British picture framemakers, 1750-1950

A selective directory, to be revised and expanded annually. 1st edition November 2007. Contributions are welcome, to Jacob Simon at jsimon@npg.org.uk. Cross-references to other makers are indicated by adding '(qv)' after the relevant name. Bibliography and resources.

George Jackson by 1819-1830, George Jackson & Sons 1830-1907, George Jackson & Sons Ltd 1907 until late 20th century. At 50 Rathbone Place, Oxford St, London by 1819-1856, 49 Rathbone Place 1833-1934, Rathbone Works, Rainville Road, Fulham by 1869 until late 20th century. Composition ornament makers, later also pâpier maché and carton pierre manufacturers.

George Jackson (1756-1840) is sometimes described as a supplier of composition ornament to Robert Adam for interior architectural use and is said to have laid the foundation in 1780 at 49 Rathbone Place of the firm of G. Jackson & Sons Ltd which survived until recently (Beard 1981 p.266). However, it remains to be shown that he was born as early as 1756, as usually asserted. Furthermore, the business seems more likely to have been founded by his father, Thomas Jackson (qv), who appears in London directories as early as 1799, rather than by George Jackson himself who has not been traced before 1819. Further research is needed to clarify the early history of this business.

In an 1830 London directory, George Jackson was described as composition ornament manufacturer to his Majesty. His trade card from 50 Rathbone Place, perhaps dating to the 1820s, describes the business as 'Composition Ornament Manufacturer, by special appointment to His Majesty Architects, Surveyors, Builders, Carpenters, Carvers, Gilders, Cabinet Makers, & the Trade in general supplied (Johnson coll. Trade Cards 23 (86). In a full-page advertisement in Robson's 1836 London Directory, the business described itself as 'Manufacturers of Composition Ornaments, and Improved Papier Machée', offering 'A Large Assortment of Picture and Glass Frames', among other services.

George Jackson junior is mentioned in a press report of a fire in adjoining premises in 1830 (The Times 21 January 1830). He may be the individual who died in 1850 at the age of 72 (The Times 7 August 1850). George Jackson's son, John, is said to have brought the carton pierre process from France, and his son in turn to have introduced 'fibrous plaster' (Beard 1981 p.266). George Jackson & Sons issued several catalogues during the 19th century including one with 34 plates in 1836, First part of the collection of detailed enrichment, and various articles of taste and furniture (copies in British Library, RIBA Library, Winterthur Library); in this, the business described itself as composition ornament and improved pâpier maché manufacturers, modellers, carvers, and workers in ornamental Roman cement and plaster of Paris. The business won medals at the 1851 and 1862 London exhibitions, and the 1855, 1867 and 1878 Paris exhibitions, as it claimed in London trade directories.

Thomas Jackson, presumably another son, withdrew from his partnership with John Jackson, trading as George Jackson & Sons, in 1851 (London Gazette 21 January 1851). John Jackson the elder withdrew from his partnership with John Jackson the younger and Edward Elliot Jackson in 1868 (London Gazette 23 June 1868). The later history of the business, which continued until recently, is not traced here but it is worth noting that in 1907 the partners in the business, Edward Elliot Jackson (1838-1910), Edward Francis Jackson (1870-1950) and Elliot George Jackson (b.1874), announced that their partnership had been converted into a private company, George Jackson & Sons Ltd (London Gazette 23 April 1907).

Geo. Jackson & Sons, composition ornament manufacturers, presented a bill to Charles Barry, covering work done in August 1830 (Manchester Archives and Local Studies: Royal Manchester Institution, M6/1/50/p141). The business supplied various large glass frames and picture frames for Buckingham Palace at a cost of £188 in 1840 (DEFM). It was employed by Queen Victoria, 1846-57 (Joy 1969 p.684). Some 850 reverse-carved boxwood moulds with a provenance to the George Jackson business were given to the Victoria and Albert Museum in 1989 (Burlington Magazine, vol.135, 1983, p.444).

