorial, which expands in some way on the painted image or otherwise addresses the spectator. Lodi, Roberto and Amedeo Montanari, Repertorio Della Cornice Europea: Italia, Francia, Spagna, Paesi Bassi: Dal Secolo XV al Secolo XX, Edizioni Galleria Roberto Lodi, Modena, 2003, 418pp, 830 colour illustrations and 830 profile drawings. European frames from Italy, France, Spain and the Low Countries from the 15th to the 20th century. Möller, Renate, Bilder- und Spiegelrahmen, Deutscher Kunstverlag, Munich and Berlin, 2001, 134pp, numerous colour illustrations of variable quality. A basic introduction to the history of picture and mirror frames. Schmitz, Tobias, Lexikon der europäischen Bilderrahmen, 272pp, 510 illustrations, published in German, orderable from the author: Schmitztobias@hotmail.com. Reviewed by Peter Schade, September 2003: This book is Tobias Schmitz's attempt to create a reference work for European picture frames from the Renaissance to the neo-classical period. He divides all frames into four types: Plattenrahmen (plate or casetta-frames), Profielrahmen (profile-frames) and Architektur und Ornamentrahmen (architectural and ornamental frames). Within these categories the frames are chronologically listed by country of origin. As in Paul Mitchell and Lynn Robert's A History of European Picture Frames, drawings are used to illustrate the text. The drawings are larger than in Mitchell's book but less clear. The profile drawings mostly seem exaggerated in height and some are speculative. The author does not seem to have had much exposure to the handling of picture frames. Instead, the content of the book is almost entirely based on the literature of recent times. Schmitz's lexicon is a work of much effort and personal commitment (it is published by the author). His concise style is suited to a dictionary. However, he fails to categorise the frames in a useful way. The book would provide a far clearer overview if, for instance, the more common and influential frame patterns were separated from the rarer ones. Melbourne Journal of Technical Studies in Art, vol.1, Frames, University of Melbourne Conservation Service, 1999, 156pp, 31 illustrations. This first volume of a handsome new periodical is largely devoted to Australian picture framing, with seven articles, listed below, three on Melbourne, one each on Sydney and Tasmania, and articles on the framing of J.M.W. Turner's watercolours and on the care of frames. Cant, Elizabeth, 'Entrepreneurship and Picture Frame Making in Nineteenth-Century Australia. Lawrence Cetta and the Quick Profit', The World of Antiques and Art, July-December 1999, pp.44-5. On the career of an Italian immigrant picture frame and looking glass maker in Sydney from 1843 to 1853. Cant, Elizabeth, 'Does Gideon Saint have the answer? Pattern books and picture frame making in 19th century Australia', Australiana, vol.21, November 1999, pp.117-20, 11 illustrations. On the possible influence of pattern books on Australian picture framemakers. Cant, Elizabeth, 'Gilded Sand and the Decoration of the Nineteenth-Century Australian Picture Frame', The World of Antiques and Art, December 1999-June 2000, pp.40-2, 5 figures plus diagrams. On the work of two 19th-century framemaking businesses in Melbourne. Crombie, Isobel, Angeletta Leggio and Holly McGowan-Jackson, 'Framing Nicholas Caire', ABV42: The Annual Journal of the National Gallery of Victoria, Art Bulletin of Victoria, 2002, pp.26-35, 4 colour illustrations, 1 profile diagram. On the reframing of an 1878 crystoleum, 'Fairy scene at the Landslip, Black's Spur' by the 19th-century photographer Nicholas Caire. The original adapted frame was copied, and its covering of red silk velvet imitated as closely as possible. Dredge, Paula, 'Sydney Trade Directories 1843-1932: Carvers, Gilders and Picture Framemakers', Melbourne Journal of Technical Studies in Art, vol.1, 1999, pp.49-80, 7 illustrations of framemakers' adverts and labels. A listing by decade of Sydney framemakers derived from trade directories. Espinoza, Ana Maria, 'A Framemaker of Colonial Melbourne: Isaac Whitehead c.1819-1881', Melbourne Journal of Technical Studies in Art, vol.1, 1999, pp.33-48, 12 line illustrations. A survey of the frames of the painter and framemaker, Isaac Whitehead. Fahy, Kevin, and Andrew Simpson, Australian Furniture: Pictorial History and Dictionary, 1788-1938, Casuarina Press, Woollahra, 1998. A beautifully illustrated survey, with a biographical dictionary [pp.18-138] of furniture makers, framemakers, including many carvers & gilders and framemakers, reproducing makers' labels and stamps; plates 292-316 reproduce picture, print, photograph and mirror frames from c.1835 to c.1920, in plain wood and gilt frames, many by known makers. Lane, Terence, Nineteenth Century Australian Art in the National Gallery of Victoria, National Gallery of Victoria, 2003. Includes a chapter on the evolution of the gallery, illustrated with images of the interior from various periods, showing frames and hangings. The paintings catalogued include twenty-one illustrated in their frames, of which ten have an identified maker; one is 19th-century French, and one 19th-century British in Egyptian style. Maddock, Hilary, 'Picture Framemakers in Melbourne c.1860-1930', Melbourne Journal of Technical Studies in Art, vol.1, 1999, pp.1-32. A listing by decade of Melbourne framemakers derived from trade directories; two firms, Whitehead's and Thallon's, led the framemaking trade in Melbourne; they are treated at more length elsewhere in this volume. Mulford, Therese, Tasmanian Framemakers, 1830-1930: a directory, Queen Victoria Museum and Art Gallery, Launceston, 1997, 127pp, numerous illustrations. Comprehensive work reproducing many frames, labels, moulds and advertisements. Newhouse, Claire, 'John Thallon 1848-1918', Melbourne Journal of Technical Studies in Art, vol.1, 1999, pp.81-98, 10 illustrations and 2 colour details on cover. Well-documented survey of the work of John Thallon, the leading Melbourne framemaker of the 1880s and 1890s, drawing on his framing account book of 1888-1903, surviving labelled frames and a range of other sources. Payne, John, Framing in the Nineteenth Century: Picture Frames 1837-1935, National Gallery of Victoria, 2007, 288pp, fully illustrated throughout in colour. A survey of 19th and early 20th century frames in the museum's collection, organized by the makers, of which there are 55. Fewer than half of these are Australian, but they include the prolific firm of John Thallon, whose frames in the collection span a period of almost fifty years. Many prominent British Victorian framemakers are also included (Chapman Bros, Dolman, Foord & Dickinson, W.A. Smith, Vokins, etc.). Each framed work is given a full colour image, a colour detail (cutting away to a line drawing of the profile), and, where it exists, a reproduction of the framemaker's label. The text comprises a technical summary and a brief commentary on the ornament, style, maker, history, etc. An extremely useful work, both as a history of the framemakers and as a visual pattern book for the age. The layout and design are exemplary. BY COUNTRY: BRITAIN AND IRELAND Aidin, Rose, 'Frame, Set and Match', Art Review, vol.53, April 2001, pp.62-5, 9 illustrations. An interview with the leading framemaker, John Jones, who has worked with Francis Bacon and Paula Rego. Belsey, Hugh, 'Joshua Reynolds's Portrait of Mrs Walsingham', Georgian Group Journal, vol.9, 1999, pp.26-32. On Reynolds's portrait of Mrs Walsingham in its papier-mâché frame, publishing her correspondence with her father in May and June 1758 about choosing the frame: 'I have order'd a Famous Frame Maker to meet me at Reynolds's on Tuesday'; 'The Picture is to be 20 Guineas & the Frame 4 Guineas I own I think the Frame very reasonable, for I believe it will be very pretty. I saw some Models yesterday & bespoke one that I think very handsome.' Bronkhurst, Judith, 'William Holman Hunt's visits to Egypt', Apollo, vol.148, November 1998, pp.23-29. On a frame of c.1861, designed by the artist, with decorative details copied from Owen Jones's The Grammar of Ornament, 1856. Bronkhurst, Judith, William Holman Hunt: A Catalogue Raisonné, Yale University Press, New Haven and London, 2006, 2 vols, with a very well illustrated appendix, 'Frames designed or partially designed by William Holman Hunt', vol.2, pp.295-344. This comprises a short essay on Hunt's frames, a glossary of frame terms and a brief descriptive and historical catalogue entry for each of the 53 illustrated framed paintings. Further references to frames can be found in the main catalogue, and are noted in the 'Index of Works', including entries for frame designs on p. 361under 'ornamental designs'. Framemakers are included in the General Index. Brothers, Hazel, 'Framing the Shibden Hall Portraits: A commission fulfilled by Anne Lister during an awkward stay in London 1833', Transactions of the Halifax Antiquarian Society, vol.4, 1996, pp.111-25. A charming insight into the realities of having your portraits framed - by Millbourne & Sons, no. 195 Strand, described in the Dictionary of English Furniture Makers as James Milbourne, jnr. Cannon-Brookes, Peter, 'Picture Framing I: English Picture Frames in Three London Exhibitions, II: Leighton at the Royal Academy', Museum Management and Curatorship, vol.15, 1996, pp.218-25. Short reviews of