1/21/2024 0 Comments French scenery paintings by zoe![]() ![]() © Victoria and Albert Museum, London Museum No 4837-1857įortunately there was a Dutch 17th century architrave frame with almost the same dimensions. The V & A has a small collection of frames which were acquired without paintings as objects in their own right, so we looked through these to see if any were suitable in terms of style and size.ĭutch 17th century architrave frame, veneered with turtle shell and ebony, before conservation & with detail of damage. In the context of the new Europe Galleries, it was decided to replace this frame. ![]() They are plain oak mouldings, stained and polished, with a strip of gilded composition ornament. At some point after its acquisition it was framed in a ‘V & A travelling frame’ these were made in the Museum in the 19th century to transport paintings going on loan. This landscape in the style of Adriaen van de Velde was acquired by the V & A in 1869, and again there is no documentation about its framing history. © Victoria and Albert Museum, London Museum No1378-1869 © Victoria and Albert Museum Museum No: E.330-1990Īdriaen van de Velde (in the style of), Landscape with sportsmen shooting, 17th century, oil on copper, in ‘V & A travel frame’. These were adapted to create the following profile for a new frame which was made in the Furniture Conservation studio.īartolomeus van der Helst (attrib.), Portrait of a man, mid-late 1640s, o/c in new ebonized frame, with profile drawing. The book presents many Dutch portraits in their original frames and contains high quality illustrations and detailed cross sections.įraming in the Golden Age, Fig 41, Abraham Liedts, Meyndert Merens in ebony scotia frame of 1659 profile drawing of frameįrom these, a selection was made of profiles for plain black ebonized Dutch 17th century scotia frames. de Bruyn Kops (Rijksmusem, 1984), translated into English as Framing in the Golden Age: Picture and Frame in 17th-century Holland, 1995, was used as the main source. The pioneering exhibition catalogue and book, Prijst de lijst by Pieter J. de Bruyn Kops, Framing in the Golden Age, 1995, Rijksmuseum Other examples of 17th century Dutch portraiture were looked to for inspiration in making a new chronologically-appropriate frame. ![]() The modern frame was not appropriate for its display either in terms of aesthetics or practically, as, being so thin, it was inadequate to house glazing (all V & A paintings are glazed as standard for display). There was no documentation regarding its original frame. This portrait, attributed to Bartolomeus van der Helst, was acquired by the V & A in 1990, framed in a modern plain moulded gilded strip frame. © Victoria and Albert Museum, London Museum No: E.330-1990īartolomeus van der Helst (attrib.), Portrait of a man, mid-late 1640s, o/c in modern gilded strip frame I will also look at some of the frames in more detail and show how they are outstanding examples of craftsmanship and should be considered as objects in their own right.īartolomeus van der Helst (attrib.), Portrait of a man, mid-late 1640s, o/c unframed. In this article I will describe how and why some paintings were reframed for display in the new galleries, providing an interesting insight into the aesthetic impact different frames have on a painting. The frames surrounding these paintings are not in themselves didactic, but when considered in more detail several have an interesting tale to tell of their own and deserve a closer look. ![]() The V & A’s new Europe 1600-1815 Galleries include 50 framed paintings on display, which have been carefully selected to contribute to the themes and stories told in each of the galleries. Zoë Allen, Senior Gilded Furniture & Frames Conservator at the V & A, discusses frames and reframings in the new displays with a short afterword on various Baroque frames by The Frame Blog Jean-Baptiste Pater, Fête champêtre, 1725-35, © Victoria and Albert Museum, London ![]()
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