GENERAL DESCRIPTION
The picture frame is now so ubiquitous that one forgets that, like all familiar forms, it was an invention. Although frames were originally conceived to protect the picture physically and enhance it aesthetically, their invention led gradually to the creation of a separate type of craft associated more often with furniture making than with the creation of pictures themselves.
This frame, made during the second half of the 17th century, has its greatest thickness along the outside and makes its most exuberant decorative gestures at the midpoints of each side.
Adapted from
- Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection. (Dallas, Texas: Dallas Museum of Art, 1995), 62 and 67.
NOTES
- There is written correspondence from May 1965 found in the object file between James P. Wiggins and Emery Reves that suggests that pieces of the frame that had been reconstructed by Wiggins in January 1965 had been damaged during shipment from Wiggins to Reves in late April or early May 1965. See note below regarding the note on the photograph also found in the object file.
- There is a b/w photo of this frame in the object file from c. 1965 with a handwritten note on the back of the photo from English frame dealer James P. Wiggins dated 1965 that suggests this frame was carved by Grinling Gibbons and is from England. It also suggests that certain pieces on the frame were reconstructed by Wiggins in January 1965 but were possibly later damaged in shipment to Emery Reves in late April or Early May 1965 (see written correspondence in object file). The note on the back of the photo reads as follows:
"These white pieces were designed by me early January 1965 as restoration of missing pieces for this Grinling Gibbons frame. Circa 1690 English. James P. Wiggins May 1965."
TMS Updates:
- search dates
- added in Grinling Gibbons as a constituent (artist/carver/sculptor/maker)
- Provenance
- Geography Xrefs - Place of Origin, birth and death location for Gibbons
- Title
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1964: Arnold Wiggins and Sons. Ltd., London, England [1]
1964: Emery Reves (1904-1983), purchased from Arnold Wiggins and Sons. Ltd., London, England, September 1964 [1]
1964-1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1] [2]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [2]
[1] According to written correspondence found in the DMA object file from James P. Wiggins to Emery Reves (dated September 1964)
[2] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
AUDIO ASSETS
VIDEO ASSETS
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WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
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RULES
Apply to objects where id equals 5055283
Category
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General Description
The picture frame is now so ubiquitous that one forgets that, like all familiar forms, it was an invention. Although frames were originally conceived to protect the picture physically and enhance it aesthetically, their invention led gradually to the creation of a separate type of craft associated more often with furniture making than with the creation of pictures themselves.
This frame, made during the second half of the 17th century, has its greatest thickness along the outside and makes its most exuberant decorative gestures at the midpoints of each side.
Adapted from
- Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection. (Dallas, Texas: Dallas Museum of Art, 1995), 62 and 67.
Fun Facts
Archival Resources
Web Resources
Notes
- There is written correspondence from May 1965 found in the object file between James P. Wiggins and Emery Reves that suggests that pieces of the frame that had been reconstructed by Wiggins in January 1965 had been damaged during shipment from Wiggins to Reves in late April or early May 1965. See note below regarding the note on the photograph also found in the object file.
- There is a b/w photo of this frame in the object file from c. 1965 with a handwritten note on the back of the photo from English frame dealer James P. Wiggins dated 1965 that suggests this frame was carved by Grinling Gibbons and is from England. It also suggests that certain pieces on the frame were reconstructed by Wiggins in January 1965 but were possibly later damaged in shipment to Emery Reves in late April or Early May 1965 (see written correspondence in object file). The note on the back of the photo reads as follows:
"These white pieces were designed by me early January 1965 as restoration of missing pieces for this Grinling Gibbons frame. Circa 1690 English. James P. Wiggins May 1965."
TMS Updates:
- search dates
- added in Grinling Gibbons as a constituent (artist/carver/sculptor/maker)
- Provenance
- Geography Xrefs - Place of Origin, birth and death location for Gibbons
- Title
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1964: Arnold Wiggins and Sons. Ltd., London, England [1]
1964: Emery Reves (1904-1983), purchased from Arnold Wiggins and Sons. Ltd., London, England, September 1964 [1]
1964-1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1] [2]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [2]
[1] According to written correspondence found in the DMA object file from James P. Wiggins to Emery Reves (dated September 1964)
[2] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
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object_notes_1_b-0081.xml.nores