Professional Notes 419

of the moving sun from which the artefact originally benefitted. Artificial lighting could b e made to simulate the passage of the sun, either by mechanism means or more sophisticated electronic methods designed to achieve the same purpose. It could be programmed to coincide with the sun outside, or be speeded up to simulate the whole cycle in hours in even minutes. It could even be contrived to simulate the sun’s dif- ferent angle in winter or summer. This would give new visual excitement to a display and stimulate both artistic and scholarly appreciation-it would in no way be just a theatrical gimmick for which the unthinking might be tempted to dismiss the idea.

However, it does need to be emphas- ised that such a lighting experiment requires careful thought and selection of the sculpture to be so lit. For example, the shadows must not be so deep as to obliterate the detail in the adjacent penumbra, and sculptures which were never intended to be exposed to harsh direct sunlight are better lit in a manner

closer to that originally intended. An obvious example of the latter is the Parthenon frieze which should be lit by bounced light from below, whereas the pedimental sculptures lend themselves to the full brilliance of Apollo’s Chariot as it is driven across the sky. The Nereid Monument, from a known site in Lycia and now in the British Museum, would be an excellent recipient of this treatment. Gothic sculpture from known positions on the exteriors of buildings, for example, either originals or casts, would benefit greatly from similar treatment where appropriate, though it must always be remembered that in the Northern Hemi- sphere the northern elevations of build- ings see little sun and then obliquely at a low angle.

I have, by implication, suggested that two of the greatest national museums in the United Kingdom might undertake these experiments harnessing the very considerable talents of the many lighting engineers available.

PETER FOSTER

Picture Framing

The Exhibition of ‘The Art of the Picture Frame’

Subtitled Artists, Patrons and the Fram- ing of Portraits m Britain, the innovative exhibition The Art of the Picture Frame has been organised by Jacob Simon at the National Portrait Gallery, London, November 1966-February 1997, and constitutes something of a milestone in picture framing studies in the United Kingdom.‘It was originally planned as a

small-scale educational exhibition, but with changed institutional schedules, generous sponsorship from Paul Mitch- ell Limited, the London framemakers, and the assistance of a team of dedicated volunteers, most of the 2500 frames in the National Portrait Gallery collection, excluding those displayed at Bening- brough Hall and Bodelwyddan Castle,

420 Professional Notes

1. Portrait of William Laud, Archbishop of Canterbury, after Sir Anthony van Dyck, oil on canvas, 123.2 X 94 cm, in carved and gilt oak frame, National Portrait Gallery, London. This finely early auricular frame dates from the mid-17th century and retains its orrginal pine back frame apparently, in untouched condition. Archbishop Laud was executed in 1645 and this frame may be original to this portrait.

were able to be subjected to technical examination and a major research cam- paign has been undertaken both within the Gallery’s own records and drawing on a wide range of sources outside. The fruit of all these labours has been brought together by Jacob Simon in the ambitious and comprehensive publica- tion of the same title (see Publications Digest in this issue) and this alone provides a vast amount of fresh informa- tion which will take years to digest fully Indeed, the relatively loose relationship between the temporary exhibition and the accompanying publication encour- ages their assessment separately, and that course is adopted here.

The core of the temporary exhibition has been mounted with great imagina- tion in the Wolfson Gallerv of the National Portrait Gallery and Is divided into four thematic sections which inter- lock. 132 frames are displayed in the Wolfson Gallery, mostly enclosing pic- tures, while the exhibitron extends into the remainder of the permanent collec- tion to include a further 110 or so framed portraits for which A Guide to Picture Frames at the National Portrait Gallery is provided, free of charge to those visiting the temporary exhibition. Within the Wolfson Gallery the first section is devoted to the techniques and materials used in the making of picture frames in

Prof&rionul Notes 421

2. Par dated Gallel John time.

-trait of GeorgeJefferys, 1st Baron Jefferyr of W em, by John Michael Wright, signed a .nd 1673, oil on canvas, 121.3 X 101 cm, in carved and gilt oak frame, National Porn -ait

:y, London. A fine example of the fully developed Sunderland frame, possibly made by Norris, the back frame has been replaced and the regilding probably dates from the sa me

England, together with a reconstructed picture framing studio in which visitors can watch demonstrations of frame con- servation and restoration and a video recording the conservation of four his- toric frames of different types displayed nearby. The second section focusses instead on style and the evolution of different patterns of English picture frames from the sixteenth century until the present day, though this is a theme also carried through the entire exhibi- tion.