Dynasties: Painting in Tudor and Jacobean Britain (Tate Gallery), In Trust for the Nation: Paintings from National Trust Houses (National Gallery), Richard & Maria Cosway (National Portrait Gallery) and Lord Leighton (Royal Academy. Cannon-Brookes, Peter, 'Picture Framing: A Conversation Piece by Gawen Hamilton and its Frame', Museum Management and Curatorship, vol.17, no. 4, 1998, pp.442-4, 1 figure. On a rediscovered family portrait, now in the Tate Gallery, painted to mark a wedding in 1734, and set in an 18th-century rococo frame ornamented with armorial bearings of the Bohem and Du Cane families. Cannon-Brookes, Peter, 'Elias Ashmole, Grinling Gibbons and Three Picture Frames', Museum Management and Curatorship, vol.18, no. 2, 1999, pp.183-9, 3 figures. On the history of frames carved by Gibbons or his workshop in the 1680s for portraits of Ashmole, Charles II and James II in the Ashmolean Museum, Oxford. Clark, Mary, '"A Principal Ornament for the Mayoralty House": A Portrait by Joshua Reynolds', Irish Arts Review, vol.15, 1999, pp.154-6. On Reynolds's 2nd Earl of Northumberland, 1766, in the Mansion House, Dublin, with its splendid rococo frame attributed to the Dublin woodcarver, Richard Cranfield. Crook, Jo and Jacqueline Ridge, 'The Process and Materials of Paintings by Howard Hodgkin', in Nicholas Serota (ed), Howard Hodgkin, exh. cat., Tate Publishing, 2006, pp.161-71. To avoid misunderstanding as to the role of his painted frames, Hodgkin's practice in recent years has been to stamp the reverse of his paintings, using an ink-pad stamp stating, 'THE FRAME IS PART OF THE PAINTING'. A second stamp reads, 'THIS PICTURE SHOULD NEVER BE VARNISHED'. Crookshank, Anne, and the Knight of Glin, 'Reflections on some 18th Century Dublin Carvers', in Terence Reeves-Smyth and Richard Oram (eds), Avenues to the Past: Essays Presented to Sir Charles Brett on his 75th Year, Belfast, 2003, pp.49-66, 18 illustrations. On the seminal figures for Irish carving of the Huguenot, James Tabary, and Edward Pierce's apprentice, William Kidwell, and examines dynasties of Dublin carvers, and the use of wood carving by Irish architects. Various examples of decorative carving are illustrated and documented, including John Houghton's looking-glass frames, and his trophy frames for portraits of Jonathan Swift and George II. The work of John Kelly is also discussed. Curry, David, James MacNeill Whistler: Uneasy Pieces, University of Virginia Press, 2004, especially pp.206-7. A series of linked essays 'exploring the intersection of Whistler's determined aestheticism with the commercial art world'. Whistler frames with blue painted decoration over gilded are juxtaposed to 16th and 17th-century Italian frames. Foord & Dickinson's Whistler designed frame on The Gold Scab: Eruption in Frilthy Lucre, 1879, was originally intended for The Three Girls, c.1876, commissioned by Frederick Richards Leyland. As altered, it forms a savage portrait caricature of his former patron, painted with notes from Schubert's Moments Musicaux at the centre of the gilded flat on one side. In his 1883 exhibition of etchings at the Fine Art Society, Arrangements in White and Yellow, he used frames which were 'white, plain, square in section with two light brown lines as their only relief'. Doran, Victoria, 'Frith's frames and the business of frame-making', in William Powell Frith: Painting the Victorian Age, Guildhall Art Gallery, London, 2006, pp.157-60, 4 colour illustrations. Gilbert, Christopher, Pictorial Dictionary of Marked London Furniture 1700-1840, Furniture History Society and W.S. Maney & Sons Ltd, 1996, 502pp. Some seventy-five labelled picture, print and mirror frames and framemakers' labels are reproduced. Graham-Dixon, Andrew, 'Revealing neurosis of art at the edge', The Independent, 5 April 1999, p. 7, originally published in the same newspaper, 5 April 1988. Andrew Graham-Dixon talks to the artist Howard Hodgkin about where the painting stops, referring to the work of Dürer, Degas and, of course, Hodgkin himself and his attitude to framing. Hackney, Stephen, Rica Jones and Joyce Townsend (eds), Paint and Purpose. A study of technique in British Art, Tate Gallery Publishing, 1999. An excellent series of case studies of British paintings ranging in date from 1594 to 1958; frames are peripheral to the main subject but are reproduced and briefly discussed on works by John Michael Wright, Holman Hunt, Watts and Whistler. What is more, an illuminating letter to the Tate Gallery, 28 June 1979, in which Ben Nicholson set out his attitude to framing is quoted: I have considered the frame which surrounds a work of mine as a vital part of its presentation. Therefore, I have always seen to the framing of my work myself . . . 1. Frames should be made of natural wood with little graining and of a colour which is not too hot, nor too yellow, and which is not stained or varnished. 2. The corners of the frame should not be mitred diagonally. The four sides should abutt each other, aligned so that the top side extends over the left side vertical and that the right-side vertical rises so as to extend over the side of the top lateral. Similarly, the left-side vertical is to extend across the end of the bottom lateral while the bottom lateral is to extend across the end of the right-side vertical. Harrison, Colin, 'An Exhibition at the Oxford Town Hall in 1854', The Ashmolean, no. 47, Summer 2004, pp.12-13, 2 colour illustrations. On a watercolour by George Pyne, recently acquired by the Ashmolean Museum, depicting works by Millais, Holman Hunt and Charles Collins hanging in the Town Hall exhibition in 1854. Pyne's accurate reproduction of the paintings includes the original frames which can still be seen on Millais's Return of the Dove to the Ark and Collins's Convent Thoughts (both frames designed by Millais), and on Millais's James Wyatt and his Granddaughter. Wyatt, who probably put the exhibition together, was not only 'the leading picture dealer in Oxford' but also a framemaker, who had worked for J.M.W. Turner. Hickey, Dave, 'The rules of the frame', Tate, Tate Gallery, Summer 2000, pp.38-41, 5 figures. On an exhibition of J.M.W. Turner's works with their frames removed, at Tate Liverpool, 2000; the author describes his similar exhibition of sixty unframed works from the 17th to the 20th century at the Dallas Museum of Art in the 1990s. Houliston, Laura, 'Frame Making in Edinburgh 1790-1830', Regional Furniture, vol.13, 1999, pp.58-77, 6 illustrations. An excellent survey of framemaking and leading Scottish framemakers in the period 1790-1830 with particular reference to their work for the three leading portraitists of the time, David Martin, Henry Raeburn and Archibald Skirving, and an appendix of Edinburgh makers of the period derived from trade directories. Houliston, Laura, see Raeburn's Rival, Archibald Skirving 1749-1819: a Review of the Frames Mitchell, Paul, and Lynn Roberts, 'Notes on Turner's Picture Frames', Museum Management and Curatorship, vol.17, 1998 (so dated but published 2000), pp.324-33, 2 illustrations. A survey of surviving original frames on Turner's work and of his attitude to framing, with a discussion of the framing of his work by the National Gallery, notably by John Ruskin, and a note on Turner's framemakers. A shorter version published as 'Frames', in Evelyn Joll, Martin Butlin and Luke Herrmann (eds), The Oxford Companion to J.M.W. Turner, Oxford University Press, 2001, pp.113-14, 1 illustration. Mitchell, Paul, and Lynn Roberts, 'Burne-Jones's picture frames', Burlington Magazine, vol.141, 2000, pp.362-70, 15 illustrations. A survey of the various frames designed or employed by Burne-Jones during his career. Mitchell, Paul, and Lynn Roberts, 'Stubbs's frames', pp.84-9, 4 colour illustrations, in Judy Egerton, George Stubbs, Painter: Catalogue Raisonné, Yale University Press, 2007. A short study of the styles of frame used by Stubbs and his more important patrons, including Josiah Wedgwood and the Prince of Wales. Also included are details, insofar as they are known, of his framemakers, frame prices, and Stubbs's recorded opinions on framing. Murdoch, Tessa, 'Jean, René and Thomas Pelletier, a Huguenot family of carvers and gilders in England 1682-1726', Burlington Magazine, vol.139, 1997, pp.732-42, 7 illustrations of picture frames. On richly carved frames by the Pelletiers, c.1689-1709, mainly at Boughton House, and the wider context. Murdoch, Tessa, 'The king's cabinet-maker: the giltwood furniture of James Moore the Elder', Burlington Magazine, vol.145, 2003, pp.408-20, 21 illustrations. A detailed essay on the work of George I's cabinet-maker, who also furnished the houses of the Dukes of Montagu, Marlborough, Chandos, Buccleuch, Grafton and Manchester, and was in partnership with the looking-glass maker, John Gumley. The picture frames produced by the pair are discussed and illustrated, and the possiblity suggested that Moore, rather than Kent, may have originated the eared frame in Britain. Murdoch, Tessa, 'A French Carver at Norfolk House: The Mysterious Mr Cuenot', Apollo, vol.163, June 2006, pp.36, 54-63, 11 illustrations. On the carver Jean Antoine Cuenot, who worked for the Duke of Norfolk at Norfolk House in the 1750s, most notably on the Music Room, now installed in the V & A. As well as decorative carving and furniture Cuenot also produced looking-glass and picture frames (now mainly in Arundel Castle). Penny, Nicholas, 'Exhibition Reviews: Italian art in the Royal Collection', Burlington Magazine, vol.149, November 2007, pp.795-8, 8 illustrations. This exhibition review devotes two paragraphs to the types of frames on these 16th and 17th-century paintings (with 2 illustrations). The history of the Royal Collection means that frames from the 17th to the 19th centuries survive, including later adaptations of George III's 'Maratta' frames. See also the catalogue of the exhibition itself by Lucy Whitaker and Martin Clayton, The Art of Italy in the Royal Collection: Renaissance and Baroque, 2007. The introduction to the latter includes (pp.25-6) a brief discussion of historic frames in the Collection, such as the blue-and-gold Mantuan frames recorded upon some of Charles I's purchases. Roberts, Lynn, see Philip de Laszlo and picture framing Roberts, Lynn, see Framing References in Rossetti's Correspondence Roberts, Lynn, see Whistler's Correspondence Scott, Peter Kennedy, A romantic look at Norwich School landscapes by a handful of great little masters, Acer Art, Ipswich, 1998, pp.95-104. Reproducing four labels and four frames in colour in a chapter on framing the work of the Norwich School. Shinn, Masako H., 'Mortimer Luddinton Menpes: A Japanophile
