Sixteen Frames

B O U R N E F R A M E S
The frame
in Europe over
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Sixteen Frames
The frame in Europe over years
B O U R N E F R A M E S
:
Bourne Frames & Conservation
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When it is not possible to hnd a suitable period frame, we
can supply a reproduction; based on research and experi-
ence and, where possible, copied from original examples,
we design and run mouldings from which we make frames
from all periods. Ornamented frames can be carved or
made in traditional compo. Our work is to be found in
public and private collections in the cx and overseas.
For twentieth and twenty-hrst century paintings, we
can make hand-hnished contemporary frames. Each is
made specihcally for the painting in question; prohles and
hnishes can be chosen from our range of samples in any
combination, adapted from similar examples or created for
the project.
cosinv\1io: in\vis, v\i1ics,
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Bourne Frames offers a complete conservation service
from housekeeping advice through conservation treat-
ments to full-scale reconstructions of damaged frames.
Our conservators will undertake with conhdence the most
complex and challenging tasks and will work with other
specialists on multi-disciplinary projects. In addition to
frames, we gild sculpture, artefacts, furniture and objects
in a variety of materials. We adhere to the principle of
minimum intervention and always recommend the con-
servative route as a starting point, for all objects.
cosinv\1io in\vic
Bourne Frames provides conservation mounting and
framing, using museum-quality materials and practice.
scnvivs \u nivon1s
We carry out assessments and surveys of individual
items and complete collections, in the studio or on site,
for all requirements, including: conservation, remedial
treatment, loan, exhibition, valuation, purchase,
insurance, good housekeeping and hanging.
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We provide a full hanging service, including advice on
placing for hang, and a packing, crating and transport
service for paintings, frames and objects within the cx
and overseas.
Bourne Frames & Conservation was established in q8:
to provide frames for those passionate about Scottish art.
In :oo Bourne Frames and its sister company, Bourne
Fine Art, merged with the Fine Art Society, one of the
worlds oldest art dealerships.
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During thirty years of collecting and selling, we have
gathered a signihcant stock of hne antique British
and European frames dating from the sixteenth to the
twentieth centuries, for paintings, drawings and prints.
Our collection is thoroughly researched and continually
replenished, designed to serve a wide range of clients:
museums and galleries, dealers, auctioneers, collectors
and members of the general public.
We specialise in identifying and sourcing an
appropriate frame for each painting, taking into account
historical period, style and aesthetic; ideally, we aim to
hnd a frame which corresponds closely to what would
have been the original but, in any case, one which
complements the painting to its best advantage.
With this selling exhibition, we hope to share our
enthusiasm for the intrinsic beauty of frames as artefacts,
for the skill of the craftsmen who made them and for
their value in contributing to the appreciation and impact
of the paintings they present.
Makers label from the Ramsay frame. See p.

Cassetta
During the Italian Renaissance, two types of frame devel-
oped: the tabernacle frame for religious subjects and the
cassetta frame for secular subjects. The translation of
cassetta is small box and it is a simplihed version of the
tabernacle format having a at, or frieze, with mouldings
on either side.
In sixteenth-century Italy, the cassetta was the most
common frame style in use. The frieze often had sgraffto
(a design scratched through a paint layer to reveal the
gilding beneath), pastiglia (a pattern created by gesso
drawn or piped over the surface with a technique similar
to that used in cake decoration), or a painted design.
Sometimes the frieze was carved or, where the frame was
made from an expensive timber such as ebony or fruit-
wood, the wood was left visible. An alternative form was
a reverse prohle with an ornate moulding at the inner
edge and a more simple design on the back edge. For
larger paintings the cassetta frames were more architec-
tural in form and borrowed from designs used in ceilings
and window frames.
During the sixteenth century the decoration on the
frieze was usually continuous but, by the seventeenth, it
was positioned at corners and centres, although similar
ornament was used over both centuries. There are some
regional differences: Tuscan frames show the inuence
of Florentine and Sienese architecture with alternating
areas of black and gold; Spanish inuence can be seen in
the frames from Naples which have gilded scrolls on black
ground with more substantial carving.
