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.

Robert Macdonald, see Kesson & Macdonald

Thomas Macdonald, 39 Fleet St ('The Poets' Gallery'), London 1813-1817, 3 Brydges St, Covent Garden 1818-1820, 38 Rathbone Place 1820, 139 Strand 1821-1825, 331 Strand 1826, 6 York St, Covent Garden 1831, 20 Broad Court, Long Acre 1835. Engraver and printseller, carver and gilder.

The engraver, Thomas Macdonald (d.1842), trained at the Trustees' Academy, Edinburgh, with his friend, David Wilkie, until 1804. His work as a framemaker has been discussed by Hamish Miles, 'Notes on Wilkie's Frames & Framemaker' (Miles 1981 text opp. figs 3 & 5), to which this account is indebted. He came to London between 28 August and 21 October 1805 (information from Hamish Miles, 9 September 2007), apparently working for Thomson & Jackson, engravers in Gutter Lane, Cheapside in 1808, before setting up independently as an engraver and printseller in 1813 at 39 Fleet St, late the Poets' Gallery, advertising that he framed and glazed prints and mounted drawings. He published various prints from 1813 to 1819, including engravings after the work of James Northcote, 1813-6, and Samuel Woodforde, 1815 (J.C. Smith p.1487). Thomas Macdonald, described as a printseller, late of Bridge St and now of Rathbone Place, was made bankrupt in 1820 (London Gazette 1 July 1820). He died in poverty in 1842 (Miles 1994, nos 1, 9).

From 1813-23 Macdonald looked after much of David Wilkie's framing, probably employing carvers and gilders for the purpose (Simon 1996 p.168, from Hamish Miles). In 1813, he framed The Letter of Introduction for the banker, Samuel Dobree (now National Gallery of Scotland). There appears to have been a hiatus in 1816 when Wilkie wrote to his engraver, Abraham Raimbach, about bringing 'Macdonalds business' to a close (Miles 1981 text opp. fig.5). In 1818 Macdonald framed The Penny Wedding (Royal Collection) and also provided a frame for various sketches, mounted in a single frame, with the label on the reverse, 'Macdonald/ Engraver & Printseller/ Brydges Street Covent Garden' (Miles 1981 fig.3, text opp. fig.5). He also framed other important pictures by Wilkie, including The Chelsea Pensioners, 1821-2 (Wellington Museum, Apsley House) and The Duke of York, 1822 (National Portrait Gallery). MacDonald was also concerned over a frame with William Etty (Miles 1981 text opp. fig.5).

Sources: Jacob Simon, 'The Account Book of James Northcote', Walpole Society, vol.58, 1996, nos 563, 565.

Daniel McIntosh, 15 South Saint Andrew St, Edinburgh 1799-1810, 16 Saint Andrew St 1811-1816, 49 Princes St 1817-1822. Carver and gilder, printseller.

Daniel McIntosh inserted an advertisement in an Edinburgh newspaper in 1799 announcing that he had just returned from London where he had been for some time. Soon after, he advertised, 'Monthly supplies of everything that is New in London and Looking Glasses and Pictures framed to any device, with the same beauty and elegance as in the first shops in London' (Houliston 1999 pp.59, 61, quoting Edinburgh Evening Courant 6 June 1799, 25 January 1800). On his billhead, dated 1805, as D. McIntosh, 'The Repository of the Arts', 15 South Saint Andrew St, he described himself as a carver, gilder and printseller, advertising 'Prints Mirrors &c elegantly framed to any Device' (Banks coll. 32.40).

'M'Intosh, South Saint Andrew Street' was listed in the catalogue, c.1811-12, of Smith, Warner & Co, London, as selling their artists' materials. His trade card, dating to 1817 or later, with a view of his 'Repository of Arts' at 49 Princes St, describes him as 'D. MacIntosh. English and Foreign Printseller, Carver and Gilder, Ladies fancy Work, Stationery, Water Colours & all Requisites for Drawing' (Ken Spelman Rare Books, York, cat. 59, 2006, item 13). A sale of prints was held on M'Intosh's premises in 1818 (Prints and books of prints, to be sold by auction, at M'Intosh's exhibition and sales-room, No 49, Princes Street 12 January 1818, National Library of Scotland).

Sources: Scottish Book Trade Index

James McKechnie, see Doig, McKechnie & Davies

Charles M'Lean, 181 Fleet St, London 1838-1843, 78 Fleet St 1842-1869, 110 Fleet St 1851-1852, 79 Fleet St by 1854-1869, 80 Fleet St by 1854-1864, 144 Oxford St 1862. Wholesale carver, gilder, picture frame and looking glass manufacturer. Also at 165 Oxford St as manager of the Commercial Plate Glass Co, by 1849-1857 or later.

Little is known about Charles M'Lean, sometimes spelt McLean. He managed businesses in both Fleet St and Oxford St, as his advertisements make clear (e.g. Daily News 7 December 1854). In the census in 1851 he was listed at 165 Oxford St, as a carver and gilder, age 49, born London, with a wife and two daughters, employing 40 men (a substantial business), and in 1861 at 144a Oxford St, as a glass factor, age 54, born St Dunstan's, London.