in Victorian England', Apollo, vol.154, November 2001,
pp.13-20, 12 colour illustrations. Two pages and three illustrations
are devoted to the distinctive Japanese frames designed by Menpes
for his work. Simon, Jacob, Thomas Johnson's The Life of the Author, Furniture History Society 2003 (also published in Furniture History, vol.39, 2003), 64 pp, 13 black and white illustrations. Simon, Jacob, see Gainsborough and Picture Framing Simon, Jacob, see A note on George Romney and picture framing Simon, Jacob, see John Singer Sargent's frames Simon, Jacob, see Martha Somerville Simon, Jacob, see Framing in Reign of Charles II Sloan, Kim, J.M.W. Turner. Watercolours from the R.W. Lloyd Bequest to the British Museum, exh. cat., 1998, pp.2, 19-21, 60, 88. With an account of the framing of Lloyd's watercolours by Agnew's in the 1910s. Townsend, Joyce H., Jacqueline Ridge and Stephen Hackney, Pre-Raphaelite Painting Techniques, Tate Publishing, London, 2004, 208pp, fully illustrated mainly in colour. The chapter on 'Pre-Raphaelite Methods and Materials' includes a two-page discussion of frames; the appendix lists in tabular form brief details of the frames and their makers belonging to thirty-four important Pre-Raphaelite works. The section on the paintings reproduces many works in their frames, and provides summary information on history, maker, design and construction. Townsend, Joyce H. (ed.), William Blake: The Painter at Work, Tate Publishing, Tate, 2003, 192pp, 145 illustrations mainly in colour. The chapter on 'The Presentation of Blake's Paintings', by Joyce Townsend, Robin Hamlyn and John Anderson, discusses the evidence for the mounting and framing of Blake's work by the artist or his patrons. A summary of 20th-century methods of displaying Blake's work in the Tate Gallery follows, concluding with the most recent hang in the 2000 exhibition William Blake, in revival neo-classical 'close' frames. van Breda, Cobus, 'J.M.W. Turner: At the Watercolour's Edge', Melbourne Journal of Technical Studies in Art, vol.1, 1999, pp.137-46, 2 illustrations. Documents Turner's preference for close framing his watercolours in gilt frames, and discusses Ruskin's approach and the subsequent rise in the use of white mounts. van der Ploeg, Peter and Carola Vermeeren, Princely Patrons. The Collection of Frederick Henry of Orange and Amalia of Solms in The Hague, exh. cat., Mauritshuis, The Hague, and Waanders Publishers, Zwolle, 1997, pp.164-9. On a marvellous set of twelve 'beauties' from the court of Charles I, perhaps dating to the early 1640s, all in matching English auricular frames of the period. Wendorf, Richard, 'Framing Rossetti', in Studies in British Art: 15: After Sir Joshua: Essays on British Art and Cultural History, Yale University Press, 2005, pp.77-107, 10 illustrations. A discussion of Rossetti's use of the frames he designed, not only to extend the visual boundaries of the work of art beyond the edge of the painting, but to comment upon, explain, and even to determine the interpretation of many of his subjects through inscriptions (from Dante, etc) and through his own sonnets engraved on the frame. Whitehead, Angus, 'The Arlington Court Picture: A surviving example of William Blake's framing practice', The British Art Journal, vol.8, no.1, 2007, pp.30-33, 4 illustrations. Details the discovery in 1949 of an 1821 watercolour by William Blake, in a contemporary frame, period glazing, and with the label of James Linnell, 'Blake's framer', on the back, suggesting that this might be a surviving instance of a Blake painting in its original frame. The evidence adduced is tenuous, and the footnotes less optimistic than the title in that there is little to show of Blake's own involvement; however, it is a contemporary setting by the framemaker father of Blake's friend, John Linnell. Wiggins, Arnold, & Sons, four modest but attractive fold-out card publications from this firm, also available online at Arnold Wiggins & Sons
BY
COUNTRY: FLEMISH Verougstraete, Hélène and Roger Van Schoute, 'Frames and supports in Campin's Time', in Susan Foister and Susie Nash (eds), Robert Campin. New Directions in Scholarship, 1996, pp.87-93. Verougstraete, Hélène and Roger Van Schoute, 'The Origin and Significance of Marbling and Monochrome Paint Layers on Frames and Supports in Netherlandish Painting of the Fifteenth and Sixteenth Centuries', in Ashok Roy and Perry Smith (eds.), Painting Techniques, History, Materials and Studio Practice, International Institute for Conservation on the occasion of the Dublin Congress, September 1998, pp.98-100. Examines painted layers on the frames and backs of panel paintings of this period, linking marbled finishes to marbled papers imported from the Near and Far East, noting how such paintings were stored or displayed so that the reverse might be seen, and describing colour fashions in monochrome finishes, which might carry later gold lettering, coats of arms or donor portraits. Verougstraete, Hélène and Roger Van Schoute, 'Frames and Supports of Some Eyckian Paintings', in Susan Foister, Sue Jones and Delphine Cool (eds.), Investigating Jan Van Eyck, Turnhout, Belgium, 2000, pp.107-17, 6 figures. A detailed examination of the construction, mouldings and decoration of frames on portraits and altarpieces by Van Eyck. Wadum, Jorgen, 'Historical Overview of Panel-Making Techniques in the Northern Countries', in Kathleen Dardes and Andrea Rothe (eds.), The Structural Conservation of Panel Paintings, proceedings of a symposium at the J. Paul Getty Museum, 24-28 April 1995, The Getty Conservation Institute, Los Angeles, 1998, pp.149-77. With a section on the construction and fitting of early Antwerp frames, including good illustrations. Wadum, Jorgen, 'The Antwerp Brand on Paintings on Panel',
in Erma Hermens (ed.), Looking Through Paintings, Leids
Kunsthistorisch Jaarboek, vol.11, 1998, pp.179-98. Primarily
concerning panel paintings; however the rules of the Antwerp
Joiners' Guild from 1617 specify that 'every joiner is obliged
to impress his mark on frames and panels made by him'. The use
of such a mark on picture frames of the period is described in
another paper by Wadum, 'The Winter Room at Rosenborg Castle',
Apollo, vol.128, 1988, pp.82-7. Callen, Anthea, The Art of Impressionism: Painting technique and the making of modernity, Yale University Press, New Haven and London, 2000, 245pp, 281 colour illustrations. The chapter, 'Framing the Debate', discusses in detail the frames used by the Impressionists themselves, and by their dealers, patrons and collectors. The historical context and contemporary academic practice are set out, and well-known quotations included from the work of artists, critics and journalists, supported by reference to less familiar comments from other sources. The chapter is divided into sections covering innovatory designs, temporary 'painting frames', painting distance and the frame, gallery installation, lighting and the effect of the female consumer on presentation, and varnishes, tinted waxes and glass as modifiers with the frame of the artwork. With full endnotes, and a helpful bibliography. Harden, Edgar, 'Claude et les quatre Louis' Dossier de l'Art, no. 58, June 1999, pp.64-7. Reproducing four early views of Claude Monet's studio and discussing Monet's use of fine old frames for his pictures, especially those in the Louis XVI style. Harden, Edgar, see Framemakers of 18th-century Paris Medlam, Sarah, 'Callet's Portrait of Louis XVI: A Picture Frame as Diplomatic Tool', Furniture History, vol.33, 2007, pp.143-54, concerning the elaborate frame with royal coat of arms made by François-Charles Buteux for ambassadorial use in 1783 to house Antoine-François Callet's portrait of Louis XVI, formerly at Powderham Castle, Devon, and now at Waddesdon Manor, and related frames in other collections. Penny, Nicholas, see Portraits by Ingres Raurich, Gérard and Françoise Coffrant, Encadrements d'artistes, Éditions Fleurus, Paris, 1998, 124 pp, numerous colour illustrations. The gimmicky side of recent French frames, as chosen by a string of minor artists, with a few interesting illustrations of earlier frames, mainly French late 19th and early 20th century. Siefert, Helge, Claude-Joseph Vernet 1714-1789, exh. cat., Neue Pinakothek, Munich, 1997, pp.32-4, 85-7. A section of the catalogue is devoted to the frames on Vernet's work, eight of which are reproduced; four frames have the stamp of E.L. INFROIT. It is worth noting that Vernet preferred straight sided frames in the Roman taste to the curves and ornaments of the baroque. See also Philip Conisbee's review of Siefert's catalogue in the Burlington Magazine, vol.139, 1997, pp.567-8. Wiggins, Arnold, & Sons, Frame estampillé P.F. Milet, fold-out card, no date but 2005. Illustrates a French frame of c. 1770, with a note on the Académie de Saint-Luc and the guilds of sculpteurs & menuisiers-ébénistes, also available online at Arnold Wiggins & Sons Wildenstein, Daniel, Gauguin: A Savage in the