Italian, probably from the Veneto, sixteenth century, gilt cassetta frame
with pastiglia design on the frieze
Sight size: 8 x 6 inches (::.: x .: cm)
Prohle width: : inches (6. cm)
6
Sansovino
The Sansovino is a Mannerist style of frame from
sixteenth-century Venice and the Veneto. It is the
hrst picture frame to be named after an individual:
Jacopo Sansovino, an architect and sculptor, who
was active in Venice from : until his death in
o. The style was inspired by the carved stucco
ornament for ceilings and wall panels of the time.
It is characterised by distinctive overlapping scrolls
and volutes. More elaborate examples can be found
which have cherubs heads and piercing but the
most usual form, like the one illustrated here, has
four identical rails.
Italian, sixteenth century, carved parcel-gilt Sansovino frame
Sight size: q x inches (8. x . cm)
Prohle width: : inches (6. cm)
8
National Portrait Gallery, Edinburgh: these are the origi-
nal frames for Sir Peter Lelys portraits of King James II
(VII of Scotland) when Duke of York and Anne Hyde,
Duchess of York. They have straight sight edges, melt-
ing pelt forms and conch shapes at the sides, a attened
prohle and Sansovino-esque details.
English, seventeenth century, carved giltwood auricular frame with a
crest at the centre of the top rail and a mascaron at the centre of the
lower rail.
Sight size: o x 8inches (:6.6 x :: cm)
Prohle width: : inches and inches at widest point (6. and o.: cm)
Auricular
Auricular means of the ear. Here it describes the owing
ornament of stylised ora and fauna. The frame was popu-
lar in the 6os and possibly emulates the look of draped
animal skins. Portrait engravings of this period used
animal skins as a framing device and Jacob Simon tells us
that framers invoices of the time mention leatherwork gilt
frames (p.).
During the reign of Charles I (6ooq), London was
receptive to European inuences and frame makers of
the period were often born or had trained abroad. The
Sansovino frame had already become fashionable in
Britain and the progression from that architectural style
to this more organic form can be seen in frames from the
hrst half of the seventeenth century.
The fully-formed auricular style evolved during the
6os to the 68os and was known as the Sunderland after
Robert Spencer, :nd Earl of Sunderland, who chose the
style as his gallery frame at Althorp, Northamptonshire. It
has an irregular sight edge which increases the effect of
owing drapery. There are three main types, distinguished
by the nature of the mask, a motif typically used in the
frames decoration: a lion; a grimacing man; and an owl.
Room interiors of the period were panelled in dark wood,
leather or fabric against which the opulent frames looked
their most desirable.
A pair of hne examples can be seen in the Scottish
o
Bunched-Leaf
Frames of the Baroque period tended to be decorated
with foliage or fruit which were arranged in running
patterns to cover most of the frame surface.
Bunched-leaf frames are also referred to as oak-
and-acorn frames but more often feature fruit, berries
and owers (Simon p.8). In France the style is known
as Louis xiii and it was introduced to England after
the Restoration in 66o where it remained popular
until the 6qos.
It is usual for the English frames to have the
leaves run from the top, out and down the sides,
meeting again at the centre of the bottom rail. This
ornament was also used in country houses of the
period: in Ham House, Richmond, door frames were
carved with bunches of leaves hanging from ropes.
English, seventeenth century, carved giltwood bunched-leaf frame
Sight size: 8 x q inches (:.8 x oo cm)
Prohle width: inches (. cm)
:
Lely
The Lely is a late seventeenth-century British frame
named after Sir Peter Lely (688o), but which did not
became fashionable until after the artists death.
The style was derived from the French Louis xiii and
xiv frames and developed into a very British style which
was well suited to portraiture, the only branch of painting
to survive the Reformation.
The best-known version alternates plain panels, which
were often highly burnished, with shallow relief panels
of owers and foliage. Other versions may be of reverse
prohle with more or less carving, of oval or arched shape,
and there is an elaborate version on which the plain
panels are gadrooned. The burnished panels would serve
to reect light onto the painting in a dark interior whilst
the delicate carving would create a play of light.
English, late seventeenth century, carved silvered Lely frame
Sight size: :8 x : inches (. x 6. cm)
Prohle width: inches (o.: cm)

Le Brun
Le Brun is a style of French Baroque frame named after
the artist Charles Le Brun (6qqo) who was First Painter
to King Louis xiv and responsible for the decoration of
the Royal Palaces from 66.
