British picture framemakers, 1600-1950 - U

An online resource, launched in 2007, selectively updated twice yearly. Last updated September 2018. Contributions are welcome, to Jacob Simon at [email protected].

Introduction Resources and bibliography

**Unknown framemaker, London, active 1808-1809. Picture framemaker.

It is possible to reconstruct something of the clientele of an as-yet-unidentified London picture framemaker through ten manuscript sheets from his frame account book. Most of his work was undertaken as a subcontractor to other makers, especially to ‘Piercy’, probably John Piercy (qv), for whom he made some 50 frames between mid-August and end October 1808 and a further two the following February. The other makers for whom he worked were Harris, probably John Harris (qv), and his apprentice, John Vokins (qv), Acres, perhaps Edward Acres, active 1806-25 at 30 Gt Russell St, Jewell, probably William Jewell, active 1802-37 at 26 Coventry St, and an unidentified maker, Cruaveys?

Sources: These damaged account book sheets, covering the period 5 August-27 October 1808 and 11-20 February 1809, formerly belonged to Hermione Sandwith. They passed from her estate, courtesy of Amanda Bradley, National Trust, to Jacob Simon with a view to identifying the anonymous framemaker and then finding an appropriate institutional home for what remains of the account book. Hence this unusual on-line entry.

Updated September 2014
E.J. Uppard,
15 Fitzroy St, London W 1906-1925. Carver and gilder.

Edwin John Uppard (1857-1934) was recorded in the 1881 census as a carpenter, age 23, living with his father, Oliver, at 20 Sussex Mews, Paddington. He married Lucy Record in 1886, when described as a joiner. He was given as a joiner in 1887 and 1890 when his children were christened but as a carver and gilder in 1893, in each case as of 44 High St, Marylebone. He married secondly Emily Clarke at St John the Evangelist Charlotte St in 1916, when described as a picture framer of 15 Fitzroy St.

Uppard joined William Augustine Smith (qv), becoming a partner in Smith & Uppard at 77 Mortimer St from 1889 until 1898. The business was then acquired by James Bourlet & Sons (qv). By 1906, Uppard was trading under his own name. In the 1911 census he was recorded living in Hornsey as a carver and gilder and an employer, with his wife, four daughters and son Edwin Oliver Uppard, age 21, a gilder.

G.F. Watts’s widow seems to have continued to use Uppard for framing work after her husband’s death in 1904, as correspondence would suggest (Letter from J. Scott Taylor to Mary Seton Watts, 16 January 1906, NPG Archives, GFW/1/7/2). Watts’s Three Heads (Fitzwilliam Museum) bears Uppard’s label, with the date 1906 (Simon 1996 p.173, no.80, n.2), as does Dante Gabriel Rossetti's La Pia de' Tolomei, 1868-80, presumably a repair or reframing (Spencer Museum of Art, University of Kansas; see Ira Horowitz, 'The Picture Frame, 1848-1892: The Pre-Raphaelites, Whistler, Paris', unpublished thesis, Queen's College (CUNY), 1974, p.82).

‘Uppard’, presumably Edwin John Uppard, restored pictures at the Foundling Hospital, sometimes in partnership with Henry Alexis Hornfeck, c.1904-18. He was paid the considerable sum of £120.9s for treating pictures in 1905 (London Metropolitan Archives, A/FH/B/01/014/012) and as late as 1918 he was still working for the Hospital, receiving 10s.6d for reporting on its pictures following wartime storage (LMA, A/FH/B/01/014/-015). For Hornfleck, see British picture restorers on this website.

For abbreviations, see Resources and bibliography.

Found a mistake? Have some extra information? Please contact Jacob Simon at [email protected]