Making (Catalogue Raisonné of the Paintings 1873-1888),
Skira/Wildenstein Institute, vol.1, 2002, pp.112, 180. Brief
essays, 'Gauguin and the modern frame' and 'The decorated frame'
with illustration, and other scattered references to Gauguin's
views on framing. von Roenne, Bettina, Ein Architekt rahmt Bilder: Karl Friedrich Schinkel und die Berliner Gemäldegalerie, exh. cat., Gemäldegalerie, Berlin, 2007, 144pp, numerous illustrations, mostly in colour. Published to coincide with an exhibition of picture frames designed by the 19th-century German architect, Karl Friedrich Schinkel, with chapters on Schinkel as a picture designer, his work for what is now the Berliner Gemäldegalerie, and on the nature of his picture framing materials. The catalogue reproduces numerous frames, preparatory drawings and interior gallery views. It includes about a third of the 600 or so frames which Schinkel designed between 1827 and 1830 as 'livery frames' for the museum which he had built, predominantly for Old Masters, and concludes with a small section devoted to his earlier and later activities in designing picture frames for other collections, mainly for paintings by contemporary artists. Spindler, Sabine, Bilderrahmen des Klassizismus und
der Romantik 1780-1850, Spindlerfinearts, 2007, 168pp, c.200
mainly colour illustrations. A study, organized by style, of
German frames from the late 18th to the mid-19th century, including
neo-classical, Biedermeier, and revivals of Gothic and Baroque
patterns. Austrian and provincial frames are included. Each chapter
comprises an essay on the particular style, richly illustrated
with images of (usually empty) frames, ornamental details, and
line drawings of the profiles. Occasional reproductions of interior
hangings, contemporary engravings, and framed works in different
media set the discussions in a wider context. A list of important
German carvers, gilders, cabinetmakers and ebonists of the period
is appended. BY
COUNTRY: ITALY Adams, Lorraine, 'Restoration leads to Historical Reunion', The Washington Post, 24 October 2002. On a large Italian Renaissance two-tier polyptych frame made in about 1490 for the church of Santa Maria delle Grazie at Cortemaggiore in Emilia-Romagna, acquired by the Victoria and Albert Museum in 1884, subsequently purchased by Paul Levi, now restored by William Adair and, after much detective work, generously donated to its original home where it has been reunited with the original paintings by Filippo Mazuoli from the National Museum in Parma. Baker, Christopher, 'Filippo Lauri's Rape of Europa', Apollo, vol.150, June 1999, pp.19-24. On a fan of the early 1690s by Filippo Lauri and its flamboyant contemporary Roman frame of flowers and scrolling acanthus leaves. Bustin, Mary, 'Recalling the Past: Evidence for the Original Construction of Madonna Enthroned with Saints and Angels by Agnolo Gaddi', Conservation Research 1996/1997, Studies in the History of Art, National Gallery of Art, Washington, vol.57, 1997, pp.35-60, 26 illustrations. On the construction of a Florentine triptych by Gaddi of c.1380-90, and the reconstruction of missing elements of the framing. Callmann, Ellen, 'William Blundell Spence and the transformation of renaissance cassoni', Burlington Magazine, vol.141, June 1999, pp.338-48. A pioneering study of a group of new or 'improved' renaissance-style chests or cassoni, made in Florence in the mid-19th century, but 'framing' genuine 15th-century Florentine cassoni paintings; an original chest in the Metropolitan Museum, New York, is contrasted with later examples in various museums and private collections; dealers including William Blundell Spence, Stefano Bardini and Elia Volpi employed Florentine furniture makers such as Antonio Ponziani and Luigi Frullini to make neo-renaissance furniture. Cannon-Brookes, Peter, 'Picture Framing: A Framed Portrait from the Roman Empire', Museum Management and Curatorship, vol.16, 1997, pp.312-4. On a tempera on panel portrait of a woman in its original frame, c. AD 50-70, from Roman Egypt. Cecchi, Alessandro, 'The conservation of Antonio and Piero del Pollaiuolo's altar-piece for the Cardinal of Portugal's chapel', Burlington Magazine, vol.141, 1999, pp.81-5, figs. 9, 13, 15. On the frame of this altarpiece in the Uffizi, attributed to Giuliano da Maiano and his brother Benedetto on the basis of style and of payments to the brothers for carpentry work in 1466-7. Christie's, Old Master Drawings & Paintings, sale catalogue, Milan 22 May 2007, lot 75, Alessandro Marchesini (Verona 1664-1738), a pair of canvases, The Sacrifice of Iphigenia (Iphigenia in Aulis) and Iphigenia in Taurus, from the Baglioni collection. The commentary on these paintings by Marchesini is illustrated with the artist's design for a frame and with quotes from his letters, in which he states that he has painted a pendant to a Solimena for Baglioni, 'and by means of the carving and gilding [of the frame] have made something very beautiful'. He suggests the same frame for four paintings in the collection of Stefano Conti, and in another letter sends him the design illustrated, 'a little drawing (in my own hand), with the profile'. The pattern is a striking Venetian panel frame, with carved floral corners and centres and mirrored reposes; the letters linking the drawing with frames in the Baglioni and Conti collections are rare and valuable. Franklin, David and Louis Alexander Waldman, 'Two late altarpieces by Bachiacca', Apollo, vol.154, August 2001, pp.30-5, 9 illustrations. On Bachiacca's Baptism of Christ of 1543 in Buggiano, still in its magnificent original frame, for which some documentation exists. Gittins, Estelle, The Development of Frame Design in Early Renaissance Venice c. 1460-1510, MA dissertation, St Andrews University, 1999, 66pp, bibliography, etc, 64 figures. On the frames of this period and their social and historical context, with reference to developments in fine and applied arts, and the influence of patronage; considers workshop practices, changes in design, ornamentation and finish, and ends with an assessment of the Vendramin collection. González-Palacios, Alvar, 'Daguerre, Lignereux and the king of Naples's Cabinet at Caserta', Burlington Magazine, vol.145, 2003, pp.431-42, 15 illustrations. A fascinating exposition of the partnership between Dominique Dageurre, marchand-mercier in late18th-century Paris, and the ébéniste Martin-Elroy Lignereux. Daguerre was patronized by the courts of pre-revolutionary France, England and Russia, and the governors of the Austrian Netherlands, by whom he and his partner were introduced to King Ferdinand IV of Naples. The article tracks the furniture they provided for the king's Cabinet in the Royal Palace, Caserta, newly decorated in the neo-classical taste; it also discusses and illustrates one of the seven gilt bronze picture frames, designed by Carlo Vanvitelli for landscapes by the German Phillipp Hackert, a favourite of Ferdinand IV. Higgott, Susan, 'Sir Richard Wallace's maiolica: Sources and display', Journal of the History of Collections, vol.15, no.1, 2003, pp.59-82, 10 illustrations. Describes how Wallace's collection of maiolica was formed in the 19th century; gives a chronological survey of how and when maiolica pieces were framed, with a possible precedent in birth trays; and details the practice in separate centuries, from the 16th to the 19th. Such frames are difficult to date, as there is no means of ascertaining whether a frame was applied when the maiolica was manufactured, or later in the 16th century when it may have been damaged, or by a 17th, 18th or 19th-century collector. The article notes how frame labels may help elucidate provenance, and how frames and maiolica pieces in the Wallace Collection are being reunited to replicate the displays of Sir Richard Wallace's day. Mosco, Marilena, 'Two Important Crosten Frames for Two Unpublished Paintings by Bartolomeo Bimbi', DecArt, no.1, March 2004, pp.8-15, 8 illustrations. Discusses two large flower paintings by Bimbi, now in the Accademia del Disegno, Florence, but originally in the Villa di Castello where Cosimo III de' Medici kept his collection of floral art. Both are set in ornately carved frames, identified in an inventory of 1700 as by 'Vettorio', or the Dutch carver Vittorio Crosten, who worked for Cosimo's court from 1663, producing frames and boiseries. Each frame is composed as a three-dimensional garland reflecting the flowers in the image it houses, and is finished with varied tones of