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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.
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Frame detail for Henry RAEBURNScottish 1756–1823James Wardrop of Torbane Hill (c. 1820)oil on canvas76.5 x 64.0 cmFelton Bequest, 1925 (1509-3)
This frame is a replica of the original, made at the time of acquisition.
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Frame detail for Walter WITHERSEnglish 1854–1914, worked in Australia 1883–1914Tranquil winter 1895oil on canvas76.0 X 122.7 cmPurchased, 1895 (12-2)
This is the only frame in the collection positively identified as by the Artistic Stationery Company, who we know more commonly as artists’ colourme
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Frame detail for C. MOLONEYactive in Spain (1860s)Bartolomé Esteban MURILLO (after)Virgin of the Rosary (c. 1869)oil on canvas167.0 x 112.8 cmPurchased, 1870 (p.302.2-1)
The frame is in the style of a Watts frame, though here we see it in a variant form using a smooth flat.
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Frame detail for Frank WALTONEnglish 1840–1912‘Summer has gone on swallows wings’ (c. 1890)oil on canvas152.7 x 121.8 cmPurchased, l892 (p.398.2-1)
The label on the reverse identifies Bourlet as the frame maker.1 The frame is thought to be the first framing of the painting
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Frame detail for Charles SHANNONEnglish 1863–1937Souvenir of van Dyck – Miss Kate Harwood in a Marmiton dress (1897)oil on canvas103.0 x 95.3 cmFelton Bequest, 1906 (263-2)
Chapman made frames for Shannon and there is little reason to doubt the company made this example.
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Titian A monk with a book c.1550
When the NGV’s Felton Bequest adviser Frank Rinder recommended the purchase of this sombre yet arresting painting, he warned the Gallery’s trustees that: ‘It would cause considerable disappointment were there…
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A Golden Age of China: Qianlong Emperor (1736–1795)
Hidden treasures from Beijing’s Palace Museum in the Forbidden City will come to Melbourne for the first time, in an Australian exclusive exhibitio