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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
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Albrecht Dürer Melencolia I 1514
Albrecht Dürer’s personification of the melancholic temperament in this print, one of his most famous works, shows a figure deep in contemplation, holding a compass and surrounded by an hourglass…
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Identity and self-scrutiny, memory, and the inherent tensions of human relationships are the core of Louise Bourgeois’s ar
Extended Label for Louise BOURGEOIS : Cell (Glass spheres and hands)
Identity and self-scrutiny, memory, and the inherent tensions of human relationships are the core of Louise Bourgeois’s ar
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A Golden Age of China
Qianlong Emperor, 1736–1795
Qianlong Emperor, 1736–1795 tells the story of China’s foremost art collector Qianlong emperor, one of China’s most successful rulers and fourth emperor of the Qing dynasty (1644
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Reciprocal Benefits
NGV Members receive Reciprocal benefits at all major interstate galleries including: The Art Gallery of New South Wales (AGNSW) National Gallery of Australia (NGA) National Portrait Gallery Queensland Art Gallery…
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Artists’ Colourmen
Companies manufacturing and supplying artist’s materials, from the late Eighteenth Century onward, are known as Artists’ Colourmen.