The framing of paintings has a long history, dating back through the thirteenth century and beyond.
By the mid 1860s, photography had become more affordable and accessible to a broader section of society. As such, portraits taken at professional studios around Melbourne became hugely popular.
By the mid 1860s, photography had become more affordable and accessible to a broader section of society. As such, portraits taken at professional studios around Melbourne became hugely popular.
Enigmatic expatriate artist Rupert Bunny (1864–1947) lived most of his life in cosmopolitan Pari
Enigmatic expatriate artist Rupert Bunny (1864–1947) lived most of his life in cosmopolitan Pari
E. Phillips Fox was a favourite portraitist of Melbourne’s wealthy upper middle classes and renowned as an excellent painter of childre
E. Phillips Fox was a favourite portraitist of Melbourne’s wealthy upper middle classes and renowned as an excellent painter of childre
Landseer was a fastidious painter widely celebrated for his brilliant portrayals of animals.
Landseer was a fastidious painter widely celebrated for his brilliant portrayals of animals.
In seventeenth-century England gloves played important social and ceremonial roles and were worn on almost every occasion, from hawking to dancing to fighting and dining.
In seventeenth-century England gloves played important social and ceremonial roles and were worn on almost every occasion, from hawking to dancing to fighting and dining.
The former framing of Reynolds’ Miss Susanna Gale posed a number of interesting questions
The Frederick Pollak frame (see above image), formerly on The Virgin and Child, is a rendering of 15th century Flemish frame
The acquisition in 1878 of John Herbert’s painting Moses bringing down the Tables of the Law, c.1872–78, was an important moment in the National Gallery of Victoria’s collecting hi
Tom Roberts’ Miss Isobel McDonald (1895) was previously framed in a simple, bevelled moulding with a painted, antiqued surface (see image above
The painting was painted in London and it seems likely the frame, being 19th century in origin and style, was recycled for use with the portrait.
This is a fine example of the frame that carries the artist’s name, on one of his own paintings.1 The other painting in the collection by Watts, Alfred Tennyson, (p.3
Orang Hilang presents a portrait of an ageing man, his face adorned with adhesive bandages bearing the names of missing Indonesian pro-democracy political activists.
The radical aesthetic of the Pre-Raphaelite Brotherhood will be celebrated in a rich exhibition at NGV International from 11 April, Medieval Moderns: The Pre-Raphaelite Brotherhood, in the first comprehensive display…
Hidden treasures from Beijing’s Palace Museum in the Forbidden City have come to Melbourne for the first time, in an Australian exclusive exhibitio