gilding to complement the internal chiaroscuro. Mosco, Marilena, Cornici dei Medici: La fantasia barocca al servizio del potere. Medici frames: Baroque Caprice for the Medici Princes, Mauro Pagliai, 2007, 272pp., illustrated in colour, with accompanying English translation. Marilena Mosco's most recent and fullest study of the so-called 'Medici' frames, and the development in Florence of a regional version of the Auricular style which produced them. The work of the great Mannerist designers, from Ammannati to Stefano della Bella, is discussed and illustrated, along with that of the artists who also designed the frames, and the carvers and gilders employed by the Medici. Norman, Geraldine, 'In the Frame', Hermitage Magazine, no. 1, Summer 2003. pp.8-9, 3 colour illustrations. On the reunion of Titian's Penitent Magdalene with the newly restored frame in which Nicholas I purchased it in 1850 with pictures from the Barbarigo collection in Venice. It is a stunning Mannerist confection with capitals supported by high relief naked male figures, the crest and apron similarly decorated with naked, chained male figures, all of which are said to be captive Turks commemorating the early 17th century Venetian wars with Turkey. O'Malley, Michael, The Business of Art: Contracts and the Commissioning Process in Renaissance Italy, Yale University Press, New Haven & London, 2005, 358pp, copiously illustrated. With chapters on materials and production, including 'Carved Altarpiece Woodwork', 'Gold Leaf, Blue Pigments and Other Colours', 'Production Procedures', and 'Contract Drawings'. The chapter on woodwork contains explanations of contemporary terms in use ('alla grecha' for a Gothic altarpiece; 'ornamento' for the carved architectural framework or surround), and a discussion of the relative responsibilities and payment of carver or painter under various surviving contracts. The discussion on the finish of frames notes the use of 'fine' or 24-carat gold for altarpiece frames (often applied in the painter's workshop), and how, with a complex frame, its cost might eat into an artist's fees (as with Leonardo's Virgin of the Rocks and its frame by Giacomo del Maino); silver leaf might also be used. 'Production Procedures' covers preparation, gilding, painting, installation and maintenance. Changing costs and prices are also examined, and the contractual requirements for the decoration and finish of the framework. 'Contract Drawings' discusses and illustrates the designs which were submitted as part of the contract, often highly detailed and including measurements of frame elements. The finished appearance of half the frame would generally be indicated, or, where both halves of the frame were depicted, this would offer the client a choice of decoration. A dozen designs for altarpieces with their frames are illustrated. Penny, Nicholas, 'The Study and Imitation of Old Picture-Frames', Burlington Magazine, vol.140, 1998, pp.375-82, and letter, vol.141, 1999, p. 354. A thought-provoking and discursive article, chiefly devoted to the study of Italian renaissance and revival frames but touching more generally on recent literature on the history of framing. Plazotta, Carol, et al., 'The Madonna di Loretto: An Altarpiece by Perugino for Santa Maria dei Servi, Perugia', National Gallery Technical Bulletin, vol.12, 2006, pp.72-95. Reproducing the original frame, of simple tabernacle form, supplied by Perugino for this altarpiece in 1507, and listing in an appendix other works where the artist was responsible for supplying the frame. Simon, Jacob, see Framing Italian Renaissance Paintings at the National Gallery, London Wardropper, Ian, 'A Silver Relief of the Crucifixion
of St Peter by Luigi Valadier', The Sculpture Journal,
vol.4, 2000, pp.79-84. A study of Valadier's neo-classical metal
frames for his sculptural reliefs. Baija, Hubert, 'Een nieuwe lijst voor de Heilige Maagschap', Bulletin Van Het Rijksmuseum, Amsterdam, vol.51, no. 2, 2003, pp.139-44, 8 illustrations, 2 profile diagrams. Discusses the new frame made at the Rijksmuseum for the painting by Geertgen tot Sint Jans, with simple flat profile and inner gold rainsill moulding. Various previous frames are also illustrated, from the picture's appearance in a watercolour of 1838 by Gerrit Lamberts, through its later 19th-century frame with deep rainsill and colonettes, to a 20th-century neo-gothic frame. Joosten, Joop M., 'Framing Mondrian', unpublished paper given at the symposium, Modern Art in the Laboratory Technical Examination and Art Historical Implications, held at Harvard University, Cambridge, Mass., USA, on 5 May 2001, and reviewed in Conservation News, no. 76, November 2001, p. 47. The review describes Joosten's detailed exposition of Mondrian's framing processes throughout his career. Wheelock, Arthur K., 'The Framing of a Vermeer', in Volker Manuth and Axel Rüger (eds), Collected Opinions: Essays on Netherlandish Art In Honour of Alfred Bader, Paul Holberton publishing, London, 2004, pp.232-39. On the use of cases as a setting for Dutch 17th-century paintings. Vermeer's Woman holding a Balance (National Gallery of Art, Washington DC) was the only one of 26 works in an Amsterdam 1696 sale catalogue to be described as 'in a box'. In an exhibition of the work of Gerrit Dou held in a private house in Leiden in 1665, 22 out of 27 works were in cases. Such cases required the viewer to come close to the work to open the case doors, so establishing the viewer's position in relationship to the painting. The presentation and viewing of the work of other artists is discussed. Lysenko, O.A., To Dress a Picture: Art and
Frames in Russia from the Eighteenth to the Early Twentieth Centuries,
State Russian Museum, St Petersburg, Palace Editions, 2005, 167pp,
103 colour illustrations. (text in Russian; a separate German
text-only translation is available). Produced to accompany the
first exhibition of picture frames to be held in Russia; it comprises
an introduction, chapters on each of the four centuries covered,
a catalogue including details of the frames, frame makers' stamps
and labels, a glossary and frame sections. Some of the frames
are made from bronze, silver or rare woods. García, Francisco Herrera, 'En los Márgenes del Cuadro: El Marco en la Sevilla Barroca', pp.109-27, in Domingo Martínez: en la Estela de Murillo, exh. cat., Centro Cultural el Monte, Seville, 2004. On picture frames in the Baroque style in Seville from the late sixteenth to the mid-eighteenth century, with 10 illustrations; there are other colour illustrations of framed paintings distributed through the catalogue. The essay applies a quotation from Ortega y Gasset's meditation on frames, that a painting without a frame is like a man despoiled of his clothes, to some of the most striking examples of Baroque carving in Seville; it includes details of some carvers and gilders, notably Jose Fernando Medinilla, and the price of their work. The catalogue also contains a 1751 inventory of Martínez's possessions, including frames. Tiemblo, María Pía Timón, Coleccion Cano de P.E.A., El Marco Espanol en la Historia del Arte. The Spanish Frame in the History of Art, P.E.A., S.A., Madrid, no date, 1998 or 1999, 109pp, 85 colour illustrations, 46 frame sections. A useful well-illustrated survey of Spanish frames, published by the Madrid frame firm P.E.A. in Spanish with an English translation, and based on the collection of the Cano frame workshop, founded in 1907 and acquired by P.E.A. in 1994. The introduction reproduces eight frames made by the Cano workshops for the Prado museum including those on works by Raphael, Titian, Velazquez, Zurburan and Goya. A short section of illustrations reproducing decorative techniques is followed by corner details and sections of 46 frames in current production, ranging from mediaeval to 19th-century models. Tiemblo, María Pía Timón, El marco en España: del mundo romano al inicio del modernismo, Humanes, Publicaciones Europeas de Arte, Madrid, 2002, 394pp. A substantial illustrated survey of Spanish frames, albeit with rather inadequate illustrations. BY
COUNTRY: SWEDEN Sotheby's, Old Master Paintings from the collection
of Gustav Adolf Sparre (1746-1794), sale catalogue, London,
5 December 2007. Each lot in this sale is, unusually, illustrated
with a coloured thumbnail of the painting in its frame, underlining
the coherence of this collection made in the late 18th century
by a Swedish aristocrat and connoisseur, which was framed for
him mainly in four types of neo-classical Gustavian carved giltwood
frames. The design of these may be attributable to the Swedish
court architect Jean Eric Rehn; their execution possibly to the
sculptor Gustaf Johan Fast. Where earlier frames (17th-century
Italian; a French Chérinesque design) survive, they were
