The label, centre top reverse, remains on the original backing board. Typical of the simple aesthetic of frames in the 1930s, this one, on a watercolour, is in stark contrast to the framing by John Thallon of John Mather’s watercolours in the 1890s. (p.431.2-1)(15-2)(2003.475). Nevertheless, Thallon’s ledger for 1888–1903 details frames not unlike this, finished in white enamel with wide mounts for, among others, works by Bernard Hall. This simple half-round profile dates back to the early nineteenth century, with frames in this form being made from timber for the display of works on paper.
1 Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999.
T. S. Glasier & Co. Union House, 284-6 Little Collins Street, Melbourne
The frame is a thin, rounded, cream-painted wooden profile, on a large watercolour, using a wide, white matt. The frame sections are simply mitred and nailed at the corners.