The style is characterised by projecting oral corners
with fanned lambrequins. The inclusion of sunowers
is common as a symbol of the King, and Apollo; roses
and narcissi are also to be seen. The space between the
corners is decorated with incised patterns of leaves and
owers and often the sight edge has incised decoration
which extends as far as the corner ornament. Our example
is quite modest in scale and the ornament is relatively
restrained.
Paul Mitchell in his History of European Picture
Frames tells us that these corners were a novel feature
which create a new dynamic Baroque interplay
with the pictures composition. (p.8) The amboyant
corner owers echo the shape of curling wigs and sweep
of fashionable velvets worn at the time and sported by the
sitters of these portraits.
French, late seventeenth century, carved giltwood Le Brun frame
Sight size: :o x inches (:. x . cm)
Prohle width: inches (.6 cm)
6
Kent
This style was originally known as Architrave or Palladian,
after the Italian architect Andrea Palladio (o88o) and,
later, as Kent.
William Kent (688) edited The Designs of Inigo
Jones for Lord Burlington in : and this, along with his
travels in Italy, inspired his architectural style. His look
was the height of fashion through the :os and his work
remained popular until the style was superceded by Neo-
classicism in the os.
The frame is characterised by projecting square
corners, raised inner and outer edges, with egg-and-dart
common at the outer, and a sanded at. There is a simpli-
hed version without the corner projections, as well as
embellished versions with patterns such as Greek key on
the at, swags of bay or oak leaves and elaborate crests,
heads or cartouches.
The style was used as a hxed overmantle frame in the
early :os, and on portable paintings from around :.
Kent was the hrst architect to design every aspect of an
interior, including the placing of paintings.
One of the most famous uses of the Kent frame was
for the Kit-Cat Club: in frames were commissioned
for a set of forty one portraits of political and literary
hgures by Sir Godfrey Kneller. These are now displayed at
Beningbrough Hall, Yorkshire, and the National Portrait
Gallery, London.
English, eighteenth century, carved giltwood Kent frame with sanded
at, applied shells at corners and oak pendants at each side.
Sight size: :: x inches (.8 x . cm)
Prohle width: inches at widest point (. cm)
8
Ramsay
Allan Ramsay (8), one of Britains leading
eighteenth-century portraitists, was born in Edinburgh.
He settled in London and maintained a studio in each
city. Jacob Simon has identihed Ramsays adoption of the
frame style seen here, as his own: Ramsays frame has
elongated curves which meet in the centres in the French
manner. These centres are tight and heighten the effect of
the swept sides; a small boss is set on a leaf immediately
between the tips of the scrolled sweeps. The distinctively-
shaped plain panels which ornament the sides are also
French in origin and create a very different effect from the
trailing owers so often favoured by English carvers; these
panels are bordered by grooves worked in the gesso for
maximum effect and minimum cost.
The corners of the frames are often decorated with
shells or rosettes, for example Margaret Ramsay, the
artists second wife, c.86o, Scottish National Portrait
Gallery, Edinburgh. Jacob Simon has also been able to
determine the original gilding pattern as seen on the
portrait of Charles, Viscount Mahon, afterwards 3rd Earl
Stanhope, 6, Chevening, Kent the panels are matte
oil-gilt framed by burnished water-gilt borders and the
matte corners with burnished C-scrolls.
Ramsay had painted the Prince of Wales in
and this led to his appointment as one of His Majestys
Principal Painters in Ordinary in 6. Full length
portraits of King George iii and Queen Charlotte in
their coronation robes were produced for the ofhces of
Ambassadors and Governors of Provinces, many of them
in opulent carved frames attributed to the Huguenot
carver and gilder Ren Stone. A pair of these portraits with
frames showing roses and thistles as national emblems
can be seen in the Scottish National Portrait Gallery,
Edinburgh.
Our frame bears the label of John Hay, a frame maker
who established his business in Aberdeen in 8. He
was awarded a Royal appointment as carver and gilder to
Queen Victoria in 86 and, through his sons, the business
traded for more than a century. This frame dates from
the early nineteenth century and is made in composition,
known as compo, a mixture of glue and chalk used for
moulded ornament. It is a version of the carved Ramsay
frame and reects a preference for this frame style for
Scottish portraits.
