A George II carved giltwood frame circa 1735, designed by William Kent and probably carved by John Boson

apron centred on a shell with C-scrolls and fronds of acanthus leaves wrapped around swags of oak leaves together with a backing panel, with a printed paper label for W. Cribb, Carver, Gilder Looking Glass Manufacturer and Printseller, 34 King Street, Covent - Pictures Cleaned, Lined and Repaired

Painted by William Henry Hunt in his watercolour of The Saloon, circa 1822, it is shown reflected in the pier-glasses between the windows;

Christopher Simon Sykes, Private Palaces, London, 1986, illus. p.102. Illustrated in a drawing of 1828 in the Entrance Hall (Saloon) of Devonshire House;

William Kent, Designs of Inigo Jones, vol .I, pl. 72 for comparison see those illustrated in a preparatory drawing of Chiswick Villa - Longitudinal Section;

The Duchess of Devonshire, Chatsworth - The House, London, 2002, p. 218, the Dowger writes;
On the main thoroughfare of the Back Passage hangs a beautiful (at least I think it is beautiful, but I have never taken off the newspaper it is wrapped in) carved-gilt frame, 51 x 126 inches in two halves. It has hung there since I have known the house. What it framed and whence it came I do not know. I often plan to undo its Financial Times bandages to have a proper look at it but am diverted by scraps of the pink paper of years ago - murders, royal doings and the price of oil...

The frame is constructed in two sections; top and bottom, with metal braces to the rear. There are many signs of wear throughout including losses to the carving (including the crest), cracks, and seperations. A few small pieces of carving are detached but retained. The gilding is worn and dirty. Two sections of flower head and ribbon carved mouldings are detached with substantial losses to one detached section.
"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."

This splendid giltwood frame was designed by William Kent as part of a group of frames deployed in the Saloon at Devonshire House.

The frame was created to surround Myten's Portrait of Christian Bruce, Countess of Devonshire and her family (which is now in the State Dining Room at Chatsworth). It appears in both early 19th century watercolours of the Saloon at Devonshire House.

This frame was part of an arrangement of Kentian frames surrounding other portraits. Some of these smaller frames are now at Chatsworth. The removal of the picture collection from Devonshire House to Chatsworth undertaken by the 6th Duke, lead to this frame to being transformed into a mirror surround circa 1830. The label attached to the backing panel shows that the glass plate was supplied, as with the other mirrors at Devonshire House, by William Cribbs.

The frame was removed from Devonshire House in 1921; to facilitate the removal it was carefully cut into two sections.

In her notes, Duchess Evelyn records that at least one Kentian frame was used in their new London residence, 2 Carlton Gardens.

It is highly likely that Kent's design was realised by John Boson (1705-1743), who produced work of the very highest quality. This included a group of six pieces which are documented as being by his hand and all of which were designed for Lady Burlington. A pair of carved mahogany tables and associated giltwood pier glasses all of which feature a detail from her armorial - the Owl, cost £35 and were installed in the Garden Room at Chiswick for her. There was also a pair of candle-stands with Boys-Heads. Bosun also produced picture frames. In 1746 his executors put in a bill of £328 11s 4d to the Prince of Wales for work on his house at Leicester Fields which included two large frames for Battle Pieces painted by Mr Wooton, two large frames in the French Manner and interestingly several hundred feet of enriched mouldings.