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We see formal studio portraits commonly being placed in large paper frames. We note various kinds of these frames, but we are not yet aware of the full extent of the available alternatives. We note both two and three-ply paper frames. The most common was the book type two-ply paper frame. A 1927 portrait on the previous page is a good example. We also note three-ply paper frames with the portrait at the center and over-lapping wings at the left and right opening to see the portrait. The 1928 portrait here is a good exmple of a three-ply frame (figure 1). There presumbly were other frame types. but we are just beginning to collect information.
We notice some one-ply frmes. Some look rather like mounts rather than frames. This would make them similar to the cabinent cards which dominated late-19th century photography in the states. It os not always easy to destinguosh between frames and mounts in intetnet postings. We think that the frames were more common thn the mounts, but we are just beginning to collect information on frames and mounts. Some of these portraits seem to have been done as family Christmas cards.
The most common was the book type two-ply paper frame. A 1927 portrait on the previous page is a good example.
We also note three-ply paper frames with the portrait at the center and over-lapping wings at the left and right opening to see the portrait. We see these frames throughout the 1920s. The 1928 portrait here is a good exmple of a three-ply frame (figure 1). Note the elaborate border design. There was a wide variety of these designs and frame colors. Ble, brown, and green wee popular colors. They were often dpne uin neutral grey shades. Sizes varied.
There presumbly were other frame types. but we are just beginning to collect information.
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