Charles M'Lean, advertised his picture frames extensively from Fleet St, offering 'the very best Gilt Frames, at prices never hitherto attempted', quoting prices for ten sizes of highly ornamented gilt frames at 30s for a 30 x 25 inch frame with a 5-inch moulding and 90s for a 50 x 40 inch frame with a 7-inch moulding, and offering fancy wood mouldings and frames; he also offered to supply the trade with ungilt compo frames and claimed to have 10,000 frames ready for immediate delivery (The Art-Union February 1840 p.31). He offered 'A Large Sheet of Drawings, representing the exact patterns and prices of one hundred different sized frames, ornamented with designs, made expressly for this Manufactory' (The Art-Union January 1842 p.18). He later claimed to have 30,000 frames kept seasoned for immediate delivery (June 1845 p.203).

From 1870, after M'Lean ceased to be manager, the business in Fleet St was run as the Commercial Plate Glass Co, carvers and gilders.

Adrian Maskens by 1779-1798, John Maskens 1799-1808. At 46 Compton St, Soho, London by 1779-1784 or later, 42 Greek St by 1789-1808, 27 Little Newport St 1807. Carvers and gilders, picture framemakers.

Adrian or Adrianus Maskens (d.1798) and then his son, John Maskens (b.1780), were primarily picture framemakers. They took out insurance with the Sun Fire Office in 1779, 1780, 1784, 1801 and 1807 (DEFM). An auction sale of the property of 'Mr. Maskins' was held on his premises at 46 Compton St by John Greenwood in February 1780, comprising 'pictures, large and elegant pier and other glasses, French commodes, capital prints, drawings, &c' (Courtauld Institute of Art Library, see English Short Title Catalogue).

Adrianus Maskens described himself as a picture framemaker in his will, dated 1 May and proved 22 December 1798, from which he appears to have been reasonably prosperous. He refers to his son John, his second son Adrianus who was still an apprentice, and several unmarried daughters. He also refers to his sister Mary, now residing at Brussels, which may provide an indication of his own origins.

John Maskens was christened at St Anne's Soho in 1780, the son of Adrianus and Mary Maskens. In 1799, he advertised that he was continuing his late father's business for the benefit of the widow and family (The Times 4 January 1799). Two years later, he advertised as a picture framemaker, referring to his late father, and advertising that he had procured from Paris a collection of drawings of frames embellishing pictures in the Institute National des Sciences et des Arts (The Times 9 June 1801), an indication of the ongoing importance of French taste for English carvers.

Adrian Maskens's bill-head from his 'Picture Frame Warehouse' at 46 Compton St in 1780 advertised that he kept frames for standard size pictures in stock: ' Three Quarters, Kit-Cats and half lengths may be had in a Minutes Notice for Ready Money only' (Heal coll. 96.8, see Simon 1996 p.137). He produced frames to James Barry's design for the artist's series of paintings for the Society of Arts in 1781. A. Maskens, picture framemaker, acted as a supplier to the 3rd Earl of Egremont, 1783-5. 'Maskins' made two picture frames for Edward Knight, Kidderminster in 1792 (information from Nicholas Penny, 1994).

Sources: H. Trueman Wood, A Note on the Pictures by James Barry in the Great Room of the Society of Arts, 1880, p.7; West Sussex Record Office: Petworth House Archives, Accounts PHA/7539; Sun Fire Office records, Guildhall Library, vols 276 no.415979, 277 no.416683, 284 no.431188, 322 no.494544, 419 no.718195, 440 no.800677.

William Mason, 1 Ship St, Brighton by 1832, 81 King's Road by 1839-1840 or later, 108 King's Road by 1851-1871 or later. Carver and gilder, printseller and publisher.

See British artists' suppliers for this Brighton business.

Charles Mathyson, Grafton St, London, later at Maiden Lane, Covent Garden 1749-1772. Picture framemaker, picture dealer.

The picture framemaker, Charles Mathyson (?1691-1772), is probably the man of this name christened at St Martin-in-the-Fields in 1691, who married Christiane Taylor in 1728, and Ann Brown in 1741, on both occasions at St Martin-in-the-Fields. In his will, dated 9 July and proved 9 November 1772, Charles Mathyson, describing himself as picture dealer of Maiden Lane, bequeathed much of his estate to his daughter, Charlotte, wife of Charles Salmon, framemaker of Little Bedford St.

Mathyson's impressive trade card from Maiden Lane describes him as picture framemaker, advertising 'all sorts of Frames for Paintings, Glasses and Prints in Black or Gold' (repr. Heal 1972 p.109, Simon 1996 p.137, examples at Guildhall Library). The miniature painter, George Powle, used Mathyson's Maiden Lane address in the Society of Artists exhibition catalogue in 1769.

It is worth noting that an individual by the name, Charles Mattison, was reported as having been approved as picture framemaker to the Royal Palaces in 1739 (Gentleman's Magazine December 1739).

Andrew Matthews, see George Morant

Thomas Maws, address unknown. Picture framemaker.

