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Melbourne gets the ‘thumbs up’: Felton Bequest acquires David Shrigley’s larger-than-life bronze Really Good, 2016 for NGV
David Shrigley’s iconic bronze sculpture, Really Good, 2016, which takes the form of a seven-metre-high ‘thumbs up’, has been generously acquired for the NGV Collection by the Felton Be
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Felton Bequest acquires sculptures by Thomas J Price and duo Elmgreen & Dragset for National Gallery of Victoria
8 December 2023: A larger-than-life bronze of a young woman by British artist Thomas J Price and a mirror-polished statue of a young man by art duo Elmgreen & Dragset…
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Frame detail for Bernard HALLEnglish 1859–1935, worked in Australia 1892–1934Processional (c. 1921)oil on canvas(110.0 x 62.6 cm)Felton Bequest, 1925 (1528-3)
This is a style of frame that appears in the Thallon ledger many times. It was a particular favourite of Frederick McCubbin.
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Frame detail for Peter DE WINTEnglish 1784–1849Richmond (1843)watercolour over pencil25.0 x 7.3.9 cm irreg. (image)Felton Bequest, 1923 (1311-3)
The frame is one of a matching pair on watercolours by this artist in the collection. The original matts have been replaced with museum mount board.
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Frame detail for Frank HOLLEnglish 1845–88Home again! 1881oil on canvas128.1 x 102.6 cmFelton Bequest, 1908 (374-2)
The maker is identified by an ink stencil, located centre-bottom reverse: J & W VOKINS MAKERS 14 GREAT PORTLAND ST.
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Frame detail for Tom ROBERTS English 1856–1931, immigrated to Australia 1869 Penelope 1919 oil on canvas (63.4 x 52.8 cm) Felton Bequest, 1920 (1059-3)
This is the only frame by Lillie Williamson (Mrs. Tom Roberts) identified in the collection.
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Frame detail for Charles BRYANTAustralian 1883–1937, worked throughout Europe 1917–22, England 1931–6The centre of the Empire (c.1935)oil on canvas(61.0 x 73.8 cm)Felton Bequest, 1937 (379-4)
The frame is a reworking of the Louis XV style and represents a type of frame which was economically produced but ornate in appearance.
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Frame detail for Norman MACGEORGEAustralian 1872–1952Mother-of-pearl (1906)oil on canvas(115.6 x 146.0 cm)Felton Bequest, 1906 (258-2)
Though the frame no longer carries an identifying label, it is catalogued here as by John Thallon.
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Frame detail for Frederick McCUBBINAustralian 1855–1917The pioneer 1904oil on canvas225.0 x 295.7 cmFelton Bequest, 1906 (253-2)
The frame is one of three original framings of works by the artist in the collection. It was returned to the painting in 1985 after being located in storage.
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Frame detail for J. C. WAITEEnglish 1832–1921, worked in Australia 1886–1921Alfred Felton 1905oil on canvas(130.0 x 100.0 cm)Felton Bequest, 1905 (245-2)
The frame is interesting on a number of levels. The walking stick presumably belonged to the sitter and is here attached as an artefact of remembrance.
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Frame detail for Bernard HALLEnglish 1859–1935, worked in Australia 1892–1934Sleep (c. 1906)oil on canvas(62.8 x 138.8 cm)Felton Bequest, 1919 (959-3)
The maker is identified by a stencil directly onto the wood on the reverse of the frame, centre bottom, an unusual means of identification by Thallon.
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Frame detail for Charles WHEELERNew Zealander 1881–1977, immigrated to Australia 1892The poem 1910oil on canvas183.4 x 138.0 cmFelton Bequest, 1910 (547-2)
The frame fits stylistically with a group characterised by this reverse profile form, the most notable being the frame on Frederick McCubbin’s Winter Evening, (61-2) also by Thallo
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Frame detail for John LONGSTAFFAustralian 1862–1941, worked throughout Europe 1890–95, 1901–20Jessica (c. 1925)oil on canvas(90.2 x 69.8 cm)Felton Bequest, 1925 (1778-3)
A variant on the popular Louis XV revival style, this time characterised by the use of net to texture the inner scotia and by elaborate detailing of the slip.
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Frame detail for Bernard HALLEnglish 1859–1935, worked in Australia 1892–1934The studio shrine (c. 1910)oil on canvas(60.0 x 45.8 cm)Felton Bequest, 1935 (247-4)
One of the frames made for Bernard Hall by the Thallon company in its later years, under the direction of Ted Burman and using the Thallon label.
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Frame detail for Tom ROBERTSEnglish 1856–1931, immigrated to Australia 1869The Sunny South (c. 1887)oil on canvas30.8 x 61.4 cmFelton Bequest, 1940 (1078-4)
This is the original frame for the painting. Despite its simple and almost austere aesthetic, it was replaced in favour of a Whistlerian model, most likely by J. S.