Collection Online

George, 1st Marquess Townshend
(c. 1801)

oil on wood panel
17.7 × 15.0 cm
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Gift of Mrs E. Swinburne, 1941
Gallery location
Not on display


Mather BROWN
George, 1st Marquess Townshend (c. 1801)
John Thallon
122 Little Collins Street,

The frame is made from a simple wooden profile, which is joined with mitres at the corners. There are two small runs of composition ornament – a ribbon and stick at the back edge and a run of beads at the base of the bevel. The gilding has deteriorated throughout. It was possibly matte. There is a deteriorated size layer across the surface.


The surface is deteriorated and discoloured. There are areas of gold coloured paint repair.

33.3 x 30.0 x 5.0 cm; sight 17.0 x 13.8 cm
Mather BROWN
George, 1st Marquess Townshend (c. 1801) Mather BROWN
George, 1st Marquess Townshend (c. 1801) (colourman stamp)

This small-scale oil painting is close to the format of a miniature; the frame is nevertheless a form we might associate with larger-scale paintings. It is essentially a classical revival profile, similar in style to the large-format frame on Tom Roberts’ Louise, daughter of the Hon. L. L. Smith (4647-3), E Phillips Fox’s Henry Giles Turner (654-2) or John Mathers’ Evening Brighton Beach (2003.475). It makes use of a sloping bevel where we might otherwise find the curved and often fluted inner scotia. The closest in form would be the Fletcher frame on the miniature by William Ross: Portrait of Lady Margaret Grosvenor. (665-2). The frame is not likely to be the first framing of the work, dating as it does from the end of the nineteenth century.


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.