Eli Wilner and Company Master Framers

Notes

In addition to those acknowledged in the Notes, I would like to thank the following people and institutions, whose assistance with photography and with curatorial and archival information has been invaluable: Cheryl Leibold, Archivist, Barbara Katus, Rights and Reproductions Manager, Marissa Diamond, Digital Photography Intern, and Gale Rawson, Registrar, at the Pennsylvania Academy of the Fine Arts; Carrie Rebora Barratt, Associate Curator of American Paintings and Sculpture, The Metropolitan Museum of Art; Alan Francisco, Head Registrar, Vivian Djen, Library Assistant, and Kerry Kathleen Folan, Manager, Rights and Reproductions, National Museum of Women in the Arts; Aimee L. Marshall, Manager of Rights Licensing, Art Institute of Chicago; Jeff Boyer, Conservation Technical Assistant, Toledo Museum of Art; Latishia Allen, Registrar’s Assistant, Smith College Museum of Art; Jennifer Seeds, Assistant Registrar, Columbus Museum of Art; Diane M. Hart, Museum Registrar, and Rachel U. Tassone, Manager of Collections Information, Williams College Museum of Art; Carol W. Campbell, The Constance A. Jones Curator, and Tamara Johnston, Registrar, The College’s Collections, Bryn Mawr College; Susan Erony, Associate Curator for Exhibitions, Cape Ann Historical Society; Catherine Riedel, Director of Marketing and Public Relations, Skinner, Inc.; and photographer Rick Echelmeyer of Thornton, Pennsylvania.

I would also like to especially thank my colleague Sylvia Yount, Margaret and Terry Stent Curator of American Art at the High Museum of Art, for her unflagging guidance and assistance with the content of the essay, its editing, and its innumerable production details. I also thank the High Museum’s Akela Reason and Heather Medlock for their assistance. I also give special thanks to Eli Wilner & Company, Gallery Director at Eli Wilner & Company, who kindly shared her expertise and research materials on Beaux frames. I gratefully acknowledge Eli Wilner & Company for their generous funding of photography for this essay.

1 Eastlake, Hints on Household Taste, p. 41.
2 Simon, Art of the Picture Frame, pp. 183, 185.
3 See Donald C. Peirce, Art and Enterprise, pp. 103–104, 208–209.
4 Thanks to Randi Jean Greenberg, former Collections Manager, National Museum of Women in the Arts, Washington, D.C., for allowing me to examine these paintings.
5 Correspondence with Pat McCormick, Archivist, Butler Institute of American Art, Youngstown, Ohio, February, 2004.
6 Thanks to Michael Stone, Frame Conservator, and Kathleen A. Foster, the Robert McNeil Jr. Curator of American Art at the Philadelphia Museum of Art,
for allowing me to examine Beaux painting and frames in their collection.
7 Thanks to Kevin Sharp, Director of Visual Arts, Cedarhurst Center for the Arts, Mount Vernon, Illinois, for sharing a photograph of this frame.
8 Randi Jean Greenberg, National Museum of Women in the Arts.
9 Katlan, American Artists’ Suppliers Directory, p. 192.
10 Correspondence with Sarah E. Kelly, Henry and Gilda Buchbinder Family Assistant Curator of American Art, Art Institute of Chicago, January 2004.
11 On Stanford White’s frame designs, see, for example, Nina Gray, “Within Gilded Borders: The Frames of Stanford White”, in Wilner,
The Gilded Edge, pp. 82–103, and Eli Wilner & Company, “Early Twentieth-Century American Frames:
The Arts and Crafts Period,”.
12 Nina Gray notes the earliest documented use of a Stanford White design by Newcomb-Macklin in 1912. “Within Gilded Borders,” p. 102.
Thanks to Sylvia Yount for pointing out the Gilder connection to me.
13 Thanks to Lynn French, Director and Children’s Librarian of the Sally Stretch Keen Memorial Library, Vincentown, New Jersey,
for allowing me to examine this painting.
14 Betsy Anderson, Collections Curatorial Coordinator, Smithsonian American Art Museum, kindly gave me information about the Beaux paintings
and frames in their collection in March 2004. Thanks to Eli Wilner & Company for bringing this frame to my attention as a possible White design.
15 Correspondence with Dominique Lobstein, Chargés d’études documentaires, Musée d’Orsay, Paris, March 2004. Thanks to Mr. Lobstein
for providing a photograph of this frame.
16 Thanks to Dare Hartwell, Conservator, Corcoran Gallery of Art, Washington, D.C., for sharing extensive information on this frame.
17 Thanks to the Sally Stretch Keen Memorial Library for allowing me to examine this painting.
18 Simon, Art of the Picture Frame, p. 24.
19 Correspondence with Emily L. Schulz, Curator of Collections, Anderson House, The Society of the Cincinnati, Washington, D.C., February 2004.
20 Correspondence with Patricia Junker, former Curator of Paintings and Sculpture, Amon Carter Museum, Fort Worth, Texas, January 2004.
21 Mark Cole, former Curator of American Art, Columbus Museum of Art, Ohio, noted this interesting cipher; thanks to Eli Wilner & Company
for bringing this frame to my attention.
22 Thanks to Carol W. Campbell, Constance A. Jones Curator, and Tamara Johnston, Registrar of the College’s Collections,
Bryn Mawr College, Pennsylvania, for allowing me to examine these works and arranging for photography.
23 Thanks to David Miller, Senior Conservator of Paintings, Indianapolis Museum of Art, for examining this frame from the museum’s collection on my behalf.
24 Correspondence with David Dempsey, Associate Director for Museum Services, and Michael Goodison, Archivist and Editor,
Smith College Museum of Art, Northampton, Massachusetts, February 2004; Julius Lowy, 20th Century American Frames, p. 8.
25 Correspondence with David Miller, Indianapolis Museum of Art, February 2004.
26 Tappert, Cecilia Beaux, p. 106.
27 Thanks to Eli Wilner & Company for bringing this to my attention.
28 Tappert, Cecilia Beaux, pp. 116, 118, 122, 120.
29 Beaux Papers, PAFA.
30 Thanks to Dawn Rogala, former conservation intern at the Wadsworth Atheneum, Hartford, Connecticut, for sharing her examination report
on this painting and frame.
31 Mitchell and Roberts, A History of European Picture Frames, p. 31.
32 Julius Lowy, 20th Century American Frames, p. 8.
33 Smeaton, Art of the Frame, p. 11.
34 Correspondence with Kathleen Mrachek, Research Assistant for Paintings, Art of the Americas, Museum of Fine Arts, Boston, January 2004.
Thanks to the museum’s frame conservator, Andrew Haines, for examining this frame on my behalf.
35 William Amory to Harrison Morris, February 5, 1904, Beaux Papers, PAFA.
36 Beaux to Morris, December 29, 1895, Beaux Papers, PAFA.
37 Beaux to Morris, 1911, Beaux Papers, PAFA.
38 Beaux to Mr. Myers, October 26, 1930, registrar’s files, Pennsylvania Academy of the Fine Arts.
Thanks to Barbara Katus, Rights and Reproductions Manager for the Academy, for bringing this to my attention.
39 Correspondence with David Miller, Indianapolis Museum of Art, February 2004.
40 Vintage photograph, July 1918, reproduced in Wilner, The Gilded Edge, p. 175.
41 Thanks to Katharine Alling for information on this frame and for its photography.