Thomas Maws has not been traced in the standard sources used in compiling this Directory. He is, however, recorded as working with Lawrence Alma-Tadema (Vern Swanson, The Biography and Catalogue Raisonne of Sir Lawrence Alma-Tadema, 1990, p.87), and is reported to have made frames for Alma-Tadema's The Death of Galswintha, 1865, to the artist's design (Swanson no.71), and for his Goldfish, 1899, op 359 (Swanson no.396; Sotheby's New York 24 May 1988 lot 97). He may also have worked for Sir Edward Poynter (information from Vern Swanson, 2007).

Charles Mitchell May 1873-1900, C.M. May & Son 1901-1922. At 15 Marshall St, Golden Square, London 1873-1879, 19 St Anne's Court, Wardour St 1880-1911, 18 St Anne's Court 1892-1911, 134 Wardour St 1912-1915, 9-12 St Anne's Court 1916-1922. Also at 5 Bentinck St 1881, 28 Robert St NW 1891-1899, 126 Wardour St 1901-1904. Carvers and gilders, picture and looking glass framemakers.

Charles Mitchell May (b. c.1841), later trading as C.M. May & Son, called himself 'English & French Picture Frame Maker'. He was born in Bath, married Sarah Mann at Widecombe in 1860, and by 1865 they had moved to London; they had five daughters and a son, Charles May (1875-1957). In the 1871 census Charles Mitchell May was listed at 41 King St, Soho as a carver and gilder, probably not self-employed at this time. In 1873 he set up in business at 15 Marshall St, premises previously occupied by another carver and gilder, William Bayley. In the 1891 census Charles M. May was recorded living at 28 Robert St, St Pancras, as a picture framemaker, age 50, with a son, Charles May, age 15, working as a picture framemaker's apprentice.

Charles Mitchell May advertised extensively (The Artists' Directory 1874, p.10; The Artists' Directory 1875, p.196). In The Year's Art in 1884, he advertised pictures packed and warehoused, in 1891 as a 'Carver, Gilder, and High Class English and French Picture Frame Manufacturer, patronized by the leading artists of the day', referring to his 'thoroughly competent workmen, English and French' and to his steam manufactory, claiming to have carried on his business for twenty years at the St Anne's Court address. In 1900 he simply advertised, 'English & French Picture Frame Maker. Artist's own design carried out'. He also offered to clean, line and restore pictures, according to his trade label.

May worked for various leading artists. He undertook some picture framing for Whistler in the mid-1880s. Whistler wrote to his dealer, Charles Dowdeswell, in 1884 or 1886, wanting three more frames immediately, and asking Dowdeswell to let 'May' have the appropriate measurements. Probably in 1886, May took out a writ for debt against Whistler, as the artist's correspondence reveals (Centre for Whistler Studies).

May worked for John Singer Sargent in the period 1894-1922 (see 'Notes on John Singer Sargent's frames', National Portrait Gallery website at John Singer Sargent's frames). He framed Sargent's Coventry Patmore, 1894, and Sir Frank Swettenham, 1904 (both National Portrait Gallery, repr. Simon 1996 pp.77, 183); the latter is identical to the frame on Lady Helen Vincent (1904, Birmingham Museum of Art, Alabama). He also provided the enriched Louis XIV frame for The Acheson Sisters, 1902 (Trustees of the Chatsworth Settlement, information from Charles Noble 21 August 2006). A letter from Sargent, 29 March 1922, mentions his General Officers of WW1 being taken to the Royal Academy by May.

May also worked for Sir Luke Fildes, gilding frames obtained from Italy (information from Charles Noble, 1997, based on the artist's papers in the V&A National Art Library). In an article on picture framing from the artist's point of view, Byam Shaw explained that he used 'old French frames, as made by May', but went to Taylor, presumably H.W. Taylor (qv) for his less expensive frames (Fine Art Trade Journal, vol.3, 1908, information from Jeremy Adamson, 1998).

As part of a wider programme of framing the work of war artists following the First World War, May & Son provided details of a frame in 1919 (Imperial War Museum, bound papers, 'First World War Frames').

Harry Edward Mealand 1894-1940, Mealands Knightsbridge Ltd 1941-1975. At 7 Knightsbridge Green, London SW 1894-1895, 6-8 (sometimes also 9) Knightsbridge Green 1896-1903, renumbered 1903/4, 11-13 Knightsbridge Green 1904-1940, 12 (sometimes also 11) Knightsbridge Green 1941-1975. Carvers and gilders, initially also paper hanging dealer, later also oil and colourmen.

For Harry Edward Mealand (1862-1938) see British artists' suppliers.

Charles R. Menzies, 87 Cambridge St, Glasgow by 1902-1940 or later, 89 Cambridge St 1943, workshop 10 Hill St. Carver and gilder, picture framemaker.

Charles Ramage Menzies (1860-1947) was listed in the 1901 census at Hill St, Glasgow, as a carver and gilder, age 40, born in Glasgow. His father, Robert Menzies, carver and gilder, was in business as a picture framemaker in Cambridge St from at least 1880, trading as Robert Menzies & Son from 1890 or before. Charles R. Menzies's label can be found on two of David Young Cameron's distinctive artist-designed picture frames, Isles of the Sea, c.1909, and Nightfall, Luxor, 1910 (both Walker Art Gallery, Liverpool).

