Collection Online
oil on canvas
175.2 × 243.8 cm
Place/s of Execution
Paris, France
Accession Number
Australian Painting
Credit Line
National Gallery of Victoria, Melbourne
Presented by the artist under the terms of the National Gallery of Victoria Travelling Scholarship, 1895
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Gallery location
Not on display


James QUINN; Jacques-Louis DAVID (after)
Madame Récamier (c. 1895)
John Thallon
222 Russell Street (over written as 122 Little Collins),

The frame is assembled from a large-scale, profiled slip, matte gilded on a grey bole, and a simply profiled outer frame. This outer frame utilises a steeply curved outer scotia and a strongly articulated, large-scale composition torus of imbricated oak leaves and acorns. The slip carries a glue size layer. The outer scotia appears to be gilded with gold leaf but carries a greenish patina. The oak torus carries a dark patina and appears to be oil-gilded. It is cross-banded at the centres and corners. The basic chassis of the frame is mitred at the corners.


The frame is in largely original condition, though it should be assumed that the surface coatings have discoloured with age.

203.5 x 273.5 x 12.0 cm; sight 172.5 x 240.5 cm
James QUINN; Jacques-Louis DAVID (after)
Madame Récamier (c. 1895) James QUINN; Jacques-Louis DAVID (after)
Madame Récamier (c. 1895) (colourman)

This large-format frame is deceptive in its simplicity. The profile is not as large or complex as we would assume for a frame of these dimensions; however, the clever use of the steeply curved outer scotia creates an impression of scale in depth and width, which more than adequately meets the needs of the dimensions of the painting. The slip is a variant of the slip for Quinn’s copy of Frans Hals’ The gipsy (9-2) and a similar slip was also used for E. Phillips Fox’s Henry Giles Turner (654-2).