Annotated Bibliography of Frame Publications, 1995 to 2008 (Australia to Italy)
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
General surveys
By country: Australia
By country: Britain and Ireland
By country: Flemish
By country: France
By country: Germany
By country: Italy
By country: Netherlands
By country: Russia
By country: Scandinavia: Denmark and Sweden
By country: Spain
By country: United States of America
Photographs, miniatures, pastels, prints and drawings
Technique and conservation
Individual collections
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.
Lemke, 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.
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.361 under ‘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.
Glin, The Knight of, and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union, 2007, especially pp.70-9, 136-9, numerous illustrations. A definitive survey of Irish furniture, with two main sections on picture frames, the first on frames created by or in the circle of John Houghton, including the elaborate trophy frame for Francis Bindon's full-length Jonathan Swift, c.1735-40, the second devoted to Richard Cranfield (1731-1809). Appendix 1, pp.271-95, is a Dictionary of 18th-century Irish furniture makers by John Rogers.
Gott, Ted, et al., Modern Britain 1900-1960: Masterworks from Australian and New Zealand Collections, exh.cat., National Gallery of Victoria, 2007, 308pp. This catalogue has an introductory page on ‘Framing Modern Britain', which summarizes styles and practices amongst artists and institutions during the first half of the 20th century, and mentions framemakers such as Alfred Stiles and Robert Sielle. Some pictures are then illustrated in their frames, and marginal notes are added. These include the period and style (if antique), details of the manufacture and finish, the artist's preferences, and the framemaker, where known.
William Orpen's Night (no.2) is shown in its cut-down 18th-century French frame a few pages before Roger Fry's 1911 Still life: Jug and eggs in the painted border which Fry himself gave it. Charles Holmes's Black Hill Moss is illustrated in the Whistlerian frame made for it by Charles Chenil, and Chenil's frame label is illustrated as well. Chenil's frame also appears on Augustus John's portrait of his son, Robin, c.1918-19; in this case the design is John's own contemporary version of a Dutch ripple frame, where the pattern is impressed in compo and gilded (cf the ripple frame on Bernard Fleetwood-Walker's group portrait, Three boys, painted to resemble antique fruitwood). An original frame made by Alfred Stiles for Graham Sutherland's The Cliff Road appears, again with the maker's label, as does a Chapman frame plus label for a Glyn Philpot. Works by Bacon, Paul Nash, Epstein and Edward Burra are all shown in their frames. This is a welcome and exemplary trend in exhibition catalogues, and adds both to knowledge of the work and to the aesthetic enjoyment of the paintings.
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 National Portrait Gallery - 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).
O'Connor, Louise, 'Hamilton's pastel portraits: materials and techniques', in Anne Hodge (ed.), Hugh Douglas Hamilton (1740-1808): A Life in Pictures, exh.cat., National Gallery of Ireland, 2008, pp. 40, 50-53, 4 illustrations. The chapter on Hamilton's technique concludes with a short section on his picture frames which summarizes the three styles of Neoclassical frame used by the artist for portraits painted during his sojourns in Dublin, London and Rome respectively. Two Dublin framemakers are noted from labels remaining on the frames.
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. 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 National Portrait Gallery - A note on Philip de Laszlo and picture framing
Roberts, Lynn, see National Portrait Gallery - Framing references in Dante Gabriel Rossetti's Correspondence
Roberts, Lynn, see National Portrait Gallery - 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, 'A note on Arthur Melville (1855-1904) and picture frames', Museum Management and Curatorship, vol.16, 1997, pp.427-33. Reproduces five frames on the work of this Scottish watercolour and oil painter.
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 illustrations.
Simon, Jacob, see National Portrait Gallery - Thomas Gainsborough and picture framing
Simon, Jacob, see National Portrait Gallery - A note on George Romney and picture framing
Simon, Jacob, see National Portrait Gallery - Notes on John Singer Sargent's frames
Simon, Jacob, see National Portrait Gallery - A frame by Martha Somerville, a Victorian carver in Italy
Simon, Jacob, see National Portrait Gallery - Framing in the reign of Charles II and the introduction of the Sunderland frame
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
- A Hang of English Frames 1620-1920, 1996, reproducing eleven framemakers' labels
- Flaming June, 1996, recreating a frame for Leighton's picture
- Lawrence, Morant and a Picture Frame from Harewood, 1996. A similar text to the article by Michael Gregory in Museum Management and Curatorship, vol.15, 1996, pp.423-6.
- Frames for Drawings, no date. A brief essay and 8 illustrations, mainly of 17th-century frames.
See also COLLECTIONS under London, National Gallery
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, 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.
FRANCE
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.
