The frame is made from a composite of solid oak sections, which have been shaped to form the profile. The fluted section against the sight edge bevel is solid oak attached to the flat and appears to form the lip against which the bevel is set. The rebate is formed by the addition of a softwood section. The corners are formed by mitres but have been assembled to form a rigid structure despite the large scale of the frame. The surface of the profile is gold leaf gilded directly to the oak allowing the grain to show through. The frame displays a high level of craftsmanship in its construction and finish.
The frame is largely original through out. The surface is worn in places and may show a more enhanced sense of grain structure than was originally intended.
- 288.5 x 197.0 x 10.0 cm; sight 238.0 x 146.0 cm
- More information
- National Portrait Gallery
The frame is reliably given to Dolman as manufacturer despite not carrying any identifying marks. Herkomer used Dolman to build frames of this type toward the end of the century.1 The recognition that the frame does not come to pieces for transport suggests unusually high costs in shipping from London. It was more common for large frames to be made in four sections, disassembled for shipping, quite probably to reduce transport costs.2 The fluted wooden section is notable on a number of frames made by John Thallon around this time, for both Travelling Scholarship pictures and works by the Director, Bernard Hall. The painting appears in this frame p.98 of the Illustrated Catalogue of the National Gallery of Victoria, 1911: View of the Stawell Gallery, North End.
1 For Herkomer’s preference and changes in style see Jacob Simon, The Art of the Picture Frame, p. 106, and for the use of Dolman p. 33.
2 See, for example, entries for Aby Altson (6-2), John Longstaff (48-2), Edwin Long (p.307.1-1).