regilded to blend in with the collection. Adair, William B., 'The American Empire Frame', Picture Framing Magazine, vol.10, August 1999, pp.108-17, 20 illustrations. Fully illustrated account of the conservation and reproduction of a neo-classical frame made for the North Carolina state capitol building by Horton & Waller of Philadelphia in 1841 to house a lithograph, 'Canova's Statue of General George Washington'. Adair, William B., 'Max Kuehne Frames', Picture Framing Magazine, vol.12, May 2001, pp.56-62, 6 colour illustrations. Summary discussion of the life and work of Max Kuehne (1880-1968), a leading American craftsman framemaker. Barry, Claire M., 'Swimming by Thomas Eakins: Its Construction, Condition, and Restoration', in Doreen Bolger and Sarah Cash (eds.), Thomas Eakins and the Swimming Picture, exh. cat., Amon Carter Museum, Texas, 1996, pp.111-2, 116, repr. in colour on cover. On the rediscovery of the artist's original gilt renaissance-revival frame, of a pattern found on one other work by Eakins of the 1880s. Gomez-Rhine, Traude, 'Framed again: A Frederic Church landscape returns to the perfect setting', Huntington Frontiers, The Huntington Library, Art Collections and Botanical Gardens, Fall/Winter 2006, pp.4-8, 4 illustrations. On the reframing of Chimborazo by Frederic Edwin Church in a replica of its original frame, designed by Church, confirmed as the original by photographs of the painting in c.1865-70, and copied from an identical frame on Church's Vale of St Thomas, Jamaica. Smith, Erika Jaeger, Carved, Incised, Gilded and Burnished: The Bucks County Framemaking Tradition, exh. cat., James A. Michener Art Museum, Bucks County, Pennsylvania, 2000, unpaginated, copiously illustrated. A brief history of frames and a note on the European Arts and Crafts Movement, leading to an examination of local Arts and Crafts frames, and specific artists and framemakers working in Bucks County. Vazquez, Anne, three articles in Picture Framing Magazine, vol.12: 'American frames: 1900-1950', March 2001, pp.74-82, 10 illustrations; 'American frames: The 1950s', May 2001, pp.28-32, 3 illustrations; 'American frames: The 1960s', July 2001, pp.44-6, 3 illustrations. Summary discussion of period styles with basic information on framemakers. Wilner, Eli and Mervyn Kaufman, Antique American Frames. Identification and Price Guide, Avon Books, New York, 1995, 228pp, numerous illustrations, 19 in colour. A popular paperback history and collectors guide, covering the period 1800-1939. Wilner, Eli (ed.), The Gilded Edge: The Art of the Frame, Chronicle Books, San Francisco, 2000, 203pp, 151 illustrations mainly in colour, 17 line drawings. Ten essays on various aspects of framing in America, including a section on aesthetics and history, a consideration of artist designed frames such as those by Whistler, Thomas Eakins, and Stanford White, and three essays on museum framing at the Virginia Museum of Fine Arts, the Metropolitan Museum of Art and the Detroit Institute of Arts. Wilson, Kristina, 'The Intimate Gallery and the Equivalents:
Spirituality in the 1920s Work of Stieglitz', Art Bulletin,
vol.85, 2003, pp.765-7. On Alfred Stieglitz's photographs and
the work of artists such as Georgia O'Keefe and Marsden Hartley
which he displayed in his Intimate Gallery, New York. The framing
and hang of these exhibitions are noted, and for Hartley's frames
the reader is referred to pp.265-77 in Elizabeth M. Kornhauser
(ed.), Marsden Hartley: American Modernist, Wadsworth
Atheneum Museum of Art, 2003, Yale University Press. Baker, Christopher, 'The Prince, his tutor, and a rare portrait print: William Markham by James Heath', The British Art Journal, vol.2, no. 3, 2001, pp.36-8, 4 illustrations. On an early 19th-century engraving by Heath and its remarkable contemporary neo-classical trophy frame. Bell, Nancy (ed.), Historic Framing and Presentation of Watercolours, Drawings and Prints (proceedings of conference held 1996), Institute of Paper Conservation, Leigh, Worcester, 1997, 57pp, 68 black and white illustrations. Six essays including David Alexander on the framing of English prints in the 18th century, Thea Burns on the framing of European pastels in the early 18th century, and Helen Dorey on framing at the Soane Museum. Burns, Stanley B., Forgotten Marriage: The Painted Tintype & The Decorative Frame 1860-1910, The Burns Press, New York, 1995, 220pp, numerous illustrations. A fascinating survey of popular American photograph frames. Hannavy, John, Case Histories: The Packaging and Presentation of the Photographic Portrait in Victorian Britain 1840-1875, Antique Collectors' Club, 2005, 144pp. This work, copiously illustrated in colour from the author's collection, is an exhaustive and informative consideration of portable daguerreotypes, tintypes, ambrotypes, etc, and the elaborate frames and cases which were produced to contain them. The factories, processes, workers and materials, including metal, lacquerwork, leather and early versions of plastics, are dealt with in detail. The last chapter, 'The Family Album and the Framed Portrait', discusses the larger and more traditional wood or plaster frames made for non-portable photographs. Holton, Timothy, 'Close-framed Photographs', Picture Framing Magazine, October 2007, pp.62-6, 8 colour illustrations. Discusses a revival of the Arts and Crafts practice of framing photos and photogravures without a mount (or 'mat'), usually in stained/ polished wood, and thus unifying more completely the image and its frame, and the whole work with its setting. Hopkinson, Martin, 'The Lithographs of Whistler', Print Quarterly, vol.16, 1999, pp.87-8. A review of the 1998 exhibition of Whistler lithographs at the Art Institute of Chicago, reproducing an impression of Yellow House, Lannion, in its original frame, designed by Whistler. All the lithographs were exhibited in frames based on this example. Hopkinson, Martin, 'Whistler's First One-man Show
in Venice', Print Quarterly, vol.19, March 2002, pp.63-4,
1 illustration. On a Whistler etching in its original frame designed
by the artist. Mason, Pippa, 'The Framing and Display of Watercolours', Watercolours from Leeds City Art Gallery, exh. cat., Leeds City Art Gallery, 1995, pp.28-38, 5 illustrations. An excellent short survey of historical practice in framing watercolours. Romanelli, Marco et al., Intorno alla fotografia: 37 cornici per 37 fotografi, Paris, Association Jacqueline Vodoz et Bruno Danese, exh. cat., 1998, 103pp, many illustrations. Short introductory essays followed by 36 photographs and their frames, of an arty or conceptual nature, described as follows in the publication itself: 'Around photography presents a reflection on the relation between the image and frame, with twosomes linking photographers known for their original creativity to some of the most problematical contemporary designers. The result is a collection of unprecedented, one-off works. In it each photographic suggestion is reconsidered through the eyes of a designer and a "frame"'. Schneider, Stuart, Collecting Picture and Photo Frames, Schiffer books, Atglen, PA, 1998, 176pp, fully illustrated in colour. Popular American photograph, print and miniature frames from 1840 to 1940. Simon, Jacob, 'The production, framing and care of English pastel portraits in the eighteenth century', The Paper Conservator, vol.22, 1998, pp.10-20, 7 illustrations. Simon, Jacob, see Oxford frames Ablett, Annie, three articles in The Picture Restorer: 'The Frame: Its Purpose to Protect', no. 17, Spring 2000, pp.13-16 and no. 18, Autumn 2000, pp.9-11; 'The Frame: Its Purpose to Enhance', no. 21, Spring 2002, pp.9-12. On problems in conserving historic frames and in maintaining their ornamental appearance in relationship to the painting. Battison, Clair, "Natural Born Quillers"
- conservation of paper quills on the Sarah Siddons plaque frame',
V&A Conservation Journal, no. 27, April 1998, pp.8-10. Child, Robert, ' Woodworm in Picture Frames, The Picture Restorer, no. 22, Autumn 2002, pp.14-15. English Heritage, Gilding: Approaches to Treatment. A joint conference of English Heritage and the United Kingdom Institute for Conservation, 27-28 September 2000, English Heritage, 2001, 84 pp, 66 illustrations. With essays by Louisa Davey on framing at the National Gallery, Sarah Staniforth on frame conservation in National Trust houses, and John Anderson on framing solutions at the Tate Gallery. Falck-Therkelsen, Solveig, 'The Restoration of Seven Watts Frames at the Tate Gallery', Conservation News. The Official Newsletter of UKIC, no. 65, March 1998, pp.34-6. Kirsh, Andrea, and Rustin S. Levenson, 'On Framing', in chapter 6, 'Beyond the Painting,' in Seeing through Paintings: physical examination in art historical studies, Yale University Press, 2000, pp.246-53, 8 illustrations. A summary of the genesis and design of simple engaged and polyptych frames, jumping to a brief discussion of the artist's involvement in frame design during the 19th and 20th centuries, and to questions of reframing by collectors or by museums. Included is a short bibliography on the general history, technical approach to and philosophical consideration of the frame. McClure, Ian, 'The Framing of Wooden Panels', in Kathleen Dardes and Andrea Rothe (eds), The Structural Conservation of Panel Paintings, proceedings of a symposium at the J. Paul Getty Museum, 1995, The Getty Conservation Institute, Los Angeles, 1998, pp.433-47. A profusely illustrated volume, well-organised but for the lack of an index, surveying the history of panel making in Europe, as well as current and past conservation practices. McClure's is the key essay on the problems encountered in the framing of panels but there are useful contributions by other authors on pp.129, 272 and 349 and by Wadum (see BY COUNTRY: FLEMISH in this bibliography. Marsland-Boyer, Victoria and Adriano Lorenzelli, 'The Picture Frame in Context and the Art of Gilding' in Philippa Vaughan (ed.), The Victoria Memorial Hall, Calcutta: