The frame is one of a matching pair on two still-life paintings by the artist.1 It is particular in being only partly gilded
The frame is a late working of the themes developed by Whistler and those closely influenced by his approach to framing; in particular we might look to the frames used…
This is a fine example of the frame that carries the artist’s name, on one of his own painting
The frame is labelled on each side of the reverse. The label transcribes as: SMITH & UPPARD (successors to W. A.
The frame is in the manner of those used by Thomas Lawrence, which would seem to be appropriate to the formality and grandeur of the portrait.
The frame is very beautifully made, with fine detailing, particularly the very small-scale bead and reel course that abuts the raised classical frieze pattern on the flat.
The frame is labelled E M Foord centre top dating it to the years when the company was managed by the founder, George Foord’s wife Elizabet
Though the label is now lost, it positively identified the maker of the frame.
The label identifying the maker appears on the reverse of the thin timber backing board of the blind stretcher onto which the watercolour is stretched.
The frame is one of a number of highly finished frames that show a very refined level of craftsmanship in their manufacture.
The frame, which is essentially derived from the Louis XIV style, is deceptively wide.
The basic form of this frame is most likely a wooden profile, available through trade catalogues as a base ready to take runs of composition ornament.
This frame is reminiscent of the styles used by James Abott McNeill Whistler.
This delightfully rustic frame is believed to be contemporary with the date of the painting. Frames using rough timber in this manner are referred to as rough deals.1 W. & G…
The frame is a well crafted example of a very large-scale gilded oak frame.