HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

I k2.
Although it has not yet been possible to identify any of Pelletier's
work in the field of ,icture frames, it is probable that the same
classical moldings were used that are to be found on Pelletier's
surviving furniture, which can be identified with more certaint,r. It
is likely that this classical tradition in picture frames was carried on
by the Gosset fainily,of which at least four members are known to hae
been active in this field. They were "atthew Gosset (1683-174), and
Jacob Gosset (1701-1788); Gedeon Gosset (1706-7-1785) and Isaac Gosset
(1713-1799). The last three were sons of the Euguenot Jean Gosset,
whose brothcr Matthew had settled in Eng1d as a wax modeller arid
taught his nephew, Isaac, the same trad?Tertue commented that Isaac
was 'at first practized to frame carving his original business' and that
although 'he still undertakes carving for persons that are willing to
pay him well for his labours'- he concentrated on wax modelling and
'sells each head in oval frames one guinea apiece he also has a
brother that works, a framemaker '.Vertue's statements can be proved,
the Gosset brothers are recorded as working for Benjamin MildtPr, Earl
Fitzwalter at Moulaham Hall, Essex in the capacity of carvers, although
the Hall was unfortunately demolished in 1809, Jacob's subscription to
Leoni's Alberti in 1726 suggests that he was interested in architectural
work as weal. However, the only account known for frames by Jacob Gosset
occurs in the books of Frederick, Prince of Wales for 1736. Jacob
Gosset received £231 for 'a carv'd & gilded frame for His Royll Highness
pict att holength for the Duke of Dorset'25.0.0.(now at Easton Neston);
'for another version of the same picture for the Prince's mistress, Mrs.
Vane, which was probably more elaborate than the former as it cost
£35.10.0. (now at Raby Castle) and ' a frame for a Child pict £21.0.0.,62
In the same month James Amiconi was paid for the portraits these frames
contained, the 'Child picteur with Cupitts' can be identified with the
portrait of Frederick, Prince of Wales with two putti holding a lyre and
a symbol of eternity now at Buckingham Palace. It is probable that the
other references to Gosset the framemaker which occur in this and the
next decade refer to Jacob Gosset as opposed to Isaac Gosset who was
ten years younger. Arthur Pond's note book in the British Museum contains
the entries for 1736 'Gosset the Framemaker on account' and for 1737,
February, £22 to Gossett for framesIn 17k8, Hogarth wrote to Lord
Wyndham about the frame for 'Paul before Felixt which that patron had