Dating antique convex picture frames

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dating antique convex picture frames

Just because a mirror looks like an antique doesn't necessarily make it so. as their true antique counterparts, or a new mirror may be housed in an old frame. Oct 10, Convex glass, also known as bubble glass, is a type of framing in which the While it is mostly used in the restoration of vintage frames, it can be provided for Chances are you have come across a portrait or two of an older. Jan 22, a true antique glass picture frame or an antique oval picture frame and a their product with their name, and possibly the date of its making.

It is possibly to be associated with a bill of the carver and gilder, Henry Miles, dated 12 March where 'A whole length frame for Lionel? The pattern may have continued in use over a period of years and evidently became something of a house style at Knole. In all ten early 17th-century portraits on the visitor route have these frames, as do other portraits in the private apartments.

Reframing of this kind suggests that at one stage the portraits may have hung together, perhaps in a gallery at Knole or another house.

A Prospect of Dover Castle no. The magnificent carved Kent frame is ornamented at top with ducal coronet and the Sackville leopard supporters and along the frieze on all four sides with a distinctively shaped heraldic device to be found elsewhere in the room in blue and white on the Sackville coat of arms which forms the crest of the Hall Screen.

This architectural framing style had only been introduced a few years earlier, notably with William Kent's remodelling of the gallery at Kensington Palace.

The quality of the Knole frame suggests that it is the work of a leading carver and gilder such as John Howard, the King's framemaker, James Richards or William Waters. The frame pattern is one favoured by the artist in the s.

The brilliance of the gilding is now obscured by later bronzing, probably applied to hide damage to the compo foliage and leaf ornament. These were probably supplied to Lord Whitworth following his appointment as Ambassador to the French Republic in Such portraits were standard issue to ambassadors, and came with frames made by William Adair, carver and gilder to the King.

Such portraits served a symbolic function only hinted at by the appearance along the top of the frame of the crown, the Scottish thistle and the English rose. The portraits issued to ambassadors are described in the Lord Chamberlain's Order Book as 'to be set up under the State, as has been usual on such like occasions'. The State, or canopy of state, beneath which the portrait of the King was hung, was part of the apparatus of official occasions at which the ambassador, when enthroned beneath the canopy, was conceptually transmuted from the King's representative into the King himself.

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The portrait in its gilt frame would have been seen against the crimson silk damask of the backcloth of the canopy; the frame needed to lend magnificence to the occasion. This sort of frame was once very common, and was only gradually supplanted by the taste for carved and gilt frames.

It retains traces of the original hanging holes at top centre, not visible to the spectator, and would originally have been hung from a ribbon or cord threaded through the holes. On the other side of the gallery the very rare set of historical portraits nos. Dendrochronology tree-ring dating of half the set by Ian Tyers provides an earliest possible date for the tested pictures of around Underneath the gilding, traces of blue pigment can just be made out with the help of a glass, suggesting that the portraits once formed part of a decorative scheme.

They were apparently hung in the Cartoon Gallery during the seventeenth century, perhaps high up at cornice level, and were probably only removed when the Cartoons arrived from Copt Hall in The ribbed frames are actually nailed on to the panels, a most unusual approach to framing, and the portraits appear to have been painted in their frames, as study by Catherine Daunt confirms.

However, the inscribed ribbons attached to the top of each frame are much later. In May Francis Parsons, a portrait painter and picture restorer, charged 4 guineas a picture for 40 portraits, rather than 44 as present: At least four of the portraits would appear to be later additions to the series. Parsons supplied 'one New Portrait' of the Earl of Cumberland no. He also supplied a new frame for Queen Elizabeth perhaps no.

Other ribbed frames, somewhat thicker and with larger corner leaves, can be found on a group of pictures of 16th-century reformers, including Luther, Melancthon, Pomeranus no. Nearby opposite the side window, the three small portraits painted in about of the 1st Earl of Middlesex's sons, James, 2nd Earl no. The middle frame is gilded the other two have later bronze paint finishesand the grain of the oak fig. Most of the other frames in the Brown Gallery are 18th century in date.