Robert P. Jackson by 1868-1891, Robert Jackson & Son 1892-1894 or later, Robert Jackson & Sons by 1900-1972. At 3 Slater St, Liverpool by 1868-1924, 18A Slater St 1925-1941, 20 Slater St 1943-1972. Carvers and gilders, picture framemakers, printsellers, artists' colourmen.

Robert Proctor Jackson (b. c.1834) was listed in 1870 (Gore's Directory), and in 1888 with shops at 3 Slater St and 71 Wood St, Liverpool W. He was recorded in the 1881 census as a carver and gilder, age 47, living at 2 Sugnall St, with wife and four sons; the eldest John Jackson, age 21, a carver and gilder.

The business had an account with the artists' colourmen, Roberson, trading from 3 Slater St, 1879-1908 (Woodcock 1997). It advertised in The Year's Art from 1897 until 1925. Jackson's label has been recorded on a work of 1869 (information from Cathy Proudlove). The business supplied the frame for Edwin Pettitt's A View of Bala Lake, 1889 (Royal Collection, see Millar 1992 no.547). It acted as Liverpool agent for the 'Titian' Medium Manufacturing Co (qv) in 1902.

Thomas Jackson, Holborn, London by 1799, Tottenham Court Road 1800-1804, 246 Tottenham Court Road 1805-1832. Composition ornament maker.

Thomas Jackson of 246 Tottenham Court Road took out insurance in 1824 with the Sun Fire Office. In his will, dated 23 June 1819 and proved 27 November 1832, Thomas Jackson, composition ornament maker, left his lease on 246 Tottenham Court Road to his son, George Jackson (qv), composition ornament maker of Rathbone Place, together with 'the whole of my moulds and working utensils', on condition that he take these moulds and utensils on a valuation, otherwise both the lease and the moulds were to be sold for the benefit of his other son, Thomas, and his daughters, Mary, Sarah, Elizabeth and Charlotte. His premises in Tottenham Court Road were subsequently occupied by Benjamin Louis Lecand (qv).

If a member of the Jackson family did indeed work with Robert Adam, as George Jackson & Sons later claimed, then it is more likely to have been Thomas Jackson than his son, George (see the entry for George Jackson, above).

Descriptions such as 'Jacksons rich shell moulding', 'Jacksons egg' and 'Jacksons frill'd edge', appear in the framemaking ledgers of John Smith (qv) from 1812, suggesting that Thomas Jackson, or possibly his son, George Jackson, was among the sources used by Smith for composition ornaments for his picture frames, whether as a subcontracting supplier or a source of moulds (see also Simon 1996 p.140).

Benjamin Jagger, see John Thirtle

Alfred Jeffries 1878-1884, A. Jeffries & Co 1884-1887, Moulding & Artists' Materials Manufactory Co Ltd 1887. At 2-3 Maynard St, Bloomsbury, London 1878-1884, 443 Oxford St 1880-1882, 107 New Oxford St and Grove Works, Estate Road, Clapham Junction 1883-1887. Manufacturer of mouldings, frames, colours and canvas. Later trading as Alfred Jeffries & Co, 19 Pilgrim St, Ludgate Hill EC 1894-1898, 95 New Oxford St 1896-1908, picture framemakers.

The business advertised as 'Manufacturers of White Mouldings, Picture Frames, Artists' Colors and Canvas' (The Year's Art 1884). It had an account with the artists' colourmen, Roberson, 1878-85 (Woodcock 1997). A stencilled canvas mark has been recorded, 1878. Alfred Jeffries was made bankrupt in 1888 (London Gazette 4 May 1888, where details of other addresses etc are given).

