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Stone was a leading stone carver but for Lord Middlesex his role extended to arranging picture framing so that in August 1639 he is to be found contracting that Zachary Taylor, a wood carver in the King's employ, would produce a picture frame 'of the Right Lady Contes of Middlesex pictor' for £6, and that Taylor's long-time associate, the painter Matthew Goodricke, would colour and gild the frame for a further £6.

This carved, coloured and gilt frame, costing the great sum of £12 in all, must have been very rich.

His daughter, Frances Cranfield, married the future 5th Earl of Dorset in 1637 and it was through this marriage that Copt Hall came into the possession of the Earls of Dorset following the death of the 3rd Earl of Middlesex in 1674.

Copt Hall became one of the chief Dorset residences, though the 6th Earl of Dorset was considering selling the house at least as early as 1693 to meet his mounting debts.

It was cheaper to produce ornament by pressing a pliable material, such as papier-mâché or compo, in a mould, and then setting it on a wooden framework.

Papier-mâché was first used in this way in the 17th century.

This guide was produced on the occasion of a lecture by Jacob Simon at Knole in November 1998 and has been revised December 2013.

Over the next few years major work will take place at Knole meaning that not all the pictures will necessarily be accessible as described in this guide.

Elaborately carved frames were time-consuming to make.

It was this latter, auricular, style which flowered in the 1640s and 1650s, and subsequently in the form of the Sunderland frame (see nos. The medieval GREAT HALL was substantially altered by Thomas Sackville, 1st Earl of Dorset, who came into possession of Knole in 1603.

3 and 238), while what one might call the classical or architectural tendency renewed itself in quite different forms during the Commonwealth and at the Restoration. The elaborate Jacobean screen dates to soon after 1605.

For Taylor, Goodricke and Geldorp, see British picture framemakers, 1610-1950 on the National Portrait Gallery website.

Another document, a bill dating perhaps to the late 1630s, is damaged and so lacks the supplier's name. Phillips in 1929 under his entry for Daniel Mytens but a reference contained within it to a double portrait of Lady Leicester and Lady Carlisle, surely a Van Dyck type, indicates a date in the late 1630s or even the early 1640s. During Charles I's reign elaborately carved and gilt frames became the fashion in court circles.

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In the later history of the house two figures stand out as collectors and patrons: the 6th Earl for his patronage of Sir Godfrey Kneller and his great-grandson, the 3rd Duke, for his purchases of Old Masters and commissions to Sir Joshua Reynolds.

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