Near the door, Lady Betty Germain no. It is not easy to study the many 16th, 17th and 18th-century portraits at a distance so mention here is restricted to a few chosen for their frames. On the right, the small full-length, James Hay, 1st Earl of Carlisle no.

dating antique convex picture frames

To the left the small head-and-shoulders portrait of the young Charles II no. Turning now to the Old Masters, several of these have fine frames of Italian inspiration if not of Italian origin, generally carved in poplar. Some were presumably framed by the Roman dealers James Byres and Thomas Jenkins from whom the 3rd Duke of Dorset made many acquisitions while on the Grand Tour in and on his return to England.

On the right Garofalo's Judith with the Head of Holofernes no. Opposite in the window bay the Unknown man called Raphael no. It was enlarged later, perhaps in the s, by the addition of the central shield at top and mask at bottom.

Originally the gilt carving would have been seen against a blue background, a most striking effect.

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Another example of this rare type can be found in the Ballroom. However, not all midth century frames were so elaborate. To the left of the window at the top, Mary Bagot, Countess of Dorset no.

dating antique convex picture frames

By the end of the century taste in framing had shifted to bolder leaf and foliage patterns in the architectural styles of the period. The two Lely studio portraits at either side at the far end of the room, Anne Hyde, Duchess of York no. Like other frames of this type, the body of the frame is of pine and has no rebate; the canvas protrudes at the back, as can be seen by standing to the left of no. As the scientist Robert Boyle wrote in'there are very few that imagine [paper] is fit to be employed otherways than about Writing, or Printing.

The ornament was normally gilt, set on a black ground for effect, here obscured by the later gilt sanded finish. There is some evidence, however, still to evaluate fully, that the background was in part originally blue, like various other early frames at Knole. Between these two pictures hangs a much more splendid product, the boldly carved centre-and-corner frame fig.

The sight edge is rather similar to that found on the almost contemporary frames found at Knole on various early 17th-century full-length portraits see frames described as type A in the Great Hall above and the Leicester Gallery below. The main leaf-and-tongue ornament sits in the hollow of the frame, in contrast to the adjoining portrait of An Italian Youth no.

To left and right of the windows James Compton, 3rd Earl of Northampton no. Notice the finely sanded flat surface, catching the light, and the 'cabochon' motif on the sight edge, akin to egg-and-dart, echoing that on the Titian copies in the Billiard Room.

dating antique convex picture frames

Two other late 17th-century reverse patterns can be seen nearby. In the early 18th century these straight-sided reverse patterns went out of fashion. A fine example of the rising taste for frames with projecting centres and corners can be found on Charles Jervas's Joseph Addison no. At the far end of the Leicester Gallery hang some of the most extraordinary frames at Knole, indeed in any house in the country. To start with the seated full-length James I no. Like some of the other frames at Knole, the gilt carving is seen against a blue background, albeit heavily restored.

The portrait dates to about and the frame, carved in oak, is apparently original and as such a very rare survival. The putti, foliage and architectural detail are vigorously if rather crudely carved in exceptionally high relief; they are without close parallel in contemporary decoration and furniture, making it difficult to be categorical about the date of the frame.

The frame is a cruder version of that on the portrait of James I, again in oak, but with a red background, not necessarily original. The third frame of this type is found on another full-length, the somewhat later Van Dyck school portrait of Ann Brett, Countess of Middlesex no.

The frame is evidently a much later copy, mechanical in detailing and carved in pine, perhaps 19th century in date. The frame perhaps dates to the s and so could be twenty years later than the picture; it is an exceptionally rare type of carved and gilt frame of the reign of Charles I, with paired scrolls like the 1st Earl of Dorset no. Two slightly later frames in the auricular style may be found on the full-lengths to the left of the chimney-piece, Frances Cranfield, Countess of Dorset no.

The frame on no. Intriguingly, there is a fragment cut from an auricularframe, perhaps one of those in this room, hidden behind one of the cushions of the daybed in the room.

