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.

This frame is a replica of the original, made at the time of acquisition.

This is the only frame in the collection positively identified as by the Artistic Stationery Company, who we know more commonly as artists’ colourme

The frame is in the style of a Watts frame, though here we see it in a variant form using a smooth flat.

The label on the reverse identifies Bourlet as the frame maker.1 The frame is thought to be the first framing of the painting

Chapman made frames for Shannon and there is little reason to doubt the company made this example.