Scottish, hrst half nineteenth century, compo gilt swept and pierced
Ramsay frame
Sight size: :q x : inches ( x 6:.: cm)
Prohle width: inches (:. cm)
:o
Raeburn
Scottish, early nineteenth century carved giltwood Raeburn frame
Sight size:

/
8
x : inches (88. x 68.6 cm)
Prohle width: inches (:. cm)
The Scottish portrait painter Sir Henry Raeburn
(68:), was born into the Enlightenment, a period
of great intellectual and scientihc growth based on ideas
of reason and empiricism. The prevailing aesthetic of
the time was Neoclassical, and The Grand Tour and the
excavations at Pompeii and Herculaneum fuelled popular
interest. The fashion moved towards a preference for
symmetry and clean lines in reaction to earlier, more
amboyant, Baroque and Rococo styles of decoration.
The frame which takes Raeburns name is an entab-
lature prohle with a tongue ornament at the sight edge,
enriched bead-and-bobbin at the back of the plain frieze,
bunched reed-and-ribbon on the top and egg-and-dart
on the back. Variations may use a pearl at the sight
edge, a ribbon twist in the hollow, alter the number of
beads between bobbins or tie the top reeds with leaves
rather than ribbons. The National Gallery of Scotland,
Edinburgh, has a hne collection of portraits by Raeburn
in frames which show the variety of ornament.
::
Neoclassical Fluted Hollow
Neoclassical forms replaced Rococo in France after
the Revolution (8qqq): amboyant curves and
ornamental excess fell out of favour and taste moved
towards symmetry and straight lines.
In the years leading up to the Revolution,
French designers had stopped looking back to
Roman antiquity for inspiration. The British,
however, had not, possibly because of a protestant
sensibility that was at odds with the Rococo style.
Frame styles such as the Kent had remained popular
through the oos: there is an unbroken develop-
ment from the earliest classicism of Inigo Jones to
the Neoclassicism of the Adam brothers. (Mitchell,
Frameworks p.:q).
British Neoclassicism was greatly inuenced by
Robert Adam (:8q:). Adams understanding of
classical proportion and ornament was learned while
studying in Rome under Giovanni Battista Piranesi
(:o8) and others. All Adam interiors feature ut-
ing, paterae, pearl, laurel and egg-and-dart, amongst
other ornaments.
The uted frame is the hrst truly international
style of frame (Mitchell, Frameworks p.8) with
little national or regional variation and continued
to be a highly-effective and widely-used frame style
until the late nineteenth century.
French, hrst half nineteenth century, carved giltwood uted hollow with
some applied compo ornament, acanthus corners, ribbon-and-stick at
the sight edge, pearl back edge and piastre on the top edge.
Sight size: :: x :inches (. x 8:.: cm)
Prohle width: inches (o. cm)
:
Pre-Raphaelite Reed-and-Roundel
This frame was designed by Ford Madox Brown (8:q)
and Dante Gabriel Rossetti (8:88:) in the early 86os
and is primarily associated with the Pre-Raphaelite
movement.
Brown had visited Italy in 8 and returned with inno-
vative ideas about frame design. Both he and Rossetti, who
became his pupil in 88, travelled in northern Europe
where they saw Flemish frames which would have been
strikingly different to the frames seen in Britain.
Their shared interest in medieval and early renaissance
frame styles, the materials used and the methods of con-
struction, led to frame designs which must have seemed
shocking to the public.They considered the conventional
compo frames seen in the galleries and favoured by other
artists of the time to be inappropriate for their paintings.
Brown, in a letter to his patron James Leathart, referred to
such frames as the debased article now in use. The Pre-
Raphaelites chose to design frames which reected their
approach a philosophical rejection of the established
order of the art world. They needed frame makers with the
abilities and aptitude to work with them, and found these
in Joseph Green and Foord & Dickinson.
Their frames were constructed with butt, rather than
mitred, joints which took inspiration from medieval plank
frames, whilst rejecting the diagonal mitre which had been
introduced during the Renaissance. They often used oak,
a timber with medieval connotations, and applied gold leaf
directly onto the wood so that the grain gave an interesting
play of light.
The inuence of their designs was far reaching and
the reed-and-roundel style was taken up by many artists of
the time. Gilding directly onto the wood was used to great
decorative effect by the Arts and Crafts Movement and
the reeded frame reached its apotheosis with James Abbott
McNeill Whistler.
