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The artist, title and date of the work must be listed anywhere the image is reproduced:
Rupert Bunny
Madame Melba (c. 1902)
oil on canvas
245.5 × 153.0 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of Dinah and Henry Krongold CBE, Founder Benefactors, 1980
Photo: National Gallery of Victoria, Melbourne
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Madame Melba
(c. 1902)
Medium
oil on canvas
Measurements
245.5 × 153.0 cm
Credit Line
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of Dinah and Henry Krongold CBE, Founder Benefactors, 1980
Gallery location
Special Exhibitions Gallery
Ground Level, NGV International
Artwork Details
Place/s of Execution
London, England
Inscription
inscribed in black paint l.l.: Rupert C. W. Bunny
Accession Number
A70-1980
Department
Australian Painting
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Subjects (general)
Musical Portraits
Subjects (specific)
dresses (garments) full-length figures hats Melba, Dame Nellie opera singers single-sitter portraits women (female humans)
Frame
Original, by R. J. Stannard, London, surface not original
Frame
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. The painting was shown at the Royal Academy, London, 1902. Despite having been resurfaced, the frame is a fine example of the large formal portrait frames from the early decades of the nineteenth century being reproduced at the beginning of the twentieth century. Framing styles are often revisited long after their date of introduction in order to develop our response to paintings through the association of the frame.
Frame Details
Framemaker
R. J. Stannard
30 Great Russell Street London W.C.
Date
(1902)
Materials
The frame is made up of composition ornament on a wooden chassis. The corners are secured with large screws in the manner of frames which are intended to be taken apart, though here the ornaments across the face of the mitres are bonded to the substrate. Little evidence remains of the original finish, though it was more than likely gilded with a mixture of matte and burnished surfaces.
Frame Condition
Losses in the composition ornaments have been replaced at various times. The ornament of the inner scotia is not well adhered. The surface has been over-painted with gold coloured paint throughout.
Dimensions
270.0 x 178.5 x 14.0 cm; sight 241.0 x 150.0 cmMore Information
National Portrait Gallery