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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.
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Frame detail for Patrick NASMYTHScottish 1787–1831, worked in England 1810–31River and trees (early nineteenth century)oil on wood panel17.9 x 26.9 cmGift of John H. Connell, 1914 (695-2)
The frame is very beautifully made, with fine detailing, particularly the very small-scale bead and reel course that abuts the raised classical frieze pattern on the flat.
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Frame detail for David ROBERTSScottish 1796–1864, worked in England 1822–64Interior of the Church of St Ann, Bruges 1851oil on canvas1122.3 x 183.5 cmPurchased, 1894 (p.402.2-1)
The frame is labelled E M Foord centre top dating it to the years when the company was managed by the founder, George Foord’s wife Elizabet
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Frame detail for J. M. W.TURNEREnglish 1775–1851Dunstanborough Castle, north-east coast Northumberland, sunrise after a squally night (1798)oil on canvas92.2 x 123.2 cmGift of the Duke of Westminster, 1888 (p.313.3-1)
Though the label is now lost, it positively identified the maker of the frame.
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Frame detail for E. Wake COOK – Near Arundel
The label identifying the maker appears on the reverse of the thin timber backing board of the blind stretcher onto which the watercolour is stretched.
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Frame detail for David MURRAYScottish 1849–1933, worked throughout Europe 1882–1933On the Thames 1898oil on canvas91.0 x 121.8 cmGift of William Drummond, 1914 (757-2)
The frame is one of a number of highly finished frames that show a very refined level of craftsmanship in their manufacture.
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Frame detail for John Singer SARGENTAmerican 1856–1925, worked throughout Europe 1877–1925Hospital at Granada (1912)oil on canvas56.0 x 71.2 cmFelton Bequest, 1924 (1337-3)
The frame, which is essentially derived from the Louis XIV style, is deceptively wide.
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Frame detail for George W. LAMBERTEnglish/Australian 1873–1930, emigrated to Germany 1875, worked throughout Europe and the Middle East 1900–21A sergeant of the Light Horse 1920oil on canvas277.0 x 62.0 cmFelton Bequest, 1921 (1182-3)
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.
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Frame detail for Charles HOLMESEnglish 1868–1936Black Hill Moss 1919oil on canvas45.6 x 81.4 cmFelton Bequest, 1920 (1049-3)
This frame is reminiscent of the styles used by James Abott McNeill Whistler.
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Frame detail for Sybil CRAIGEnglish 1901–89, immigrated to Australia 1902Victorian constable (c. 1930)oil on canvasboard54.4 x 46.5 cmGift from the Estate of Sybil Craig, 1990 (A3-1990)
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…
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Frame detail for Lucy KEMP-WELCHEnglish 1869–1958Horses bathing in the sea 1900oil on canvas152.9 x 306.5 cmPurchased, 1900 (93-2)
The frame is a well crafted example of a very large-scale gilded oak frame.