Victorian constable
(c. 1930)

• Sybil CRAIG

This delightfully rustic frame is believed to be contemporary with the date of the painting. Frames using rough timber in this manner are referred to as rough deals.¹ W. & G. Dean are known for their activities as artists’ colourmen more than as frame makers, though some versions of their stencil applied to canvases denote framers as well as artist colourmen.² This label clearly indicates the frame-making function. The frame is a rare example of this simple aesthetic used for the presentation of a somewhat formal portrait.³ The use of the rough surface of the timber can also be found in the earlier framing of Aby Altson’s Flood sufferings from 1890.

Notes

1 A frame of this type is reproduced in Jacob Simon, The Art of the Picture Frame, p. 46, fig 37.

2 The company’s stencil appears on the support of: John Ford Paterson’s Fernshaw, 1900 (77–2); Hugh Ramsay’s Lady with a fan, 1904 (1196–4); Frederick McCubbin’s Wattle glade, 1905 (A22–1980); J.C.Waite’s Alfred Felton, 1905, (245–2) (p. 00); Frederick McCubbin’s The pool of London, 1907, (A24-1980); Frederick McCubbin’s Moonrise, 1909 (A28–1980); Frederick McCubbin’s Bush sawyers, 1910; Frederick McCubbin’s Landscape, South Yarra, 1910 (3067–4); Frederick McCubbin’s Autumn morning, South Yarra, 1916 (3164–4) (p. 00); Frederick McCubbin’s Landscape, Macedon, 1917 (1992–4); Hugh Ramsay, Tom, c. 1903 (1199–4); Hugh Ramsay, Lady with fan, 1901 (1196–4); John Longstaff’s The black hat (1778–3); Bernard Hall, Asia (299–4); Bernard Hall’s The model and the globe (4411–3); Bernard Hall’s The Rotunda, Melbourne Gallery (A01–1987); Frederick McCubbin’s Eliza Hall (705–5); Walter Withers’ Yachts off Williamstown (A54–1980); John Ford Paterson’s Tallarook on Sunday (61–5); John Ford Paterson’s St. Ives (1800–4); Frederick McCubbin’s The pool, Heidelberg (1910).

3 Another painting by Craig, in a private collection, dated 1933 and possibly a study for this painting, has a similarly angled frame made from recycled architectural moulding.

The frame is simply made. The outer section of flat, rough-sawn timber is nailed at the mitres and angled to form a shallow bevel, apparently not glued. The timber is rough-sawn on all faces, except the inner-edge bevel, and is characteristic of oregon pine. The surface is painted with a gold colour on the face and bevel, without preparation. The pale, burnished silver slip is finished with a coloured size to appear gold.

The original surfaces are in good condition, though a considerable level of oxidation of the painted surface should be assumed. The mitres have been re-enforced from the reverse with metal angles screwed in place.