Flaming June
Flaming June was first exhibited at the Royal Academy in the frame illustrated in the photograph of Leighton's studio taken in 1895. The interest in historically correct framing and the centenary of Lord Leighton's work at the Royal Academy prompted a reproduction of the original frame to be made by Arnold Wiggins & Sons. Information from the Wiggins Picture Frame Archive and drawings and casts made from Leighton's original frames made it possible for an accurate reproduction to be made.
Frederic, Lord Leighton was one of a group of artists, including Alma Tadema and the Pre-Raphaelites, who from the 1850s onwards experimented with the design and function of the picture frame as a reaction against the mass-produced Victorian frames. By the 1880s, Leighton had developed a distinctive tabernacle frame that he used on many of his paintings. Its inspiration was Renaissance altarpieces and especially the framing of works by Neri de Bicci who worked in Florence in the 15th century. The frame was strongly architectural with deeply fluted pilasters, Ionic capitals and a frieze of anthemion drawn from Greek antiquity: It had become more than a decorative border, it was an architectural opening - a window that helped to set the scene for his paintings.
Flaming June was first exhibited at the Royal Academy in the frame illustrated in the photograph pf Leighton’s studio taken in 1895. Victorian painting went out of fashion and some time after 1930 the painting and frame were hidden behind panelling in a house on Clapham Common. Uncovered during building work in 1962, the painting was sold to a local picture framer on Lavender Hill who priced the painting at £50 and the frame at £60. The painting finally arrived for sale in London’s West End without its frame.
The interest in historically correct framing and the centenary exhibition of Lord Leighton’s work at the Royal Academy prompted a reproduction of the original frame to be made by Arnold Wiggins & Sons. Information from the Wiggins Picture Frame Archive and drawings and casts made from Leighton’s original frames made it possible for an accurate reproduction to be made.