Early 20th century.
Made by the Newcomb- Macklin Company.
The acanthus leaf is perhaps one of the most ubiquitous ornamental patterns, the roots of which lie in the forms and patterns of classical antiquity. It is a commonly used symbol of continuity, and was frequently used by White as an ornamental device to create visual interest and texture without overshadowing the painting. Here, it is used as a repeated pattern along the length and width of the frame, and augmented by the placement of larger acanthus leaves in each of the four corners, neatly covering the miter of the frame.
The ogee profile is a hollow, or scoopshaped molding where the outer edge of the frame rises up and away from the painting forming a curve that catches light and reflects it onto the canvas creating a symbiotic relationship between painting and frame.
White experimented with many of these concepts and constantly monitored and changed the molding shapes and ornamentation to suit the character of the painting and environment for which it was intended. He primarily designed frames for artist friends who realized the important skill he had developed in making their paintings fit perfectly into the interiors of his wealthy clients’ homes.