English, nineteenth century, reed-and-roundel frame, gilded oak with
applied paterae
Sight size: : x q inches (6:.: x q. cm)
Prohle width: inches (. cm)
:6
Rossetti Thumb-Mark Pattern
In the 86os Rossetti designed a triangular prohle frame
with alternating semi-circular indentations on each
side which Ford Madox Brown called Rossettis thumb-
mark pattern. The juxtaposition of the meandering line
with the straight lines and planes of the frame create a
decorative and attening effect.
It has been suggested that the earliest use of the
thumb-mark was 86 and that Rossetti used it mostly
on smaller pictures. He used other designs including
his distinctive medallion frames for larger paintings.
The Laing Art Gallery, Newcastle, has a pair of
portraits in thumb-mark frames with gilt oak, butt
jointed ats. One depicts James Leathart a lead
manufacturer who was patron to both Rossetti and
Brown painted by Brown, and the other, his wife,
painted by Rossetti.
English, nineteenth century, triangular prohle thumb-mark pattern
frame, gilded gesso.
Sight size: :6 x inches (6 x cm)
Prohle width: : inches ( cm)
:8
Watts
The frame named after George Frederic Watts (8qo)
became very popular in the second half of the nineteenth
century.
It was based on frames which Watts would have seen
whilst studying in Italy in the mid 8os. Very similar to late
sixteenth- and early seventeenth-century Bolognese frames,
these often had a distinctive outer demi-ower motif and
an inner running bay leaf band. The frieze was sometimes
textured by the use of punched decoration in the form of
scrolling foliage.
In 8o Watts visited the London home of the parents of
Pre-Raphaelite painter Valentine Prinsep for a weekend. He
stayed for thirty years. The Prinseps moved in Bohemian
circles bringing Watts into contact with writers and artists
including Thackeray, Dickens, Rossetti and Burne-Jones.
The Watts frame has a wide at frieze, with gilding
directly onto the oak, and compo ornaments, often husk at
the sight edge and acanthus at the outer. Frames of Watts
own design have the frieze butt jointed. The style was taken
up by other artists and modihed with the frieze mitred and
different ornament used at the sight edge. A more ornate
version has the frieze gessoed and a punched design of
scrolling foliage applied. This can be seen on Watts Dame
Ellen Terry, c.8q, National Portrait Gallery, London, and
Rossettis Monna Vanna 866 Tate, London, which Rossetti
referred to as Venetian.
The style evolved into what Jacob Simon describes as
a quintessentially British frame type (p.). By the 88os
it could be seen in all exhibitions, collections and muse-
ums. Watts himself used the style on the majority of his
paintings over a period of hfty years and kept a stock of
various sizes in his studio at all times.
British, nineteenth century, Watts frame with gilded oak frieze and
applied gilded composition ornament, acanthus leaf on the back edge
with triple-bead-and-barrel and husk on the sight edge
Sight size: :q x q inches ( x :. cm)
Prohle width: inches (q.6 cm)
o
De Lszl
Hungarian-born Philip de Lszl (86qq) was a
fashionable society portrait painter.
De Lszl often chose his frames before beginning
his paintings. He is quoted as saying I believe that
the frame is an integral part of the picture and must
be there from the beginning. A L Baldry, a friend of
de Lszl, recorded the painters thoughts on art and
framing in Painting a Portrait by de Lsz, q, and
describes de Lszls practice of having the canvas in
the frame whilst the painting was worked on.
There are several frame styles associated with de
Lszl. From q: he used an Italian Renaissance cas-
setta with black and gilt frieze and, around the same
time, he also used a Baroque Spanish frame. Our frame
is a carved gilt Spanish-style reverse section, possibly
by Emile Remy. It is very similar to the frame on de
Lszls portrait of Jerome K Jerome, National Portrait
Gallery, London. Remy established his business on the
Kings Road, Chelsea, where he worked from qo to
q:q serving de Laszlo, Lavery and the dealer Joseph
Duveen, among others. Sargent and Orpen had begun
the fashion for Spanish frames in the early qoos and de
Lszl used this style in the qos and q:os.
English, early twentieth century, carved giltwood, Spanish reverse frame
Sight size: :q x : inches (.6 x 6:.: cm)
Prohle width: inches (. cm)
:
Duveen
During the nineteenth century it became common for
dealers to inuence the selection of frames, replacing
the originals, which were regarded as old-fashioned, with
their own choices. This period saw the rise of the gallery
frame and from that, the evolution of the dealers frame
distinctive patterns associated with particular dealers.