Easton, Elizabeth, and Jared Bark, ‘Pictures properly framed: Degas and innovation in Impressionist frames', Burlington Magazine, vol.150, September 2008, pp.603-11, 19 illustrations, discusses the comparative radicalism of Degas's frame designs, expressed in terms of their profiles, lack of focal ornament, and colour. Much of this is familiar from Isabelle Cahn, Cadres de peintres (exh.cat., Musée d'Orsay, 1989), and from subsequent articles and essays on Degas's frames; where it breaks new ground is in an examination of the reverse of two paintings, The collector of prints, 1866, and A woman ironing, 1873 (both New York, Metropolitan Museum of Art). From comparison of the corners of the first, which are splined in the French manner, with those of the second, which has a butt-jointed mount and separate rabbeted outer moulding, the author concludes that Degas had The collector framed in France for his patrons, the Havemeyers, whilst the latter were responsible for the American frame of A woman ironing. This conclusion is supported by the metric measurements of one picture, and the imperial measurements of the other, along with the American basswood used for making the second frame. The article includes a brief consideration of the relationship between Degas and Cluzel, his framemaker from the 1880s until his death in 1894, and ends with a discussion of his use of coloured frames along with gilded patterns.
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 National Portrait Gallery - Identifying the 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 National Portrait Gallery - Notes on frames in the exhibition, 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.
GERMANY
See also COLLECTIONS under Berlin and Dresden
Heydenreich, Gunnar, Lucas Cranach the Elder: Painting Materials, Techniques, and Workshop Practice, Amsterdam, 2007, 462pp, including a survey of the artist's picture frames, pp.75-91, focusing on the 20 or so pictures which arguably retain their original frames, dating from 1509 onwards, whether engaged, applied or rebated. The earliest is the National Gallery's dyptych, Johann the Steadfast with his son Johann Friedrich. Some pictures were painted in their frame, some begun without frames but had frames added before they were finished and some not framed until completed. Cranach's simple profiles developed from the half-round hollow to the ogee. The survey is divided by sections: construction, profiles, decorations and interim 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.
See also COLLECTIONS under Florence, London and Rome
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.
Bury, Michael, ‘Documentary Evidence for the Materials and Handling of Banners, principally in Umbria, in the15th and early 16th Centuries', in C. Villers (ed.), The Fabric of Images: European Paintings on Textile Supports in the 14th and 15th Centuries, Archetype Publications, 2000, p.22, reproducing a religious processional banner dating to the 3rd quarter of the 15th century, in the Pinacoteca, Deruta, apparently in its original frame with the fittings for the carrying pole.
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. 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 separately 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.
Fernández-Santos Ortiz-Iribas, Jorge, ‘The inventory of Pietro Mellini's collection at the Palazzo Rosario in 1680', Burlington Magazine, vol.150, August 2008, pp.512-19, 9 illustrations. The interest of this article resides in the Appendix, which sets out the frame types noted in this 17th-century Roman inventory. This goes beyond the usual mention of gilt or black frames, including ‘all'antica carved walnut wood with gilt egg pattern', ‘alla moderna lion-coloured veined in black and with gilt strips', ‘all' antica silver-gilt with gilt flowers', and ‘all' antica with mother-of-pearl intarsia'. The frames are also tagged to indicate whether they are large or small, glazed, new or old, or ‘shallow'.
Franklin, David and Louis Alexander Waldman, ‘Two late altarpieces by Bachiacca', Apollo, vol.154, August 2001, pp.30-5, 9 illustrations. Concerning 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 late 18th-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 later 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.
Schmidt, Victor M., Painted piety: panel paintings for personal devotion in Tuscany 1250-1400, Florence, Centro Di, 2005, including a section on ‘Frames and hinges', pp.37-44. The most usual sort of hinge in early Tuscan painting was the interlocked hinge made of metal wire. Another method was the mortise-and-tenon joint, confined to tabernacles and triptychs and used in a select group of Florentine 14th-century paintings, firstly in a number of tabernacles by Bernardo Daddi, of which the triptych with central panel, Virgin and Child enthroned with saints, dated 1338 (Courtauld Institute), is best preserved. The precursors of the modern plate or book hinge are hardly ever found in Italian panel paintings, although this sort of hinge occurs on the Wilton diptych (National Gallery). Not every work of this kind was hinged: a letter from Domenico di Cambio to Francesco di Marco Datini (the ‘Merchant of Prato') specifically asks if he wants his diptych hinged. Many other frames are illustrated but not discussed in this significant book.
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.
Wiggins, Arnold, & Sons, A Carved Picture-Frame by Professor Giusti, of Siena, fold-out card, no date but 2006. A brief note on a pair of Renaissance style cassetta frames of c.1860, reproducing an article of 1863 on Giusti's work in the International Exhibition of 1862, with illustrations including Giusti's label. Also available online at Arnold Wiggins & Sons - PROFESSOR GIUSTI
Zuffi, Stefano, The Frame, Evolution and Design. From the Sixties to the Present with Arquati Models, Electa, Milan, 1996, 149pp, text in English and Italian, numerous colour illustrations and sections. A rare example of a promotional publication tracing the history of a contemporary framemaking business, Arquati, from its foundation in 1960 by Franco Arquati in his hometown, Parma, to its present international position; an historical and scene-setting introduction is followed by a discussion of six frame types produced by Arquati; reference is also made to an earlier publication by Paolo Mastromo, Franco Arquati. Un Mondo in Cornice, 1992.
Annotated Bibliography of Frame Publications, 1995 to 2008 (Netherlands to United States of America)