Thomas Merle 1783-1814, T. Merle & Son 1815-1828, John Merle 1824-1826. At 'The Golden Key', 36 Leadenhall St, London 1783-1828. Picture framemakers, carvers and gilders, printsellers.

Thomas Merle (d.1819) was successor to another picture framemaker, Joseph Overlove, whose will was proved in 1782. He is probably to be identified with the Thomas Merle, who married Martha Tarless in 1778 and had six children between 1780 and 1790, three of them christened at St Katherine Cree in Leadenhall St, including a son, Thomas Robert Merle (1787-1837). He died at Tooting in 1819 (Jackson's Oxford Journal 27 November 1819).

Thomas Merle's trade label described him as 'Successor to the late Mr. Overlove. Picture Frame Maker, Carver, Gilder & Printseller'; he offered 'Mouldings of Different Patterns & Lengths for the conveniency of Exportation' (repr. Gilbert 1996 p.327; example in Heal coll. 96.10). A labelled oval giltwood mirror frame is recorded (DEFM). Merle is said to have framed George Morland's pictures and has been described as one of the 'few sincere friends who never took advantage of Morland's distress'. He occasionally acted as a print publisher, issuing Thomas Rowlandson's etching of George Morland's Snipe Shooting, 1790, and William Ward's mezzotint of T. Stewardson's Joseph Cotton, 1808.

Sources: George C. Williamson, George Morland: his life and works, 1904, p.63; Charles Russell, English Mezzotint Portraits and their states, vol.2, 1926, p.360.

Henri Meunier 1900-1914, Meunier & Co Ltd 1915-1920. At 24 Moore St, Edgware Road, London W 1900-1905, 26 Nutford Place, Edgware Road 1904-1905, 14 Church St, Kensington 1906-1908, 26 Earl's Court Road 1909-1920. Artistic cabinet makers, picture framemakers, importers of artists' materials.

Henri Meunier (b. c.1842) initially traded as a cabinet maker from Bury St, Chelsea from 1886 or before. 'H. Meunier' took out a patent for a particular type of easel in 1886 (Patents for Inventions). Henri Meunier was listed at 484 Edgware Road in the 1901 census as Artist Cabinet Maker, age 59, born in France. Meunier & Co was wound up voluntarily in 1920 (London Gazette 1 June 1920).

In The Year's Art, 1904, Meunier offered 'French Frame in Compos, made to order. Private Lessons given in Wood Carving', with an image of a Classical aedicular frame on an easel, the frame holding a roll call of his skills, 'Artistic Cabinet Maker, Importer of Artists Materials, Speciality of Carved Wood Frames Only, Imitation of Old Gilding, Early Italian, Renaissance, Queen Anne, Louis XIV, XV, XVI, Old Frames', and making mention of his two bronze medals at the Paris Exhibition of 1900.

Progressively artists' materials took pride of place in the business's advertising in The Year's Art. Meunier advertised Binant's superior prepared canvas, made in Normandy, and Bullier's superior French brushes etc (The Year's Art 1904), and other imported materials (The Year's Art 1906-7). Meunier's canvas mark is found on Carton Moore-Park's William Wymark Jacobs, 1910 (National Portrait Gallery).

James Milbourne 1773-1808, James Milbourne & Son 1804-1810, James and Robert Milbourne 1810-1818, James Milbourne junr 1818-1828, James Milbourne 1830-1832, James Milbourne & Son 1834-1841, James Milbourne 1841-1852. At 221 Strand 1773-1793, 347 Strand 1793-1833, 195 Strand 1833-1852. Carvers and gilders, picture frame and looking glass makers, glass grinders.

The Milbourne business was carried on over three generations. The founder, James Milbourne (c.1745-1826), was active from the 1770s, in partnership with his sons from about 1804, until his retirement in March 1810, when the partnership between James Milbourne senr, James Milbourne junr and Robert Milbourne, trading as James Milbourne & Son, carvers and gilders of the Strand, was dissolved, and the business carried on by the two sons, James and Robert (London Gazette 24 April 1810). James Milbourne (1775-1839) traded in partnership with his brother Robert (1779-1858) until 1818 when this partnership was in turn dissolved (London Gazette 8 September 1818; the year, 1815, given for the dissolution of partnership, may be in error). He then continued on his own until the early 1830s, when he was joined by his son, also James Milbourne (1800-71), who continued in business until 1852. Robert Milbourne went on to trade independently as a carver and gilder in and around Lambeth, 1823-34. It is worth looking at each generation in more detail, noting that the family name was sometimes spelt in directories and documents as Milborne, Milbourn, Millbourne or Milburn. This account is indebted to Ross Milbourne in various ways, see Sources below.

The founder, James (c.1745-1826), and his wife Mary had numerous children between 1771 and 1794, including James, born 1775, and Robert, born 1779, both in the parish of St Clement Danes. James Milbourne is first recorded at 221 Strand in the Poor Rate books in 1773 and as a carver in the Strand in the 1774 Westminster poll book. His trade label, perhaps dating to the 1790s, describes the business as 'J. Milbourne's Looking Glass and Frame Manufactory, 347, Near Exeter Change, Strand, Removed from 221 near Temple Bar, Carver & Gilder in General, Great Variety of Looking Glasses, Girandoles, &c' (label on John Downman's Countess of Mansfield, Christie's 7 April 1998 lot 10). He is said to have been at 121 Strand, 1789-93 (DEFM) but this appears incorrect.

