The Framing


Bôbe: Mlle Adéline du Théâtre Italien (circular: 5,7cm, signed lower left: Bôbe./1789.) Tansey Collection Ref.-No. 010.106		Beaunis: Young Lady with Guitar (7,9 cm x 8,0 cm, signed lower left: BEAUNIS 1819) Tansey Collection Ref.-No. 010.055		Hue de Bréval, Virginie: Girl before Clouds, circa 1815 (oval 5,0 cm x 3,8 cm, signed centre right: Melle hüe Debréval) Tansey Collection Ref.-No. 010.316

Most miniaturists gave their miniatures to their clients in a frame. They either had a stock of standard frames or they worked with frame manufacturers or goldsmiths. The watercolour miniatures required a covering glass to protect them from damaging climate influences. This was preferably lightly embossed so that the paint could not stick to the covering glass. There were several styles of frames and the selection of the appropriate type depended mainly on the purpose of the miniature. The most frequent were metal pendants, fixtures on bracelets (to be seen on the arm of the lady in cat.-no. 2006-76), tins, leather cases and metal circlets in wooden boards to hang on the wall or cast bronze frames.

The portrait miniatures have a very special appeal due to their intricate and difficult production techniques and the artistic skill in painting on such small formats linked with the empathy in the portraying the model.

It is obvious that miniature painting was sometimes carried out only on a pure handwork level. The artist, however, knew exactly how to portray the model, not only so that the appearance was similar but also to express the model’s character and mood, and in addition, the surroundings. The artists went beyond pure skill and created works of intensive fascination with inspiration and genius.

Bernd Pappe