Hidden treasures from Beijing’s Palace Museum in the Forbidden City have come to Melbourne for the first time, in an Australian exclusive exhibitio
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…
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.
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…
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.
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.
This refined frame is a variant of the classical revival form.
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.
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.
The frame is representative of a popular cassetta style used extensively by Thallon in the years following the middle 1880s.
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
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 is a fine example of the frame that carries the artist’s name, on one of his own painting
The frame is labelled on each side of the reverse. The label transcribes as: SMITH & UPPARD (successors to W. A.
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.