A friend of John Wesley, James Milbourne commissioned a portrait of Wesley from William Hamilton in 1787, which was given by his grandson, also James Milbourne, to the National Portrait Gallery in 1871. At his death in 1826 James Milbourne made bequests in a lengthy will, dated 24 March and proved 31 July 1826, to his sons, James, carver and gilder in the Strand, Robert, carver and gilder in Lambeth, and Thomas, a jeweller at Brighton. James Milbourne and other members of the family are buried at Wesley's Chapel in City Road, London. Thomas Milbourne married Penelope Fentham, daughter of Thomas Fentham (qv), whose workshops were also in the Strand.

From two references in Joseph Wright of Derby's correspondence, dating to 1787 and 1794, it is possible that Milbourne was acting as the artist's framemaker at this period, producing frames in the classical style (Mitchell 1990 p.283); Wright was aware of Milbourne from as early as 1772 when he refers to a friend paying a framing bill to 'Milbourn', presumably this framemaker, although other references are lacking from this early period (Mitchell 1990 p.276).

The son, James Milbourne junr (1775-1839), was recorded in the same parish of St Clement Danes, with the birth of five children to James and Maria Christiane, including the eldest, James, in 1800. In each case the spelling, 'Milbourn', is used. In 1825, James Milbourne attended a meeting of more than fifty master carvers and gilders who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). In his will, dated 27 August 1833 and proved 23 November 1839, Milbourne referred both to his father, James, and his son, also James. He described himself as a looking glass manufacturer, 195 Strand, and referred also to his brother, Thomas.

The business framed four portraits for Anne Lister of Shibden Hall, Yorkshire, in 1833, and fifteen prints in 1834, and she has left a description of the experience of commissioning the portrait frames during a visit to London; these frames survive and bear Milbourne and Son's label as 'Manufacturers of Looking Glasses, Picture Frames etc. No. 195 Strand, opposite St Clements Church'.

The grandson, James Milbourne (1800-71), was recorded in the 1841 census as a carver and gilder, and in 1851 as a printseller at 195 Strand, age 50, born St Clement's.

Sources: John Kerslake, Early Georgian Portraits. National Portrait Gallery, 1977, pp.298-9 (for William Hamilton's portrait of John Wesley); Hazel Brothers, 'Framing the Shibden Hall Portraits: A commission fulfilled by Anne Lister during an awkward stay in London 1833', Transactions of the Halifax Antiquarian Society, vol.4, 1996, pp.111-25. Information kindly supplied by Ross Milbourne, 23 July 2007, including the birth date of the senior James Milbourne, his occupancy of 221 Strand from 1773 and his various links to Wesley, the death dates of Robert Milbourne and James Milbourne the grandson, and the links by marriage with the Brydon and Fentham families.

James Miller (active 1870, died 1879), 71 Sauchiehall St, Glasgow. Carver and gilder.

See British artists' suppliers.

Charles Benomi Milsom, see James Henry Chance

George Minns & Co, 65 Berwick St, Oxford St, London 1899-1920, 27 D'Arblay St W1 1921-1922. Carvers and gilders, picture framemakers.

George Christopher Minns (b.1849) was listed in the 1891 census as a framemaker, age 42, at 129 Wardour St, the premises of Foord & Dickinson (qv), where he was presumably an employee or manager. By the time of the 1901 census, where his birthplace is given as Abingdon in Berkshire, he was living in Willesden. There is no evidence as yet of a connection with George Minns & Co, listed as gold beaters in 1858, or with George Minns, who advertised as a gold leaf manufacturer in the 1870s and early 1880s.

George Minns & Co was successor in business to Foord & Dickinson (qv), advertising from 1900 as 'late Foord & Dickinson' (The Year's Art 1900, until 1912), and offering a wide range of services from mounting drawings, cleaning pictures and engravings, arranging galleries and hanging pictures, collecting works of art and making frames and artists' own designs. Foord's customers who stayed with Minns included Frederick Sandys, who recommended him in 1903 to Ernest Brown of the Leicester Galleries (Simon 1996 p.175); Minns supplied the frame for Sandys's drawing, Mrs Elizabeth Wylie, 1901 (Norwich Castle Museum, see Elzea 2001 p.291).

Rickman Moore by 1794-1822, R. Moore & Son, also trading as Moore & Co 1820-1828, William Moore 1828-1848, (William) Moore & Co 1849-1856 or later. At 63 Bishopsgate ('Bishopsgate within'), London by 1794-1856 or later. Stationers and paper hangers, picture framemakers from c.1840.

The son of Rickman and Ann Moore, William Moore was christened in May 1792 at St Ethelburga, Bishopsgate. In 1839 he was listed as a stationer and paper hanger, his father's business, but thereafter he branched out into picture framing. In 1844 William Moore advertised to artists and the public his 'extensive Stock of Picture Frames, well-seasoned and of first-rate quality, the patterns bold, elegant, and novel, at prices lower than any house in the trade' (The Art-Union March 1844 p.73), also advertising artists' materials (June 1844 p.151).

