For a frames conservator, making a replica frame for a painting is always a challenging project. Determining what frame is correct for the period demands extensive research in a field that is still young in terms of connoisseurship.
In this article the processes involved in making a replica frame are illustrated.
Percival delivering Belisane from the enchantment of Urma (exhibited at the Royal Academy in 1783) and its frame were examined in preparation for Tate's Gothic Nightmares: Fuseli, Blake and the Romantic Imagination exhibition (15 February-May 2006). The existing nineteenth century swept composition frame, in a rococo revival style, was immediately recognised as inappropriate for a painting of 1783 (Fig.1). In addition, the frame had been reduced in size to fit the painting, which compromised its decorative scheme. To make it visually acceptable this frame would have needed to be restored to its original dimensions, but then it would no longer fit the painting. Consequently the frame was archived and a decision taken to make a stylistically appropriate replica frame.
Two different sources of information were investigated: contemporary representations of displays, and other paintings by Fuseli of the same decade that had their 'original' frames.
a) Contemporary representations of displays
In 1784 the Royal Academy's approach was to frame everything in temporary exhibition frames. This allowed paintings to be hung directly abutting one another. As the contemporary watercolour illustrates, (Fig.5) all the paintings were framed with simple, flat wooden borders, which are quite different from the more ornate styles used for displaying pictures in private houses. Therefore images of this type were not informative.
b) Other known paintings by Fuseli of the same decade with their 'original' frames
There were three possible candidates: Ezzilin and Meduna (1779, Sir John Soane Museum, London) Thor Battering the Mitgard Serpent (1790, Royal Academy, London) and The Shepherds Dream, from 'Paradise Lost' (1784-5, exh. Royal Academy 1786, Tate T00876). The last was considered to be the most suitable as its historical accuracy of style and technique for 1783 could be confirmed by consulting the John Anderson Frames Images Archive, a pictorial reference tool held at Tate. It was also the most practical, being a work in Tate's collection, since access to the frame was necessary for the research. Conservators also had to ask themselves whether it would be technically possible to copy the frame in the time available.
Detective work on construction, wood identification, later additions and gilding schemes for the frame around The Shepherd's Dream (1793, Tate T00876) allowed us to establish how that original frame was made and how it might have looked prior to later additions. It was discovered that several gilding schemes had been applied over time and that the flower corner decoration was a later addition.
In making the replica, wood-working machines were used to save time. A spindle moulder was used instead of hand planning to copy the shape of the original eighteenth century wood profile. However, where possible, traditional techniques were used. For example, the three rows of applied decorative lime wood ornament (waterleaf, egg-and-dart and ribbon-and-stick) were meticulously carved with mallet and chisel (Fig.7).
Before attaching the decorative carving to the assembled frame, everything was 'whitened up' by brushing several coats of a mixture of chalk and rabbitskin glue onto the wood. After smoothing back this surface, special gilder's coloured clay/bole was applied. It was possible to colour-match the plum and yellow clay which was the first scheme on The Shepherd's Dream's frame. This was important as the clay lies directly beneath the gold leaf and its colour influences the final appearance of the gold. The final step was the application of traditional oil gilding and water gilding, followed by burnishing some areas of the water gilding to a mirror finish.
The degree to which a newly gilded frame is toned is always the subject of much discussion. In keeping with Tate's regular practice, it was decided not to create an antique look but only to lightly tone the new, bright gilding to make it compatible with the eighteenth century painting.
This exciting project has provided Percival delivering Belisane from the enchantment of Urma with a stylistically faithful eighteenth century replica frame which allows viewers to enjoy Fuseli's mysterious creation in a suitable setting.
Ruth Goris (Tate Frames Conservation intern, 2005-7)
February 2007