Jennison, see Bennett & Jennison Ltd

Archibald Johnson, see George Morant

A.W. Johnson, 58 Westbourne Grove, Bayswater, London 1877-1883, 62a Westbourne Grove 1884-1915, 20 Lower Phillimore Place, Kensington Road 1895-1899, 136 High St, Kensington 1900-1905, 152 High St, Kensington 1906-1929, 5 Kensington High St 1929-1940. Picture dealer, from 1885 gilder and picture framemaker.

The son of an artist, Edward Johnson, Arthur Walford Johnson (b. c.1853) was first listed in business at 58 Westbourne Grove in 1877, premises previously occupied by William Johnson, picture dealer, presumably a relative. Arthur Johnson was recorded in the 1881 census as a picture dealer, age 28, born Lambeth, living at his parent's home in Richmond, Surrey. In the 1901 census he was listed at 136 High St, Kensington, as a picture framemaker, age 48, born Stockwell.

Johnson advertised regularly in The Year's Art as a gilder, picture framemaker and fine art dealer, also offering in 1920 to clean, line and restore paintings, featuring original etchings and colour reproduction in 1925 and offering 'The Johnson Gallery' as available for one-man shows in 1933.

Robert Johnson. A candidate for a proposed supplement to this Directory, to cover framemakers before 1750. Contact Jacob Simon at jsimon@npg.org.uk.

Thomas Johnson, London to 1746, Liverpool 1746-1747, Dublin 1747-1748, Liverpool 1748-1753?, Dublin 1753?-1755, Queen St, Seven Dials, London 1755-1756/7, 'The Golden Boy', Grafton St, Soho 1757-1763, Store St c.1764-1767 or later, 'The Golden Boy', Charlotte St, Bloomsbury by 1775-1777, Queen's Gardens, Brompton c.1777-1785 or later, 12 Princes Row, Pimlico by 1788-1791, 9 King St, Westminster 1793, 18 Crown St, Westminster 1795. Carver and gilder, designer.

Thomas Johnson (1723-99) is known as one of the leading designers in the rococo style through his engraved furniture designs, published 1755-62. Until the discovery of his autobiography, little had been known about his life. It is now possible to trace his activities in some detail: apprentice to his cousin, Robert Johnson, in 1737, journeyman for James Whittle from 1744 to 1746, almost ten years in Liverpool and Dublin from 1746 to 1755, foreman to Whittle and Norman on his return to London in 1755, designer for Thomas Vialls (qv) from the mid-1750s to the 1770s, and chapel clerk and freemason in his later years.

Johnson complained that the carving business was ruined by the invention of composition, so that by the late 1770s he seems to have given up carving, moving away from the centre of London (Simon 2003 p.54). He used the stationer, Henry Brookes (qv), as a central London address for mail, apparently in the mid-1780s (Simon 2003 p.14).

Johnson is well known as a publisher of designs for mirror frames. His activities in picture framing can be outlined. In 1759 he designed and supervised the production of a magnificent frame costing the huge sum of £200 for a portrait of the then Prince of Wales by Allan Ramsay, probably that painted for the Prince's tutor Lord Bute. The frame however was burnt in the fire which wiped out the workshops of Whittle and Norman in December 1759 (Simon 2003 p.7).

According to Johnson, he received an approach from Thomas Vialls, c.1755/6, to make all his drawings and to undertake the principal part of his work, and subsequently undertook business for Vialls of upwards of £150 a year, for more than twenty-one years (Simon 2003 p.7). Vialls was a leading supplier of picture frames including to such artists as Sir Joshua Reynolds and George Stubbs. One of Johnson's apprentices, Thomas Allwood (qv), went on to become a supplier of picture frames, including to such artists as George Romney and George Stubbs.

Sources: Jacob Simon, Thomas Johnson's The Life of the Author, Furniture History Society, 2003, also published in Furniture History, vol.29, 2003, pp.1-64.

Jordan & Evans 1801-1809, Evans & Jordan 1814-1825, Jordan & Evans 1822-1825, Nathaniel John Jordan 1825-1828. At 18 Silver St, Golden Square, London 1801-1825, 89 Charlotte St, Fitzroy Square 1825-1828, 24 Mary St, Fitzroy Square 1827-1828. Carvers and gilders, picture framemakers, later a picture dealer.

