Collection Online

The Bridge in-curve
(1930)

Artist/s name
Medium
tempera on cardboard
Measurements
83.6 x 111.8 cm
Accession Number
1765-5
Credit Line
National Gallery of Victoria, Melbourne
Presented by the National Gallery Society of Victoria, 1967
© Estate of late Grace Cossington Smith
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Gallery location
Gallery 7
Level 2, NGV Australia

Frame

Grace Cossington SMITH
The Bridge in-curve (1930)
Framemaker
S. A. Parker
219 George Street,
Sydney
Date
(1930)1
Materials

The frame is simple in construction and uses a profile shaped from a solid wooden section, mitred and nailed at the corners. The surface is painted white on a stippled gesso.

Condition

The frame has been repainted with matte white paint. It seems likely, from examination, that the original surface was pale cream. A deep, linen-covered spacer has been inserted to accommodate the curvature of the support of the painting. The spacer is not original.

Dimensions
100.8 x 128.5 x 5.6 cm; sight 86.0 x 113.8 cm
Grace Cossington SMITH
The Bridge in-curve (1930) Grace Cossington SMITH
The Bridge in-curve (1930) (colourman)
About

The frame may originally have been left in the gesso to provide a bone-white surface. The near white surface looks back to the early Impressionist frames but is here carried through on a shaped timber profile that would otherwise have carried runs of composition ornament. Another Grace Cossington Smith painting of the same subject, The curve of the bridge, 1928–9, AGNSW, has a Parker frame which appears to make use of three components, one of which is the moulding used for The bridge in-curve. 2, 3

Another frame with this label is on J.R. Jackson’s Bridge at Chioggia, Venice, 1907, (3719-3), Felton Bequest 1928. The frame is a simplified variant of the Parker frame on (1280-3). The date of the label suggests a framing of the painting later than the date of execution.

Notes

1 The dating comes from the label, which is the same as type 11 (c. 1927–33) in S. A. Parker Framing Works, Art Gallery of New South Wales, 2004, p. 20, and the date of the painting.

2 Illustrated in colour in S. A. Parker Framing Works, Art Gallery of New South Wales, 2004, p. 42.

3 The data for this entry comes from an unpublished report by Holly McGowan Jackson, 2005, in which the frame maker is identified. I am grateful to Melanie Carlisle for bringing this report and the frame to my attention.