The watercolour is stretched over a blind stretcher. An impressed mark of the maker is at the centre bottom of the wooden backing board, suggesting Vokins prepared the support. The frame maker is identified by an ink stamp in the centre of the reverse of the same board. A pencil inscription on the reverse of the frame notes, Gilt Mount. The design work of the frame is a mixture of Gothic and Celtic motifs to link the frame to the subject of the painting. The frame is finely crafted and a beautiful example of late nineteenth-century watercolour presentation.
The outer frame is profiled from a single piece of timber with composition ornaments to the back edge, torus and inner edge. There is an inner slip of timber and then a wide flat of gilded pulp-board. The flat is supported from behind by a wide timber section. The ornament on the torus is finely moulded and appears to sit as a pierced pattern over a gessoed half-round timber section. The cavetto either side is burnished on a black bole. The wooden slip is burnished on a red bole. The frame is water gilded.
The frame is in original condition; indeed the whole assemblage has only been taken apart to replace the glass. The leaf motifs over the mitres of the outer frame are cracked and have losses.