Bowen & Morant 1808/9-1812, George Morant by 1814-1826, G. Morant & Son 1828-1841, George John Morant 1842-1851, Morant & Boyd 1852-1859, Morant, Boyd & Morant 1859-1867, Morant, Boyd, Morant & Co 1868-1869, Morant, Boyd & Blanford 1870-1884, Morant & Co 1885-1915. At 81 New Bond St, London 1808/9-1812, 88 New Bond St 1809-1841, 91 New Bond St 1843-1915, 4, 5, 6, later 7 Woodstock St, W 1855-1915. Paper hangers, carvers and gilders, picture framemakers, later primarily interior decorators and upholsterers.

The business, founded by George Morant (1770-1846) and continued by his son, George John Morant (1799-1865?), lasted for a hundred years in one form or another. It was in the 1820s that its trade in picture frames was particularly significant.

George Morant is said to have been a pupil or employee of the decorator, Sheringham, in about 1793 (Joy 1977 pp.179-80). Subsequently, Morant entered into two short-lived partnerships. That between Archibald Johnson, George Morant and John Tootle, paper hangers and glass manufacturers, trading as or Johnson & Morant, at 41 Ludgate Hill, from 1805 or earlier, was dissolved in 1808 (London Gazette 23 February 1808). That between G. Bowen and G. Morant, paper hanging decorators at 81 New Bond St from c.1808 was dissolved in 1812 (The Times 10 February 1812), although the partnership continued to be listed in the Post Office London Directory until 1816. Bowen had been in business at 81 New Bond Street as early as 1800, according to the Post Office London Directory, and it may be that it is these origins which lay behind Morant's claim that his business had been founded in 1790.

Apparently by 1812 Morant was trading independently at 88 New Bond St. The architect, J.B. Papworth, once his fellow pupil at Sheringham's, redesigned his shop for him in 1817 (Simon 1996 p.127). Over many years Papworth provided Morant with designs for decoration and ornament, and worked for Morant on his residence at Hendon (George McHardy, Catalogue of the Drawings Collection of the Royal Institute of British Architects: Office of J.B. Papworth, 1977, pp.28, 32, 118).

Morant built up a significant business. He took out insurance for a considerable sum with the Sun Fire Office at 88 New Bond St as a house decorator, painter, carver and gilder in 1824 and as a paper hanger in 1826. He entered into partnership with his son in the late 1820s but this partnership, G. Morant and Son, house decorators of New Bond St, was dissolved on his final retirement in 1841 (The Times 28 August 1841). In his lengthy will, dated 10 August and proved 10 December 1846, George Morant of Wimpole St made numerous specific bequests, referring to various paintings, and to business arrangements with his son, George John, since the dissolution of their partnership in 1841.

As a paper hanger and interior decorator, Morant and his successors played a leading role. For a fuller account, see the Dictionary of English Furniture Makers, where his earliest known bill-heads, from 88 New Bond St, are quoted, from the beginning of George IV's reign, describing him as 'Ornamental Painter and Paper-hanging Manufacturer to their Royal Highnesses the Dukes of Sussex and Cambridge House Painting and every article in the Gilding Line.'

As a framemaker, Morant was most active in the 1820s, primarily framing work for Sir Thomas Lawrence, such as his full-length portraits, 2nd Earl of Harewood, 1823 (Harewood House, Yorkshire, the frame now on George IV, Wallace Collection, repr. Gregory 1996 p.424), George Canning, 1825, and Lord Liverpool, 1827, for Sir Robert Peel (both National Portrait Gallery, see Simon 1996 fig.103). He did further framing work for Peel in 1828 (Simon 1996 p.170, n.2). In 1830 and subsequently Morant received several very significant payments from the estate of Thomas Lawrence, including a payment of £646 on 24 June 1830 (V&A National Art Library, MSL/1938/1923). Morant's frame trade label described him as 'Carver, Gilder and Picture Frame Maker to His Majesty' (repr. Simon 1996 p.100). Many of the frames he made for George IV for portraits by Lawrence between 1825 and 1830 were described as very richly ornamented, the larger frames costing as much as £46.10s (Millar 1969 p.60, etc). G. Morant & Son charged Sir John Soane £21 in February 1829 for framing a portrait, presumably Lawrence's portrait of Soane himself, in a 'richly ornamented frame of the King's Pattern' (information from Peter Thornton, 6 October 1994).

As a collector, Morant acquired old masters and patronised various contemporary artists, often acquiring work in exchange for framing and other services. James Ward sold Morant a Farmyard for £52.10s in 1820, at the same time paying him more than £207 to cover his 'Bill for Exhibition &c &c in Piccadilla' (Royal Academy Library, James Ward account book). Anthony Vandyke Copley Fielding sold Morant a drawing in 1824 and later received frames for various drawings up until December 1828 (Edinburgh University Library, La.II.648/165-6). Richard Ramsay Reinagle sold Morant a picture by David Teniers in 1825 (Edinburgh University Library, La.II.648/174). Morant's collection of old masters was auctioned at Phillips in 1832 on his retirement from business (The Times 2 May 1832).

