Frame, probably Italy 19th or early 20th century in the style of Italy 1550-1600, walnut with gilding

Carved and pierced oval frame, originally partially water gilded

Structure
The frame is carved from a single piece of walnut. There are pronounced grooves on the back of the frame from a carving gouge.

Description of Ornament
A beaded moulding with four pairs of bifurcated scrolls at the cardinal compass points borders the sight edge. Two winged caryatids in profile support scrolling and pierced volutes and a winged cherub head at the top centre. Coin enriched scrolls, hung with drapery, form the base of each figure and lead towards a central scallop shell at the base.

Labels and Inscription
There are three labels pasted on the back: ‘16’, ‘110’ and ‘ON LOAN FROM D.M. Currie, Esq. April 1902, 18’. At the top, the museum acquisition number is written in white.

Decorative Finish
The frame is partially gilded. The walnut has been stained dark and coated. There is one original water gilded scheme, with areas of later mordant gilded repair and bronze paint retouches. The water gilded areas, seen for example on the volutes and on the coin enriched scrolls, are carefully applied and these are probably the remains of the original scheme. The water gilding consists of a thin, translucent coating over the gilding on an orange-red bole on a thin, white ground. The oil gilded areas, seen for example on the recessed areas of the scallop shell and inside the drapery, are thought to be later repairs. The gold leaf of the oil gilding has been imprecisely applied and overlaps on to the adjacent areas.

Hanging Device
No hanging device was observed.

Taken from Powell and Allen, 2010.

Bequeathed by D. M. Currie

Bequeathed by David Martin Currie of 64 Campden-Hill-Court, Kensington, who also gave various pieces of (mostly renaissance) metalwork and bronzes, a tapestry, ceramics and enamels, and three manuscripts. O Brackett (25/2/1921) accepted that the four pieces were Italian 16th century, and singled out the small mirror W.102-1921 as 'particularly...a fine piece of work and a type unrepresented in the Museum'. The ceramics, manuscripts and certain bronzes were highly regarded by the Museum, while the Metalwork curator noted that 'a large number of pieces of doubtful if not fraudulent character' as well as fine quality works were being offered, but that they should be accepted nonetheless. No other significant information relating to FWK objects found on acquisition papers (3/2008). Currie was described in a newspaper obituary as 'a familiar figure in Continental sale rooms and at Christie's'.


Conclusion and Observations (taken from Powell and Allen, 2010).
The use for this frame is not known.

The wood is in good condition and very clean on the back. There is little fluidity or confidence in the carving style, suggesting it is of a later date imitating an earlier style, possibly even by an amateur carver.

Comparable Frames
Parcel gilt, Venetian, oval Sansovino style frame, 16th century (H: 500 x W: 400 mm), with similar scrolls and beaded sight edge moulding. See Lodi, R. and Montanari, A. Repertorio della cornice Europea: Italia, Francia, Spagna, Paesi Bassi: dal secolo XV al secolo XX. Modena: Galleria Roberto Lodi, 2003. p.118.

Oval frame with winged female figures similar to this frame for the painting Self Portrait with a Burning Candle by Godfrid Schalcken (1643-1706). See Exhibition Catalogue. Schöne Rahmen aus den Bestanden der Berliner Gemäldegalerie. Berlin: Gemäldegalerie,Staatliche Museen, zu Berlin, 2002. Image on back cover and p. 91.

Frontispiece illustration by Giovanni Fortunato Lolmo of a collection of poems by Lucia Albani, ca.1580, showing a portrait of the author within a frame of similar character with scrolling strap work, volutes and drapery. See Penny, N. The sixteenth century Italian paintings. Volume I. National Gallery Catalogues. London: National Gallery, 2004. p. 221, fig. 5.

Probably Italy 19th or early 20th century in the style of Italy 1550-1600

Separate wooden picture frames were used in Italy from about the 15th century, although they developed from earlier frames in both metal and wood on altarpieces. They were used to protect and enhance both secular and religious paintings.

As well as many picture frames acquired with paintings, the V&A acquired some frames - principally Italian renaissance in origin or style - as independent objects. They were usually chosen for the fine quality of their carving and decorative effects. Many of the ornaments used are classical and architectural in origin.

This frame is carved from a single piece of walnut, which has been stained and coated. There is one original water gilded scheme, with areas of later mordant gilded repair and bronze paint retouches. The water gilded areas, seen for example on the volutes and on the coin enriched scrolls, are carefully applied and are probably the remains of the original scheme. The later mordant gilding, seen for example on the recessed areas of the scallop shell and on the inside of the drapery, has been imprecisely applied and overlaps on to adjacent areas.

Although this frame is in a sixteenth century style, it was probably made about 1900. Evidence supporting this can be seen in the suspiciously good condition of the wood. There is also little fluidity or confidence in the carving style, suggesting that it is of a later date imitating an earlier style, possibly by an amateur carver.

W.102-1921