Conception, Collections, Conservation, Marg Publishing, Mumbai, India, 1997. A study of the conservation of frames on British pictures at the Victoria Memorial Hall, reproducing seven frames dating from the mid-18th to the mid-19th century. Powell, Christine, 'Some French and English Gilding Techniques: The making and gilding of an 18th century English-style mirror frame with tooled gesso work', SSCR Journal, The Quarterly News Magazine of the Scottish Society for Conservation and Restoration, vol.9, no. 4, 1998, pp.5-14. A detailed study comparing modern French gilding techniques, as used in making a mirror frame, to Watin and other 17th and 18th-century publications on gilding. Rose, Jenny, 'An Investigation into the Domestic Care of Paintings in English Country Houses in the Eighteenth and Nineteenth Centuries', in Christine Sitwell and Sarah Staniforth (eds), Studies in the History of Paintings Restoration, Archetype Publications, London, 1998, pp.139-80. Including references to the care of picture frames in domestic and artistic manuals of the period. Sawicki, Malgorzata, 'Picture Frame Conservation or Repairing?' AICCM (Inc) Bulletin, Australian Institute for the Conservation of Cultural Materials (Inc), vol.20, no. 2, 1995, pp.17-25. Philosophical issues are discussed relating to three case studies: the conservation of the frame of Chaucer at the court of Edward III by Ford Madox Brown, exhibited 1851, the restoration of the frame of Summertime by Rupert Bunny, exhibited 1907, and the reproduction of a frame for Diogenes by John Waterhouse, 1882. Sawicki, Malgorzata, 'The Visit of the Queen of Sheba to King Solomon by Edward Poynter, 1884-1890. The frame revisited', AICCM (Inc) Bulletin, vol.22, 1997-8. A detailed discussion of the conservation of a gilded frame for a very large work by Poynter, including the identification and removal of over-painting, and in-gilding and in-painting experiments using non-traditional gilding techniques. Schmuecker, Emma, 'The use and identification of traditional techniques and materials for the conservation and restoration of picture frames', The Picture Restorer, no. 21, Spring 2002, pp.13-17, 5 figures. On the conflicts inherent in stabilizing a frame without irreversibly altering its construction, appearance or evidence of its history, describing the various materials traditionally used in the decoration of frames. Stoner, Joyce Hill, 'Whistler's views on the restoration
and display of his paintings,' Studies in Conservation,
vol.42, 1997, pp.107-14, 6 illustrations. On Whistler's techniques
and the effects he wished to achieve, including a brief section
on his approach to framing; while not new, this does list those
frames gilded and sometimes painted directly on the wood, and
which have not been subsequently regilded. Berlin, Gemäldegalerie: Hannelore Nützmann (ed), Schöne Rahmen: Aus den Beständen der Berliner Gemäldegalerie, exh. cat., Berlin, 2002, 85pp, copiously illustrated. Berlin, Gemäldegalerie: Bettina von Roenne, Ein Architekt rahmt Bilder: Karl Friedrich Schinkel und die Berliner Gemäldegalerie, exh. cat., Gemäldegalerie, Berlin, 2007 (see above, By country: Germany). Britain, Royal Collection: Lucy Whitaker and Jonathan Marsden, 'Re-framing the Royal Pictures: Episodes in the history of royal taste', Apollo, vol.156, September 2002, pp.50-6, 12 colour illustrations. Notes a few surviving original frames on the works of George Stubbs, Benjamin West, David Wilkie and Thomas Lawrence, among others, and descriptions of others in inventories. Also describes reframing, often of groups of pictures, from the reign of Charles I, through those of William III and George IV, to that of Victoria. The architects and framemakers involved are mentioned, together with the costs. With an appendix describing frames in the Golden Jubilee exhibition at the Queen's Gallery in 2002-3. Brooklyn Museum of Art: Hilarie M Sheets, 'An Impressionist Frame of Mind', ARTNews, November 2003, pp.104-8, 4 colour figs. On the recent reframing of Impressionist and Post-Impressionist works in the Brooklyn Museum of Art. For paintings by Caillebotte and Degas, their own frame designs were reproduced; for a Matisse and a Monet more radical optical solutions were created. Detroit, Detroit Institute of Arts: Nancy Rivard Shaw, ' Marriages, Divorces, and Reconciliations. Challenges in Framing a Museum Collection', in Eli Wilner (ed.), The Gilded Edge: The Art of the Frame, Chronicle Books, San Francisco, 2000, pp.178-93, 14 illustrations. A survey of the framing and reframing of works in the American collection at the Detroit. Dresden, Gemäldegalerie: Christoph Schölzel, 'Der Dresdener Galerierahmen Geschichte, Technik, Restaurierung', ZKK: Zeitschrift für Kunsttechnologie und Konservierung, vol.16, 2002, pp.104-29, 34 illustrations. Considers the 18th-century livery or gallery frames in the Gëmaldegalerie, Dresden, together with their makers, construction and restoration. Dresden, Gemäldegalerie: Christoph Schölzel (ed.), Die Blendenden Rahmen: Der Dresdener Galerierahmen, Staatliche Kunstsammlungen Dresden, 2005, 47pp, 53 illustrations, and construction diagrams. This is the catalogue of an exhibition of 'Dresden gallery frames' held at the Gemäldegalerie Alte Meister to coincide with the Dresden conference on frames in October 2005. Introduced by Harald Marx, it includes essays by Christoph Schölzel on the construction and restoration of the frames, by Karin Mühlbauer on their gilding and finish, and by Tania Korntheuer-Wardak on the coloured boles used. The Dresden gallery frames were made originally to the designs of Matthias Kugler in the 1760s and Joseph Diebel in the 1770s, and continued to be produced throughout the 19th century. They were used on every genre and period of painting in the Gemäldegalerie, from works by Titian and Garofalo to those by Brueghel and Rembrandt, and include a trophy variant on a pastel by Liotard. Dresden, Gemäldegalerie: see Dresden Gallery Frames England, Northwick Collection: Oliver Bradbury and Nicholas Penny, 'The picture collecting of Lord Northwick: Part II', Burlington Magazine, vol.144, 2002, pp.606-17, 19 illustrations. On Northwick's building and furnishing around the 1840s of the picture gallery at Thirlestaine House, Cheltenham and his employment of two London framemakers, Henry George Eckford and Henry Haynes. England and Ireland, Cobbe Collection: Alec Cobbe, 'The framing and restoration of the Historic Cobbe Collection', in Alastair Laing (ed.), Clerics & Connoisseurs: The Rev. Matthew Pilkington, the Cobbe Family and the Fortunes of an Irish Art Collection through Three Centuries, English Heritage, 2001, pp.74-9, 24 illustrations. From the book accompanying the exhibition at Kenwood House, London; a study of the framing of this 18th-century Irish collection, based on family account books, surviving labels, and comparison of the various frame of styles. France, Cardinal Mazarin: Patrick Michel, Mazarin, Prince de Collectionneurs, Notes et documents des musees de France, no. 34, Paris 1999, pp.396-7, on 'Le format et le cadre'. It is not possible to speak of a uniform Mazarin frame. The 1661 Mazarin inventory reveals at least four main frame types: giltwood frames, most commonly found on historical, mythological and religious subjects, frames of a black colour ornamented with gilt fillets, most commonly found on 16th-century portraits, marbled and ebony frames. Michel identifies the use of simple giltwood mouldings and, exceptionally, some richer frame as for Bernardino's Luini's Nativity in 1644. The relative simplicity and sobriety of most of Mazarin's picture frames contrasted with the richness of those used to frame his mosaics. Clearly the Cardinal took an interest in the framing of his pictures, as is indicated in his correspondence in 1658, when he asked to be told which pictures lacked frames at all and which pictures were not in gilded frames. Some pictures came into the collection with their original frames such as Guercino's David and Abigail which kept its frame bearing the Barberini coat of arms. Other Italian acquisitions were framed in Italy for the Cardinal, apparently in Rome, with payments being made to gilders such as Pietro Paolo Giorgetti, Francesco Amati and Ascanio Bavigrine. Michel provides no account of actual surviving frames. Florence, Palazzo Pitti: Marilena Mosco and Edit Revai (eds), Cornici Barocche e Stampe. Restaurate dai Depositi di Palazzo Pitti, exh. cat., Palazzo Pitti, Florence, 1998, published by Sillabe s.r.l., Livorno, pp.8-17, 24-47, 94-5. Ten fine 17th and early 18th-century Florentine frames are catalogued, with an introductory essay by Mosco, extracts from contemporary inventories (prepared by Jennifer Celani) and a bibliography; a welcome contribution to our understanding of Florentine auricular and baroque frames and the riches of the historic Palazzo Pitti collections. Florence, Palazzo Pitti: see BY COUNTRY: ITALY, under Mosco, Marilena Knole, Kent: see A Guide to Picture Frames at Knole Leeds, Temple Newsam House and Lotherton Hall: Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, Leeds 1998, vol.3, pp.642-3, 726-7. Updating Gilbert's two-volume 1978 catalogue, notably reproducing a compo frame made by the London framemaker, Alexander Miller, for a printed speech of the Duke of York in c.1825. London, Foundling Hospital: see Foundling Museum