[14] Paton’s publishing and print-selling activities were well established by the 1830s, most notably in his employment of the Ayrshire writer James Paterson to write a memoir to accompany a new set of engravings of Kay’s Portraits, commissioned by Paton and published by him in 1837. In Blackwood’s Edinburgh Magazine of 1854, R.H. Patterson advised: Gilt frames are, of all others, the handsomest and most generally applicable, and are especially suited for large paintings in oil…For black engravings and lithographs, gilt frames suit perfectly providing a certain breadth of white paper be left around the subject. William Vokins died in 1895, described as a dealer in works of art, leaving effects worth £42,490, a considerable estate. About Us Established in 1979, we specialise in high quality woodcarving and gilding. & W. Vokins advertised a number of special devices for displaying prints and drawings, such as their 'Improved Standard Folio Frames, to contain a number of Drawings or Prints, making one frame answer the purpose of many, superseding the use of a portfolio, with the advantage of showing each work of Art framed and glazed, and placed at any angle' (The Art-Union August 1845 p.251). Arthur Vokins (1839-1913), son of John Henry Vokins, worked as a picture restorer as well as a dealer. He was conveniently close to Reynolds's studio in Leicester Square. & W. Vokins until shortly before his death in 1910, when the goodwill in the business was acquired by another firm of dealers, Pawsey & Payne. [7] This arrangement continued after his death in 1867 when his widow Jane briefly handled the business until it was taken over by two of their children Chalmers Izett Paton and James Paton. The frame is guided and on the back it says Carvers & Gilders. He was listed in the 1851 and 1861 censuses as a dealer in works of art at 3 Great Castle St, and in 1871 at Porchester Terrace, Paddington. Carvers and gilders, picture framemakers, dealers in works of art. [19] Yet, by mid-century some commentators argued that gilt was the best and most versatile colour for frames because of its ability to provide an unobtrusive border between artwork and wall. Gilded Frame, c.1865 (image courtesy of Fine Art Society Frames & Conservation (formerly Bourne Frames), Edinburgh. Last updated November 2020. In the 1911 census he was a patient at Horton Asylum, Epsom. He held an account with the artists’ suppliers, Roberson’s, from 23 Baker St in 1894 (Woodcock 1997). Other Jones pictures with Vokins’s stencil include Frith’s Measuring Heights, c.1842, and his Sancho Panza tells a tale to Duke and Duchess, 1850. He continued to trade, referring for many years to his business as 'late Woodgates'. [8] National Portrait Gallery, British Artists’ Suppliers, 1650-1950; Several posters printed by Hugh Paton & Sons are held in the NMS collections. [5], At the 1861 census Paton was recorded as living at 2 Hay Street with his wife Jane and as employing 33 men including three of his nine children. The project will demonstrate that the craft economy was not destroyed, though it changed over this period. Framing work: The business held an appointment as carvers and gilders to the Duke of Sussex, who died in 1843, and subsequently to Queen Victoria and to the Prince of Wales. The ornamental nature of … The aim of the piece was to provide a focus for the room and increase the amount of light.

Other major clients included Thomas Miller, who purchased paintings by John Frederick Lewis through Vokins in 1855, Mrs Elizabeth Ellison who gave many of her modern British pictures to the Fitzwilliam Museum in 1862 and John Jones (1800-82), who bequeathed his collection to the Victoria and Albert Museum, including paintings framed in the Louis Seize revival style. A description of 10 Princes Street in 1855 noted, The taste and splendour of Mr Paton’s windows, and the interesting, highly valuable pictures and engravings with which they are filled, seemed to have diffused a curiosity about the fine arts in quarters where that term was previously unknown. Sources: London Metropolitan Archives, Sun Fire Office policy registers, 148/201377, 174/243668, 282/428784; Lucy Wood, Catalogue of Commodes. [VA] [VI], National Portrait Gallery, St Martin's Place, London, WC2H 0HESwitchboard: +44 (0) 20 7306 0055, Find out more about the Inspiring People project, National Portrait Gallery, St Martin's Place, London, WC2H 0HE

Vialls was mentioned in Reynolds's correspondence in 1780. *Andrew Vacani 1868-1872, J. Woodgate & A. Vacani 1873-1878, Andrew Vacani 1878-1886, Paul Vacani 1887-1911.At26 Southampton Row, London 1868-1871, 94 High Holborn 1872, 95-96 High Holborn 1873-1885, 22 Dean St 1882-1890, 157 Fulham Road SW 1891-1911. broad, carved with loose foliage and ribbons' at a cost of £3.18s (see National Portrait Gallery website, A Guide to Picture Frames at Knole). The Gallery holds the most extensive collection of portraits in the world. Vialls had links with other leading artists. Both Marlow and Sawrey Gilpin used him as a contact address in the exhibition catalogues of the Society of Artists, Marlow from 1764 to 1780 and Gilpin in 1768 ('At Windsor, enquire at Mr. Vial's'). The maker’s label reads ‘HUGH PATON, Printers, Printseller and Picture Dealer, ARTISTS COLOURMEN, 9 PRINCES STREET, EDINBURGH.

London based workshop specializing in woodcarving, gilding and the restoration and conservation of gilt furniture. The partnership, trading as J. Woodgate & Vacani at 95-96 High Holborn, was dissolved in March 1878 (London Gazette 2 April 1878). Framing work: Edward Burne-Jones seems to have used both Andrew Vacani and his son Paul at one time or another between 1879 and 1890. & W. VOKINS,/ MAKERS,/ 14, GREAT PORTLAND ST, and Thomas Richardson’s Corie Echen, Highlands of Scotland, 1880, is similarly stamped (National Gallery of Victoria, Australia, see Payne 2007 p.263). He was a framemaker of considerable importance in the late eighteenth century for his wide-ranging contacts and the quality of his work. In addition to supplying artists’ materials, he offered the cleaning, lining and repair of Old Paintings, and provision of looking glasses and needlework frames. He made two 'large bold Burnish Gold Carlo maratt picture frames with spandrels' for £16.16s for Burton Constable in 1765 (information from David Connell, October 1999).

For abbreviations, see Resources and bibliography. This project seeks to challenge the conventional historiography in which modern industry destroyed the craft economy in Scotland between 1780 and 1914, replacing it with machine-made goods for the masses and craft-art for a moneyed few. During this process the water gilding and burninshing scheme was born in mind.

[22], [1] The biographical information in this case study comes from National Portrait Gallery, British Artists’ Suppliers, 1650-1950 www.npg.org.uk/research/programmes/directory/directory-of-suppliers/p.php, [4] Inverness Courier, 14th September 1842, [6] National Portrait Gallery, British Artists’ Suppliers, 1650-1950, [7] The Scotsman, Feb 29, 1864, p.2; Edinburgh Evening Courant, 29th March, 1866. Trade Cards 24 (65). The Lady Lever Art Gallery, 1994, pp.133-4, n.23, 25, for Thomas Pelham; Lionel Cust, History of the Society of Dilettanti, 1898, p.222; John Ingamells, The Letters of Sir Joshua Reynolds, 2002, p.90; catalogue, Tempo Manor sale, held by Hamilton Osborne King at Slane Castle 27 September 2004, repr. Carvers & Gilders is a specialist conservation and restoration practice offering fine decorative wood carving, gilding and painted finishes for furniture, mirror frames and other ornaments.

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