From the s are several portraits by Sir Godfrey Kneller, including his lovely full-length of the Sackville children, Lionel, later 1st Duke of Dorset and his sister Mary no.

The design starts at top centre, runs down the sides of the frame and meets at bottom centre. It is found also on Kneller's later portrait of the 1st Duke no. Interestingly it can also be found on the small portrait of Richard Sackville, 5th Earl of Dorset no. Many of Reynolds's pictures retain their original frames, made for the Duke by Thomas Vials, one of the leading London framemakers of the period, whose premises in Leicester Square were close to Reynolds's studio.

The cost depended on the quality of the finish and on the number of bands of intricate carving - the gadrooning or diagonal ribbing prominent on the top edge, the adjacent ribbon-and-stick, the leaf-and-tongue on the sight edge and the egg-and-dart on the back edge - but nevertheless the frame was expensive. In the bill Vials describes it as a 'broad bold rich burnish gold whole length frame, carved with knull and hollows, rich foliage, leaf and stick'. In the hollow of the frame the overlap of the sheets of brightly burnished gold leaf can be made out, as can the red bole used as a preparation for the gold.

This is a frame of Maratta profile but with the main leaf-and-tongue ornament on the sight edge in the Italian manner, rather than in the hollow as with many of the other frames in the room. The painting had spent at least two hundred years of its life in Milan, before it was acquired inwithout a frame, by the National Gallery.

Dating old picture frames

It had been in the collection of Cesare Monti, Archbishop of Milan, until his death in ; his collection of paintings hung in the Palazzo Sormani Andreani, now the Milanese public library, and eventually ended up in the Museo del Duomo and the Brera Gallery, but this work somehow escaped. This was done by the framemaker Henry Critchfieldwho worked for the National Gallery from This is satisfyingly appropriate for an image of the Madonna and Child enthroned; and the flower-like decoration of the entablature reflects the garden in which she sits, with its lemon trees symbolizing the faithful love of the Virgin, and hope in Christ.

It is, all in all, a fortuitously good match for the painting. The Adoration of the shepherds has been mentioned in the companion article on Bellin i as probably having had its frame commissioned or acquired for it by the dealer Joseph Duveen, who bought the painting in Although the sgraffito and sight mouldings are not as convincing as they could be, the frame as a whole works effectively with the painting, and is evidence of the care Duveen took to present his wares in as authentic a setting as possible.

The workshop was set up inapparently with the encouragement of the artist Joaquin Sorolla, for whom the founding framemaker worked [11]. Guggenheim ; photo in Duveen Brothers stock photographs and records, The Spanish version is more stolid, lacking the fineness and elongated lines of the Previtali frame, and altering the playful variety of the baluster columns, and the tension between carved, pastiglia and polychrome decoration.

The ornament on this one is all slightly too large for the Mantegna, and the colour is not particularly flattering; but it nevertheless makes an important gesture towards an appropriate regional style of the right period — not always the first concern with 19th or 20th century reframings. It remained in the Pembroke collection until sold by the 15th Earl during the First World War, being purchased jointly by the dealer Thomas Agnew and Duveen.

This one might have antique elements, although much of it looks quite rough; it might also be a 19th century assemblage or pastiche [13]. The pastiglia decoration of the friezes is particularly crude; but the point is that all these later frames were aiming in their different ways at a specifically Venetian design of the turn of the 16th century. Here, in spite of the rather crude workmanship, it is quite effective: This has a chequered history; it was one of a number of paintings from the collection of Silvio Valenti Gonzaga, a Mantuan-born cardinal, to enter the Danish Royal Collection, and eventually the Statens Museum for Kunst in Copenhagen.

This 19th century frame lasted for about half a century and then fell victim to s minimalism. It is a very busy frame, however; the image of the dead Christ and two attendant angels fills almost the whole of the panel, and the restless surge of wave-like ornament above and below, and the different, vertebrate ornament at the sides is quite intrusive — apart from the strangely top-heavy entablature.

The Adoration of the shepherds in the Metropolitan Museum has come off incalculably better in the lottery of frames which either serve or overwhelm the painting.