The painting was painted in London and it seems likely the frame, being 19th century in origin and style, was recycled for use with the portrait. It is unlikely the frame was distressed at the time of acquisition in 1924. The surface treatment reflects a kind of aestheticism that had a revival in the 1940s and 50s with artists reworking the surface of gilded frames, leaving open the possibility that the current appearance of the frame reflects the taste of the gallery rather than the artist.
Finely cast composition ornaments on a wooden chassis. Originally gilded with a variation of surface from burnished to matte.
Entirely overpainted, the slip with black paint, the body of the frame with a grey wash. Fortunately a second bole has not been applied and the fine detail of the casting is still apparent.