Since the picture frame looks inwards to the painting it encloses and outwards to the room in which it is to be hung, there can be no ‘ideal’ or ‘correct’ frame

for a particular painting in respect of all locations and these problems are addressed in the third section of the exhibition, devoted to the issues to be considered in choosing a frame. Three very different frames made over a hun- dred years for the so-called Chandos portrait of William Shakespeare are exhibited in a row, enclosing where necessary high quality facsimiles of the original so that the different effects can be judged. None are particularly happy for this national icon, and a simple black moulding frame might be preferable so long as the profile, weight and surface finish are authentic. As documents of the history of taste these frames are fascinat-

422 Professional Notes

3. Self-portrait of Gluck (Hannah Glttckrtein), signed and dated 1942, oil on canvas, 31 X 26cm, in a white painted pine frame made by Rowley Frames, National Portrait Gallery, London. Of the Whistler type of frame which in its white form was first used in the late 188Os, the choice was made by the painter who had a passion for picture framing, and for white frames in particular.

ing, but even more intriguing have been the overhead comments of the bemused public! Standard frames from the Ken- tian Kit-cat Club pattern (now docu- mented as having been supplied by Gerrard Howard to Jacob Tonson II m I733 at two guineas each) to the ‘Gilbert Scott’ oak frames evolved for the post- Second World War House of Commons are surveved in this section, while the final section explores the rich range of relationships between framemakers and artists.

All the frames displayed in the Wolf- son Gallery are catalogued in the accom- panying publication where they are prefaced inter alia with the note that: “Gilt frames are in oil gold in whole or part unless stated; the use of water gilding is generally noted. It should be assumed that frames made before the mid-nineteenth century have been regil- ded at some stage unless reference is made to the gilding being original.” On

the other hand, the exhibition labelling, prepared for the general public, was unable to provide more than the most basic facts, and the status of the gilding on particular frames perforce remained in general undefined, while unfortu- nately few non-specialist visitors to the exhibition attempted to use the publica- tion within it. Two examples of the practical problems to be experienced will suffice. The portrait of George Jefferys, 1st Baron Jeffreys, by John Michael Wright, signed and dated 1673, is in a particularly handsome carved and gilt Sunderland frame, though with its back frame replaced. It would seem, from its present appearance, to have been stripped and regilt in the late nineteenth or early twentieth century, but non-specialist visitors receive little assistance in the tricky but important problems of assessing the status of frames notwithstanding their present condition-the differentiation, for

Professional Notes 423

example, between original frames later regilt and more recent copies. More serious, however, are the problems of interpretation of visual evidence posed by the posthumous portrait of Henry VI, by an unknown artist c.1540 (cat. no. 2), which is given a prominent position in the exhibition as an example of an early engaged frame with its grooves intact. Unease stems from the problem that the painting is not entirely comfortable within its frame and on the right hand side the mahlrand does not coincide convincingly with the sight edge, while the panel appears to have been trimmed slightly along its bottom edge. Indeed the frame would appear now to be of a sandwich construction, raising the possibility that frame and painting are the product of a clever marriage mostly concealed by later paint on the outer edge. The grooves are intact, but only in a manner of speaking.

Having gained a broad grounding in the basic principles of picture framing the visitor is encouraged to visit the remainder of the permanent collection with, in hand, the excellent folding leaflet Guide to Picture Frames in the National Portrait Gallery. The concise overviews provided within this subsidiary publica- tion are admirable and considerably

more accessible to the general public unable or unwilling to allocate sufficient time to read The Art of the Picture Frame. All the paintings mentioned in this running account, taken Room by Room, are identified with special labels for the duration of the exhibition, and this low-cost approach to public educa- tion in the importance of picture framing could be adopted by other art galleries with relatively stable displays of their permanent collections.

Parallel to the exhibition at the National Portrait Gallery is that mounted by Paul Mitchell Limited to accompany the publication of his volu- mes-Frameworks and A History of European Picture Frames-and all of these will be covered in the next issue of this journal, while Arnold Wiggins & Sons have mounted A Hang of English Frames 2620-1920 (November-Decem- ber 1996) including a number with maker’s labels which are reproduced in a small booklet accompanying it. At least during the turn of 1996-97 London is the centre of picture frame studies.

Photo Credits National Portrait Gallery, London.

PETER CANNON-BROOKES

Picture Framing

Lawrence, Morant and a Picture Frame from Harewood

“The finest picture shown without an ciously selected”, wrote Sir Thomas appropriate Frame loses a great advan- Lawrence on 13th October 1828 in reply tage as on the other hand it sustains to his patron Mrs Gott who had written material injury from a frame injudi- suggesting that the frames he had