Annotated Bibliography of Frame Publications,
1995 to 2011
By country: Flemish

See also COLLECTIONS under London, National Gallery

Hand, John Oliver, et al., Prayers and Portraits: Unfolding the Netherlandish Diptych, National Gallery of Art, Washington, 2006, 339pp. The well-illustrated catalogue for this exhibition of Netherlandish panel paintings from the 15th and 16th centuries includes a section on ‘Diptych Frames’, pp.17-21. Of 65 panels studied for the exhibition, 29 retained some or all elements of their original frames, whether integral or engaged frames. The display of portraits is also discussed.

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.