In 1862 the business, trading as Morant, Boyd & Morant, was described as interior decorators and upholsterers, by appointment to her Majesty. The business appears to have ceased making picture frames. It passed by way of George John Morant to Robert Morant (d.1873), who was joined by two other partners, Philip Boyd and Thomas Blanford, who in turn took into partnership their manager, Andrew Matthews, who eventually owned the entire business, according to an account in one of the firm's publications (The Morant Collection of Old Velvets, Damasks, Brocades, Etc at 91 New Bond St, London, Virtue & Co, introduction by M. Jourdain, n.d., c.1910, pp.116-7).

Sources: Guildhall Library: Records of Sun Fire Office, vols 495, 515, see DEFM; Judy Crosby Ivy, Constable and the Critics, 1802-1837, Woodbridge, 1991, p.159.

Hyman Morell 1865-1922, Hyman Morell and Sons Ltd 1923-1948. At 18 Great Saint Andrew St, Bloomsbury, London WC2 1865-1939, 17 Great St Andrew St 1886-1939, renamed 1939, 9 Monmouth St WC2 1939-1948, adjoining warehouses variously in Neal St and Neal's Yard by 1884. Wholesale and retail picture framemakers and moulding manufacturers.

The business is said to have been founded in 1860, presumably by Hyman Jonas Morell (c.1821-1879), who was naturalised as British in 1868 (National Archives, HO 1/147/5725) and whose death was recorded in 1879. In censuses, he appears in 1861 as a cigar manufacturer's foreman, age 40, born in Holland, living in Whitechapel with a wife and five children, and not until 1871 as a picture framemaker, employing three men and five boys, at 18 Saint Andrew St. In 1881 it was his widow, Charlotte, age 57, who was listed as a picture frame dealer, with a son, James, age 27 and a nephew, Joshua, age 28, both presumably in the business. She died in 1894.

Morell's range in the late 1870s is apparent from his advertising: 'Manufacturer of every description of Veneered, Maple, Rosewood, Walnut, Oak, and Fancy Wood Mouldings, And also of the best Patent Washable Gilt, Rosewood, Oak, Walnut and Black Mouldings, Plain and Ornamental, for Frames, and also for Decorations. White Alhambra (for Gilding), and every other description of Mouldings and Picture Frames. Carved Frames, Oval Frames, Engravings, Foreign and English Mounts, Mounting Boards Wholesale and Retail', offering an illustrated book of patterns and catalogue (Charles H. Savory, The Practical Carver and Gilder's Guide..., 5th ed, Cirencester, c.1877 or later, p.xv).

The business published various catalogues, advertising in 1902 a 'New Edition of Pattern Book, containing all the Newest Designs. 160 pages' (The Year's Art 1902). In Morell's 50th-anniversary catalogue, published in 1910 (Illustrated Trade List, 193pp, reissued by Dover Publications as Victorian Wooden Molding and Frame Designs, 1992), a very wide range of frames and mouldings are illustrated at full size. These include washable old gold mouldings, washable gilt Alhambra and ornamental picture frame mouldings, gilt Florentine mouldings, washable green and bronze, green and gilt and green and ivory tipped mouldings, green and gilt ornamental mouldings, veneered stained green and gilt ornamental mouldings, ornamental black and gold frame mouldings, black mouldings, imitation walnut and gilt mouldings, imitation mahogany mouldings, veneered gilt oak mouldings, oxidised silver mouldings, white enamel mouldings with gilt ornaments, inlaid Sheraton polished mouldings, carved solid mouldings, solid oak mouldings and mouldings in the white.

A later trade card, inscribed as presented by Jack Morell, is in the John Johnson collection (Johnson coll. Trade Cards 24 (56).

Alfred J. Mucklow 1873-1888, A.J. Mucklow & Son 1889-1929, Mucklow's Gallery 1930-1941. At 68 Princes St, London ('Four doors from Coventry Street') 1873-1878, 55 Whitcomb St 1879-1880, 35 Cranbourn St ('Exactly opposite Leicester Square tube station') 1881-1941, 12 St Martin's Court WC 1881-1923. Picture framemakers, carvers and gilders, fine art dealers.

Alfred John Mucklow (1833-1907) was born and lived in Lambeth. He was listed in the 1861 census as a glass silverer and in 1871 as a shopman at a picture framemakers. Subsequently, he set up business independently, advertising as having worked for 21 years with Page, Coventry St (The Artists' Directory 1875, p.182), that is, Harcourt Master Page, looking glass maker. Mucklow later described himself as having been Page's manager for many years. In the 1881 census he was listed as a dealer in works of art, age 46, with a large family including two sons, Alfred, age 25, gilder (who died in 1884), and William, age 15, picture framemaker, and in 1891 as a picture dealer, with his son, William, also described as a picture dealer (and again so listed in 1901).

