A Closer Look, American Art

The Mystery of the Missing Frame

The mystery frame. Frame for Whistler’s "Caprice in Purple and Gold: The Golden Screen"; designed by James McNeill Whistler; 1864; gold leaf on wood and gesso, 76.1 x 93.3 cm; Gift of Charles Lang Freer, F1905.329

The mystery frame. Frame for Whistler’s “Caprice in Purple and Gold: The Golden Screen”; designed by James McNeill Whistler; 1864; gold leaf on wood and gesso, 76.1 x 93.3 cm; Gift of Charles Lang Freer, F1905.329

It was three hours into my internship at the Freer|Sackler, and I already had a mystery to solve: a Whistler frame. No, artist James McNeill Whistler hadn’t been framed for a crime—though that would’ve been an interesting topic to study. This mystery involves a frame around one of his paintings at the Freer Gallery of Art.

The Mystery

Whistler painted Caprice in Purple and Gold: The Golden Screen in 1864. This was a time in his career when he was first incorporating Japanese elements into his paintings. He was also designing specially decorated frames for these works.

When museum founder Charles Lang Freer purchased The Golden Screen many years later, in 1904, it was surrounded by what Freer’s secretary described as “the old frame.” That frame was sacrificed for the protection of the painting during the shipping process. Freer had a new frame made for the painting: a relatively simple, reeded design that is still known as a “Whistler frame” because the artist adopted it for his work in the 1880s and 1890s.

In 1905, Freer acquired Whistler’s Portrait Sketch of a Lady. It was enclosed in a frame that clearly did not belong with the work: a so-called Oriental Cassetta frame, the type that Whistler had used in the mid-1860s for his Japanese costume paintings (more on that later).

In short, two Whistler paintings in the Freer collection ended up in frames that, as time went on, didn’t seem quite right. They were swapped in the 1980s, mostly because the Oriental Cassetta frame and The Golden Screen seemed to be an excellent—but perhaps not perfect—match. The opening of the frame, for instance, is not exactly the right size relative to the dimensions of that painting.

Linda Merrill, former curator of American art at the Freer|Sackler, wondered if the frame currently on The Golden Screen had actually been original to another Whistler painting, Symphony in White No. 2: The Little White Girl, now at the Tate. Freer|Sackler staff had long understood that the frame swap in the 1980s may not have resulted in a perfect fit for either The Golden Screen or Portrait Sketch of a Lady, but the involvement of The Little White Girl was a new development.

Like The Golden Screen, The Little White Girl has had several frames at various points in its history. The frame original to The Little White Girl survives only in a period photograph and shares visible stylistic similarities with the frame currently around The Golden Screen. Both were both created in 1864, and the frame of The Little White Girl was believed to have gone missing. But maybe it actually just found a new home around The Golden Screen. My task was to figure out if this was the case.

"The Golden Screen" with the mystery frame. "Caprice in Purple and Gold: The Golden Screen"; James McNeill Whistler; 1864; oil on wood panel, 50.1 x 68.5 cm; Gift of Charles Lang Freer, F1904.75a

“The Golden Screen” with the mystery frame. “Caprice in Purple and Gold: The Golden Screen”; James McNeill Whistler; 1864; oil on wood panel, 50.1 x 68.5 cm; Gift of Charles Lang Freer, F1904.75a

 

The Investigation

To start solving this mystery, it’s helpful to have some context for the frame in question. The Oriental Cassetta style includes Asian motifs, thus allowing the subject matter of the painting to extend onto the frame, the two acting as a complementary pair. In 1864, Whistler designed four such frames to accompany his Japanese paintings, as documented by frame historian Sarah Parkerson: the one currently on Purple and Rose: The Lang Leizen of the Six Marks at the Philadelphia Museum of Art, the one on the Freer’s La Princesse du pays de la porcelain, the one original to The Little White Girl, and the one currently around The Golden Screen.

Whistler frequently reframed his work, especially when he adopted his signature gilded and reeded style of framing in the 1880s. By the 1890s, he began to standardize his framing practices, seeking unity and simplicity when his works were exhibited together. He sought to control everything about how his paintings were exhibited and placed great importance on his frames, especially when organizing a big retrospective in 1892. He often requested permission from collectors to reframe works from earlier in his career. This is what happened with The Little White Girl.

This information provided a promising start, but I needed to keep digging to determine whether The Little White Girl‘s original frame ended up around The Golden Screen. So, I focused on the visual evidence. The most convincing evidence that the paintings had two distinct frames are the subtle differences between the frames’ ornament. This evidence, however, is based on visual comparison, which is limited by the fact that the original frame for The Little White Girl is missing and the photograph that exists is dated, low-quality, and black and white.

“The Golden Screen” and “The Little White Girl” in their Oriental Cassetta frames.

Carved, round designs, or roundels, are present in all of Whistler’s Oriental Cassetta frames. However, there’s variation in how they appear. The surface decoration of The Golden Screen frame pictured above includes eight roundels, one on each side and one in every corner. The designs on the sides include ivy or paulownia leaves in Japanese mon designs; each corner features a different roundel with palm leaves.

In the frame around The Little White Girl in the black-and-white photo, there are only six roundels, one at each corner and on two of the sides. Additionally, the design of the roundels in this frame features small rosettes with fringe, distinct from the ivy or palm leaves. Even with a low-quality image of the frame, these differences from The Golden Screen frame are clear. These differences confirm that the frame original to The Little White Girl is not the one currently on The Golden Screen.

The red circles indicate the location of the roundels on each frame.

Future Investigative Work

Though I confirmed that the frame currently around The Golden Screen was not original to The Little White Girl, my research on this topic is not over. It’s still uncertain if the frame you see today around The Golden Screen is indeed the original, and I’d love to confirm what painting Whistler intended this frame to accompany. I never thought I’d be as interested in what’s around the artwork as in the artwork itself, but my time at the Freer|Sackler shifted my focus. Visit the Freer|Sackler during reopening weekend this October 14–15 to see Whistler’s La Princesse du pays de la porcelain proudly sporting one of his four 1864 Oriental Cassetta frames, and see if your focus shifts to the frame, too.

Sarah Parkerson’s dissertation on Whistler’s framing practices, “Variations in Gold: The Stylistic Development of the Picture Frames Used by James McNeill Whistler,” is a resource that was of enormous help to my research and this blog post.

Katherine Ryan

Katherine Ryan

Katie Ryan is a senior at Colby College and was the museum’s Lunder Consortium for Whistler Studies intern in the summer of 2017. Learn more about the Lunder Consortium for Whistler Studies here: http://www.lunderconsortium.org/about/

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