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A Golden Age of China: Qianlong Emperor, 1736–1795
Hidden treasures from Beijing’s Palace Museum in the Forbidden City have come to Melbourne for the first time, in an Australian exclusive exhibitio
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StArt Up: Top Arts 2015
From a self-portrait constructed with Rubik’s cubes to a film-projecting bicycle, thought-provoking works by forty-two of Victoria’s top VCE Art and Studio Arts students will be on show at the…
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Bill Henson Untitled 1990-91 from the Paris Opera Project series 1990-91
In 1990 Henson was commissioned by the Paris Opera House to produce a series of photographs inspired by either the music or environment of the opera.
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Follow the Flag: Australian Artists at War 1914 – 45
Over 150 works of art, created by Australian artists in response to the First and Second World Wars have been brought together to mark the centenary of Gallipoli in the…
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Frame detail for John LONGSTAFFAustralian 1862–1941, worked throughout Europe 1890–95, 1901–20Mrs. John H. Connell 1900oil on canvas188.6 x 107.4 cmGift of John H. Connell, 1914 (655-2)
Almost identical to the frame on Stuart Murray (unaccessioned item, id. no. 60969) the frame is in the form of Italian cassetta frames, but uses surfaces from other sources.
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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 E. Phillips FOXAustralian 1865–1915, worked in France 1901–13Henry Gyles Turner, F. R. G. S. 1914oil on canvas127.4 x 97.0 cmPresented by subscribers, 1914 (654-2)
This refined frame is a variant of the classical revival form.
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Frame detail for Mather BROWN (attributed to)American 1761–1831, emigrated to England 1781George Townsend, 1st Marquess Townsend (early 19th century)oil on wood panel17.7 x 15.0 cmGift of Mrs E. Swinburne, 1941 (1109-4)
This small-scale oil painting is close to the format of a miniature; the frame is nevertheless a form we might associate with larger-scale paintings.
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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 1869Coming South 1886oil on canvas63.5 x 52.2 cmGift of Colonel Aubrey H. L. Gibson in memory of John and Anne Gibson, settlers (1887), 1967 (1738-5)
The frame is representative of a popular cassetta style used extensively by Thallon in the years following the middle 1880s.
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Frame detail for Ugo CATANIItalian 1861–(c. 1945), worked in Australia 1885–94, England 1895–1923Carême 1888oil on canvas111.4 x 64.1 cmPurchased with the assistance of the K. M. Christensen and A. E. Bond Bequest, 2007 (2007.2)
The frame is one of a matching pair on two still-life paintings by the artist.1 It is particular in being only partly gilded
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Frame detail for Dora MEESONAustralian 1869–1955, worked in England c.1901–1955Venice in London 1920oil on canvas52.4 x 44.2 cmFelton Bequest, 1928 (3680-3)
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…
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Frame detail for G. F. WATTSEnglish 1817–1904Alfred Tennyson (1858)oil on wood panel61.0 x 50.4 cmPurchased, 1888 (p.312.9-1)
This is a fine example of the frame that carries the artist’s name, on one of his own painting
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Frame detail for Frank DICKSEEEnglish 1853–1928The crisis 1891oil on canvas122.4 x 158.1 cmPurchased, 1891 (p.396.2-1)
The frame is labelled on each side of the reverse. The label transcribes as: SMITH & UPPARD (successors to W. A.
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Frame detail for Rupert BUNNYAustralia 1864–1947, worked throughout Europe 1884–1933Madame Melba (c. 1902)oil on canvas245.5 x 153.0 cmPurchased through The Art Foundation of Victoria with the assistance of Henry Krongold CBE and Dinah Krongold, Founder Benefactors, 1980 (A70-1980)
The frame is in the manner of those used by Thomas Lawrence, which would seem to be appropriate to the formality and grandeur of the portrait.