London, National Gallery: Lorne Campbell, National Gallery Catalogues. The Fifteenth Century Netherlandish School, London, 1998, p. 29. This excellent catalogue discusses and illustrates the frames on seven pictures which retain their original frames, two of which are integral, one partly integral and partly applied and four engaged; the catalogue also provides evidence, chiefly relating to colour, as to the appearance of the lost original frames of another ten pictures. London, National Gallery: Louisa Davey, 'Framing at the National Gallery', in Gilding: Approaches to Treatment. A joint conference of English Heritage and the United Kingdom Institute for Conservation, 27-28 September 2000, English Heritage, 2001, pp.47-52, 6 illustrations. On framing policy at the National Gallery, including the reframing of works by Turner. London, National Gallery, see Framing Italian Renaissance Paintings London, Soane Museum: Helen Dorey, 'The Historic Framing and Presentation of Watercolours, Drawings and Prints at Sir John Soane's Museum', in Nancy Bell (ed.), Historic Framing and Presentation of Watercolours, Drawings and Prints (proceedings of conference held 1996), Institute of Paper Conservation, Leigh, Worcester, 1997, pp.20-31, 21 black and white illustrations. London, National Gallery: Nicholas Penny, The Sixteenth Century Italian Paintings, vol.1, Paintings from Bergamo, Brescia and Cremona, National Gallery, London, 2004. London, Tate Gallery: John Anderson, 'Dip and strip, not quite but almost', in Gilding: Approaches to Treatment. A joint conference of English Heritage and the United Kingdom Institute for Conservation, 27-28 September 2000, English Heritage, 2001, pp.59-66, 6 illustrations. On framing treatment at the Tate Gallery, focusing on four case studies. Melbourne, National Gallery of Victoria: see BY COUNTRY: AUSTRALIA, under Payne, John Munich, Pfefferle collection: Christian Burchard, 'Bilderrahmen, Sprache der Ornamente: Beispiele aus der Sammlung Pfefferle, München', Barockberichte: Informationsblätter des Salzburger Barockmuseums zur bildenden Kunst des 17. und 18. Jahrhunderts, no. 24/25, 1999, pp.397-412. Illustrates 27 frames in colour from the Pfefferle collection of French, Spanish, Italian, German and Dutch frames shown at the Salzburg Barockmuseum. New York, Metropolitan Museum of Art: Carrie Rebora Barratt, 'American Frames in the Metropolitan Museum of Art. Choices and Changes', in Eli Wilner (ed.), The Gilded Edge: The Art of the Frame, Chronicle Books, San Francisco, 2000, pp.156-77, 18 illustrations. A report on the Metropolitan Museum's survey of frames in the American collection. Oxford, Ashmolean Museum: Timothy Newbery, Frames and Framings in the Ashmolean Museum, Ashmolean Museum, 2002 (so dated but published 2003), 80pp, 37 colour illustrations plus frame sections. With a brief introduction on the history of frames, this instructive booklet catalogues thirty-four of the most notable frames in the museum, describing their style, construction and finish, encompassing examples ranging from 14th-century Italy to 20th-century Britain. Reviewed by Jacob Simon, The Art Newspaper, May 2003. Oxford, Ashmolean Museum: Timothy Newbery, 'Appendix of Original Frames in the Ashmolean Museum', in The Ashmolean Museum: Complete Illustrated Catalogue of Paintings, Catherine Casley, Colin Harrison and Jon Whiteley (eds), Oxford, 2004, pp.293-6. A listing of frames on works in the museum considered to be broadly original to those works, with a single line description, place of origin, date, together with the title of the work, artist, date (if different from that of the frame) and accession number. Such a list is of great interest, especially because of the number of frames identified as original or possibly original, but frustrating because of its brevity. Oxford, Christ Church: Christopher Baker, 'Framing Fox-Strangways', Journal of the History of Collections, vol.17, no. 1, 2005, pp.73-84, 19 figs. On the Italian Renaissance collections of the Hon. William Fox-Strangways, presented to Christ Church and the Ashmolean Museum in 1828, 1834 and 1850. Many of these paintings retain the frames in which they were presented: original integral or engaged frames, 19th century architrave 'gallery' frames, or a radically simplified flat border with inscribed cartouche. The Christ Church frames also bear Fox-Strangways' initials on the top right-hand corner, identifying the two bequests of 1828 and 1834. Fox-Strangways's reframing of Bronzino's Giovanni de' Medici in a Mannerist frame decorated by Francesco Salviati is also noted. Paris, Frits Lugt: Esther Scholten, 'L'oeuvre d'art et son cadre: Des cadres de la Collection Frits Lugt', in Cadres revisités: Chefs-d'oeuvres de la photographie néerlandaise présentés dans les cadres anciens de la Collection Frits Lugt, exh. cat., Fondation Custodia, Paris, 2005, pp.53-71. The catalogue (in French) of an exhibition of contemporary portrait photographs, displayed in French, Italian, Spanish and German frames from the 15th to the 18th century, with an accompanying essay and a short appendix at the back, cataloguing the frames themselves, 26 in number. The essay covers well-trod ground but with interesting references, for example to the early display of framed drawings and to Ingres's preference in 1840 for a frame for his Odalisque as wide and as baroque as possible, to be in the Turkish style ('du turc'). Rome, Corsini Collection: Maria Letizia Papini, L'ornamento della pittura. Cornici, arredo e disposizione della Collezione Corsini di Roma nel XVIII secolo, Nuova Argos Edizioni Srl, Rome, 1998, especially pp.101-20. With a chapter on frames in the Corsini collection, an appendix of payments to framemakers from 1731 to 1780 and a section of black-and-white plates reproducing 32 frames. This excellent survey of one of the major Roman collections, much of which is on public display in the Galleria Nazionale d'Arte Antica in the Palazzo Corsini, documents the dominant use of Salvator Rosa frames (usually called Carlo Maratta frames by the British) in the 18th century, and the use of cassetta and more elaborate models in the 17th century. Documentation from inventories and 18th-century framing bills are married to surviving frames. Some pictures were acquired with their frames, e.g. Carlo Maratta's oval Holy Family. The book also discusses the formation and the hanging of the collection. Rome, Galleria Pallavicini: Reproducing three elaborate trophy frames of the third quarter of the 17th century: that on a portrait of Queen Christina of Sweden, probably dating to after 1661, with her symbol of three royal crowns surmounting a foliage frame. A second on a portrait of Cardinal Flavio I Chigi, ornamented with the Chigi family 'monti', stars and oak leaves, was perhaps originally on another picture of a type for which the carver Anthonio Chiccari charged 30 scudi in 1669 when framing a portrait of Clement IX. There are also earlier payments in 1658 to the gilder Camillo Saraceni for gilding similarly elaborate carved frames. The third frame is ornamented on each side with a castle and a rampant lion, the top the Spanish royal crowns, the bottom with a pomegranate. Penitent Magdalen. All carved, painted and gilded in Rome in the third quarter of the 17th century. Other elaborate mirror picture frames are reproduced. USA: Daniel B. Schneider, 'The Frame-Up', ARTnews, vol.99, February 2000, pp.142-7, 10 illustrations. A journalist surveys American museum attitudes to period framing of their collections, focusing on the Cone bequest of Matisses at the Baltimore Museum of Art, the National Gallery of Art at Washington, the Getty Museum in Los Angeles, the Art Institute of Chicago and the Brooklyn Museum of Art. USA, Dicke Collection: Todd D. Smith (ed.), American Art from the Dicke Collection, exh. cat., Dayton Art Institute, Ohio, 1997, with essay by Eli Wilner, 'The Frame is the Soul of the Painting: Period Frames in the Dicke Collection'. A recent example of reframing using period frames. USA, General Services Administration: Gretchen Goodell, Historic Frames in the Fine Arts Collection, US General Services Administration (Fine Arts Program) and International Institute for Frame Study, 1999, unpaginated. A basic survey of some framed works from the 1930s and 1940s belonging to the General Services Administration collection, based on frame record sheets, organized by accession number, and indexed by artist. It is illustrated in black-and-white, with two to three illustrations to each work; the text comprises basic technical and conservation information. USA, Justine Simoni: The Art of the Frame: Gems from the Simoni Collection, exh. cat., Pensacola Museum of Art, Florida, 2004, 47pp, 27 colour illustrations. A survey of 22 American frames from the collection of Justine Simoni, with catalogue entries by Suzanne Smeaton; these include several frames by well-known American framemakers including Stanford White, Foster Brothers, Newcomb-Macklin Company, Charles Prendergast and Walfred Thulin. Virginia Museum of Fine Arts: David Park Curry, ' What's in a Frame?', in Eli Wilner (ed.), The Gilded Edge: The Art of the Frame, Chronicle Books, San Francisco, 2000, pp.134-55, 17 illustrations. A survey of attitudes to framing and reframing the American collection at the Virginia Museum. |
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