This fluted inner scotia form of classical revival frame was one of Thallon’s most prevalent styles. The basic construction of these frames occurs in two form

The framing is noted in an article in The Argus when the painting was first on display in 1890, though no mention is made of the decorative elements.

The frame is a late working of the themes developed by Whistler and those closely influenced by his approach to framing; in particular we might look to the frames used…

This frame draws on the form and detailing of frames from Italy and Spain, particularly Spanish bolection frames of the seventeenth century.

The frame reflects the Art Deco style, particularly the design of the leading-edge ornament.

The frame, which is essentially derived from the Louis XIV style, is deceptively wide.

The frame is one of the forms very often used for the presentation of paintings from the late nineteenth century onwards, taking its cue from the eighteenth century and using…

The framing of this oil painting is in a manner we might logically associate with a work on paper.

A simple watercolour frame in the manner of gilding direct to the wood, this frame appears very slight for the scale of the work.

The basic form of this frame is most likely a wooden profile, available through trade catalogues as a base ready to take runs of composition ornament.

The frame is an almost exact copy of one of the frames designed by James Abott McNeill Whistler.1 Characteristically for a Chapman frame, it is well built.

Made in a Louis XIV style, this is one of a number of Chapman frames on paintings by Streeton in Australian collections.

The frame is an example of the hybrid styles emerging from the nineteenth century.

Frames like this one, derived from French Louis XIV and XV models, are common through the late nineteenth century and into the twentieth century.

This is the first framing of the painting and exists within a tradition of frames that are used as a didactic device for paintings, carrying names of people, places and…