Early 20th century.
The design of this frame is based on the study of antique lace. Arthur and Edith Prellwitz, who worked in an art colony in Cornish, New Hampshire, were accomplished artists andWhite’s friends. White commissioned them to research and then copy the elaborate lace patterns with which he was so fascinated. His frame maker, Cabus, would then translate these patterns into composition ornaments. These patterns were later replicated by other manufacturers, including the Newcomb-Macklin Co. who produced this example.
The profile, which is called a reverse or bolection-shaped molding, serves to project the painting closer to the viewer. This is because it is the outer edge of the frame, not the inner edge, that is closest to the wall. It is a simple but ingenious design strategy, which not only gives an unfettered view of the painting but prevents overhead lighting from casting shadows on it. This allows the painting to be the primary focus, creating greater intimacy between the artwork and the observer.