This remarkable frame makes use of design motifs from the painting in the decorative elements of the frame. The ornament on the inner scotia is taken from the frieze on the base of the wall in the background, right. The motif on the leading edge is adapted from the ornament on the lid of the chest. The frame maker is identified by an invoice from John and William Vokins for: An ornamental Persian pattern frame in oil and burnished gold with part of ornament picked out in green gold and double gilt matt flat for picture of Esther put together with bolts and screws. A double gilt tablet with inscription written there on for above frame. The invoice is dated 6 July 1878 and the frame cost £32.14.0. The painting cost £1600.2
Note
1 There are a number of frames in the collection which use tie bolts across the corners to facilitate assembly. See also the frames on Aby Altson’s The Golden Age by Argellies (6-2) and James Quinn’s Nativity (98-2) by Havard (both framers from Paris).
2 A large-scale Vokins frame, now sadly much altered through restoration, is found on Landseer’s The Earl and Countess of Sefton and daughter with horses and dog at Abbeydale (1825-4). Another Vokins frame, also altered by restoration, is found on Eugéne von Guérard’s Sydney Heads (A3-1986), though it is not the original framing of the painting and was likely put on the work in London.