On his undated trade card from 35 Cranbourn St, Mucklow described himself as 'Picture Frame Maker & Dealer in Works of Art. Carver and Gilder', offering prints, maps and drawings mounted; old prints cleaned; glass silvered by old & new process; oil paintings cleaned, lined & restored (Johnson coll. Trade Cards 24 (57). The business had an account with the artists' colourmen, Roberson, 1890-1, trading as A.J. Mucklow & Son (Woodcock 1997). The business's increasing focus on dealing in works of art is apparent from its adoption of the name, the Cranbourn Art Gallery, from 1909 or before.

A successor business in the 1930s, trading as Mucklow's Gallery, with Frederick Charles Pierce and Walter Leslie Deighton as partners, went into receivership in 1941 (London Gazette 1 April 1941).

Sources: information from Martin Thompson, son of an employee at the Cranbourn Art Gallery, 6 July 2007.

William Müller 1847-1863, William Müller & Co 1864-1877, Müller & Co 1878-1915. At 62 High Holborn, London WC 1847-1909, 315 High Holborn 1910-1915, branches at other addresses by 1883, also in Birmingham and Brighton. Artists' colourmen, initially also oil and Italian warehouseman and later also picture framemakers.

See British artists' suppliers.

Henry John Murcott by 1864-1912, Harry Charles Murcott 1913-1924, H.C. Murcott & Sons 1924-1941, Harry Charles Murcott 1942-1947. At 16 Hanover St, Long Acre, London 1864-1877, Hanover House, 6 Endell St, Long Acre 1878-1935, 28 Store St WC1 1936-1947, emergency wartime address 11 Mercers Road N19 1942-1944. Picture dealers, later frame manufacturers, picture restorers and repairers and mounters of drawings.

Henry John Murcott (c.1836-1910) worked initially for the publishers, printsellers and stationers, Fuller & Co (see British artists' suppliers), before setting up as a picture dealer, perhaps as early as 1861. In successive censuses, we find him in 1871 as a picture dealer, age 35, employing one man and one boy, in 1881 as a carver and gilder with four men and two boys, in 1891 with his son Harry C. Murcott, age 21, listed as an assistant, and in 1901 appeared as a carver and gilder, age 65, with Harry as a picture framemaker, age 30. Harry Charles Murcott (b.1870) took over the business from his father.

Murcott advertised in 1875 as from the late firm, Fuller & Co; he offered 'Plain and Ornamental Gold Frames of every design. Ebonized Antique, Carved Oak, Oxford and Fancy Wood Frames' (The Artists' Directory 1875, p.8). In The Year's Art, in 1886 he advertised the business as the 'United Artists Picture Frame Manufactory', claiming to have been established 25 years, in 1892 offering 'Designs of Special Character made to instructions and Drawings sent for approval', in 1897 claiming to be 'The Leading House for Specialities, New Designs, and Artistic Treatment in Mounting in Framing', and in 1908 offering 'Inlaid Tortoiseshell Frames, Old Dutch, Italian, or any design, Made on the Premises'.

Murcott appears to have done much routine framing, judging from surviving examples, but he also worked for some significant artists. He produced frames for James McNeill Whistler, 1878-9, as we learn from Whistler's correspondence (online edition at Centre for Whistler Studies, 04233, 04234). In February 1878, Whistler ordered a third frame, which he wished to be 'like the last two', to be finished in pale green and gold, probably for Nocturne in Blue and Silver (YMSM 151). In March 1879 Whistler contacted Murcott concerning his pictures for the Grosvenor Gallery: Harmony in Yellow and Gold: The Gold Girl: Connie Gilchrist (YMSM 190) was to be regilded and another picture reframed, probably Arrangement in Brown and Black: Portrait of Miss Rosa Corder (YMSM 203).

William Holman Hunt's Harold Rathbone, 1893 (Walker Art Gallery, Liverpool) has Murcott's label, as does Simeon Solomon's drawing, David (Fitzwilliam Museum, Cambridge) (information from Lynn Roberts).

Henry Mutton, 4 All Saints Passage, Cambridge by 1839-1861 or later. Printseller, picture framemaker, artists' colourman, etc.

Henry Mutton (c.1813-73) traded as a picture framemaker and printseller and in related trades. Three trade cards are known. In what is probably the earliest, he advertised as carver, gilder and printseller, offering engraving and copperplate printing (Johnson coll. 24(72); in another, he advertised as agent for T. Brown's patent collapsible metallic tubes (and so probably datable to 1841 or soon after), offering drawing materials at London prices (coll. Christopher Lennox-Boyd). Perhaps the latest in date is his unusual card in Jacobean or Fontainebleau style, advertising as 'Printseller/ Glass & Picture Frame Manufacturer' (Banks coll. 100.73). As well as acting as an agent for the colourman, Thomas Brown, Mutton had an account with the artists' colourmen, Roberson, 1850-9 (Woodcock 1997).

Henry Mutton was listed as H. Mutton, All Saints Passage, in the 1839 and 1851 directories. He was listed in the 1851 census as a printseller, age 37, employing a carver and a joiner, in 1861 at 4 All Saints Passage as a printseller, age 48, and in 1871 in Jesus Lane in All Saints parish, as a printseller and landowner, age 57. He died in 1873, age 60.

Sources: DEFM; Robson's 1839 Commercial Directory the Norfolk circuit; Gardner's 1851 Directory Cambridgeshire.

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