Nathaniel John Jordan (1773-1843) was christened at St Pancras Old Church. He took out insurance with the Sun Fire Office in January 1801 and January 1805 as a carver and gilder at 18 Silver St, Golden Square, jointly with William Evans (qv) with whom he was in partnership. The partnership was variously described as Jordan & Evans and Evans & Jordan. The two men each took out insurance policies on the Silver St premises in 1819 and Jordan in 1820. The partnership between Jordan and Evans, carvers and gilders at 18 Silver St, was dissolved in January 1825 (London Gazette 11 January 1825).

Jordan then set up independently at 89 Charlotte St, taking out insurance on these premises in 1825 as a gilder and picture dealer, subsequently renewing the policy in 1827 and 1828 from 24 Mary St as a picture dealer. He seems to have retired from business in about 1828.

Jordan married Martha Jeffery in 1823 at St James's Westminster, apparently his second wife. In the 1841 census he was listed at 29 Lower Eaton St, Pimlico, together with his son, Henry Nathaniel Jordan (1802-78), carver and gilder, who had been trading from this address since 1835, and previously at 34 Broad St, Golden Square. Nathaniel John Jordan died in 1843; in his will, dated 30 April 1834 and proved 20 January 1844, he states that he was christened as Nathaniel John Jordan but for some time was called John Nathaniel Jordan; he describes himself as late of Charlotte St, but now of Ebury St, Pimlico, and refers to his wife, Martha, and son, Henry Nathaniel Jordan. This son framed Stephen Pearce's Antler with Grey Petty, 1840 (Royal Collection, see Millar 1992 no.544); subsequently, by the late 1850s he was trading from Brixton.

Sources: Guildhall Library: Records of Sun Fire Office, vols 477, 483, 504, 516, 521.

Henry Nathaniel Jordan, see Jordan & Evans

Henry Jouret (active 1750, died 1805), 'The Architrave Frame', Grafton St, Soho, London 1755, 'The Gold Frame', Maiden Lane, Covent Garden by 1774-1775 or later, Kentish Town 1785, 1799. Carver and gilder, picture framemaker, printseller.

Henry Jouret or Jourett, picture framemaker of the parish of St Anne's, took an apprentice, Thomas Eastaff in 1753 (Boyd). Henry Jouret and his wife Esther or Hesther had a daughter, Elizabeth, christened at St Anne's, Soho in 1750 and apparently nine children christened at St Paul's, Covent Garden between 1753 and 1768, including three successive sons by the name of Henry in 1755, 1756 and 1758. Jouret retired to Fitzroy Place, Kentish Town, where he was listed in 1799. His will, as Henry Jourett, picture framemaker of Kentish Town, dated 10 November 1785 and proved 18 July 1805, mentions his wife Esther.

Henry Jouret's rococo trade card by Matthias Lock exists with two different addresses, the earlier describing him as 'Picture Frame Maker at the Architrave Frame in Grafton Street, St. Ann's Soho' (repr. Murdoch 1985 p.203), the later as 'Picture Frame-Maker and Print-Seller, at the Gold Frame the Middle of Maiden Lane Covent Garden' (repr. Heal 1972 p.88). The remaining text, common to both cards, states that Jouret 'Makes all sorts of Black and Gold Frames for Paintings, Prints and Glasses, and all sorts of Ornaments Carved and Guilded. NB. Prints varnished in the Best manner Reasonable Rates'.

There are payments to Jouret for a pear-tree looking glass frame in 1755 and for a picture frame in 1775 (DEFM), but otherwise frames by this presumably Huguenot maker have yet to emerge. 'Jouret' was noted as a framemaker by the engraver, George Vertue, in one of his notebooks in or after 1751 (British Library, Add MS 23096).

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