Sir Joseph Duveen (86qqq) was a British art
dealer selling Old Masters and British portraits to wealthy
American collectors. The majority of these were reframed
to appeal to the different aesthetic of the New World.
Duveens frames can be seen on Italian Renaissance paint-
ings in the Metropolitan Museum, New York.
Duveen used frame makers in France and London to
replicate the styles of antique frames which he consid-
ered most attractive: these are known as Duveen frames.
He favoured the Louis xiv and Rgence French styles.
His Louis xiv was nicknamed Pinkie after the Thomas
Lawrence portrait of Sarah Barrett Moulton, q,
which he had sold to Lord Michelham in qo (now in
the Huntington Library and Art Collection, San Marino,
California). Most of the o x : inch paintings he sold
would have been given the Rgence frame, illustrated here.
English, twentieth century, carved giltwood Rgence-style Duveen frame
Sight size: :q x : inches (. x 6:. cm)
Prohle width: inches (. cm)

Swept
During the mid oos, frames with the serpentine
silhouette created by C-scrolls and counter-curves were
known as swept frames, or frames in the French taste.
There were many French carvers working in England, and
French pattern books and engravings were easily obtained.
The wars of the os and os, however, led to both admi-
ration and derision (Simon p.6) of all things French.
By the early nineteenth century, the number of wood
carvers working in London had decreased from around
six hundred to less than one hundred. Reasons for
this included the interruption of the timber trade and
devaluation of the currency caused by the war. The use of
compo developed, and increased industrialisation allowed
mouldings to be produced in lengths with compo orna-
ment applied in long runs and at the corners. Pictures
in public exhibitions were hung closely together which
led to frames becoming wider in an effort to reduce the
distraction of surrounding paintings. As industrialisation
helped to create a new middle class there was a rapidly-
increasing need for the trappings associated with wealth
and success, of which paintings and picture frames played
an important part.
Earlier frame styles were revisited, with the carved
ornament cast in compo; for example, the Louis xiv with
ogee prohle and calligraphic ornament, and the Rgence
with corner and centre cartouches were popular revivals.
Scottish, early twentieth century, gilt compo swept frame
Sight size: x inches (. x . cm)
Prohle width: inches (o.8 cm)
6
Catalogue Bourne Frames
All rights reserved :o
Photography by Jo Hanley
Designed and typeset in Fairheld by Dalrymple
Printed in Scotland by Arc
Front cover, lower left: Sansovino frame, see p.6
Front cover, upper right: English, mid eighteenth century
carved, pierced, giltwood rocaille swept frame
Sight size: q x : inches (:. x .8 cm)
Prohle width: inches (8.q cm)
Back cover, upper left: Ramsay frame, see p.8
Back cover, lower right: Sansovino frame, see p.6
Title page roundels, left to right: British, mid nineteenth
century, gilt compo, Rococo Revival frame; British, late
nineteenth century, gilt compo, Neoclassical Revival
uted hollow frame; Italian, eighteenth century, giltwood
cassetta frame.
BI BLI OGRAPHY
Simon, Jacob, The Art of the Picture Frame: Artists,
Patrons and the Framing of Portraits in Britain, qq6
Simon, Jacob, The Burlington Magazine, July qq,
Vol.6, No.oq6 pp.
Mitchell, Paul and Roberts, Lynn, Frameworks: Form,
Function & Ornament in European Portrait Frames, qq6
Mitchell, Paul and Roberts, Lynn, A History of European
Picture Frames, qq6.
National Portrait Gallery, London, Directory of frame
makers , and various articles. http://www.npg.
org.uk/research/programmes/the-art-of-the-picture-
frame.php
De Lszl Archive Trust, catalogue raisonn including
information and images of his frames. http://www.
delaszloarchivetrust.com/index.php
Published by Bourne Frames & Conservation Ltd
for the exhibition held at 6 Dundas Street,
Edinburgh, from : November :o
Bourne Frames & Conservation Ltd
6 Dundas Street
Edinburgh iu 6uz
+ (o) 8
frames@bournehneart.com
www.bournehneart.com
B O U R N E F R A M E S