The frames of the Pre-Raphaelites were very influential and have inspired artists and frame makers from their time forward. They adapted neoclassical designs and felt stromgly that frames should be an extension of the paintings they house. James McNeill Whistler, who was also a member of the Victorian Aesthetic movement developed his own simpler version of these frames leaving the panels plain or adding abstract motifs. These reeded frames are now known as “Whistler” frames. Buck’s County frame makers Frederick Harrer and Ben Bedura used similar Florentine shaped moldings but added carving to the corners and organic or geometric punch work to the panels.
The function of picture frames in the 19thcentury was considered primarily utilitarian and it was felt that art should be self-sufficient, the frame merely setting the painting apart from its surroundings. Also to draw attention to their work amidst the highly competitive gallery shows artists used excessively wide brightly gilded moldings. Although they were not the first to do so the Pre-Raphaelite artists embraced the notion that frames should be an integral part of the picture and continue the scene or story in the painting. They were very involved in the design and manufacture of the frames and shunned machine made moldings. Keeping with the Arts and Crafts movement they admired craftsmanship and hand done finishes.

It is unfortunate that in the exhibition catalogue the paintings are shown without their frames as this totally changes the viewing experience.
*For a more extensive article on this subject please see theframeblog.wordpress.com/2012/10/06/pre-raphaelite-frames