A George II carved giltwood and gesso architectural frame circa 1735, with later alterations and enhancements

Probably ordered in its original state, by William Cavendish, 3rd Duke of Devonshire (1698-1755) and transformed by William Spencer Cavendish, 6th Duke of Devonshire (1790-1857) as part of his redecoration of Devonshire House. Altered to its current state by Victor Cavendish, 9th Duke of Devonshire and or his wife Evelyn Duchess of Devonshire, circa 1920.

A very impressive piece and the boldly carved decoration is particularly fine. Re-gilded with some surface dirt and light chipping. The pediment has a small loss to one side. There is damage to the middle dentils. The frieze has some damage and restoration to the carving top right hand side. There is a small crack to the foliage left hand side. The later mirror plate is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The core of this frame in a plainer rectangular format would appear to be from Kent's original commission for either Chiswick or Devonshire House. The eared rosette filled corners and projecting mid-sided ears relate to the pair of extraordinary owl-crested mirror frames carved by John Boson for Lord Burlington at Chiswick. In either case the frame would have been designed by Kent as part of the entire furnishing scheme, aimed at not only complementing the painting it held but also the archtectural structure of the room. One of Kent's earliest complete interiors which included specially designed frames was that for the King's Gallery at Kensington Palace in 1727, where he designed frames for the great Venetian pictures. The frames were carved by John Howard and are illustrated in situ in John Cornforth, Early Georgian Interiors, Yale, 2004, p.147, fig. 181. The principle was conceived by Kent as early as 1725 and appears in his drawing for a proposed arrangement of Sir Robert Walpoles pictures in the Saloon at Houghton Hall, Norfolk, see John Cornforth, op.cit., p.151, fig. 185-6.

The frame was most probably altered to near it's current form in the early 19th century, incorporating an over-door and pediment possibly reused from elsewhere in the house,during the alterations possibly undertaken by Morel and Hughes of the major rooms in the early 19th century.

 In the 1813 wall plan of the pictures at Devonshire House this frame (already in its pedimented form) either surrounded the painting Judith and Holofernes by Guido Reni or that of Ruben's Holy Family (now at Walker Art Gallery, Liverpool). It is impossible to be definite as it seems that both the East Drawing Room (later the Dining Room) and the West Drawing Room (later part of the Ball Room) both contained frames of this type. Earlier, in 1761, Dodsley had recorded the Rubens being over the chimneypiece in the West Drawing Room (see R. and J. Dodsley, London and its Environs Etc., 1761, p. 227). By 1836 the painting in the East Drawing Room had been changed. According to the wall plan of that year the artist or the subject of this picture began with the letter D. In the later 19th Century this frame surrounded the Portrait of The Archduchess Clara Eugenia then attributed to Rubens and now to Van Dyck (Devonshire Collection). That painting was first recorded in the collection of the 2nd Duke by Johnathan Richardson in 1722. It was extended in the 19th Century to fit this frame. It can be seen in place in the photograph of the room circa 1900.