Collection Online
Medium
oil on canvas
Measurements
100.5 × 161.5 cm
Place/s of Execution
Paris, France
Accession Number
p.399.1-1
Department
Australian Painting
Credit Line
National Gallery of Victoria, Melbourne
Gift of Alfred Felton, 1892
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Gallery location
Not on display

Colourmen

Colourman
PAUL FOINET
Location
Upper right quadrant, reverse of canvas
Transcription
54 rue N.D. des Champs Paris/PAUL FOINET/(VAN EYCK)/TOILES & COULEURS FINES
Medium
Ink stencil
More information
National Portrait Gallery
Guide Labreuche (FR)

Frame

Rupert BUNNY
Sea idyll (c. 1891)
Framemaker
Isaac Whitehead (Jnr.)
87 Collins Street East, (over written as 178)
Melbourne
Date
1889–931
Materials

The frame uses water gilded gold leaf on a softwood chassis. The major profile has been cut from a solid section laminated from two pieces of wood. A simple timber moulding has been added at the working edge. A shallow scotia section, cut from a single piece of wood, provides the first step toward the slip.

Condition

The frame is in good original condition with most of the original surface intact. The deteriorated matte glue size has attracted dirt. The slip has been reconstructed from photographic evidence.

Dimensions
144.5 x 205.2 x 15.0 cm; sight 105.8 x 166.7 cm
Rupert BUNNY
Sea idyll (c. 1891) Rupert BUNNY
Sea idyll (c. 1891) (colourman)
About

This highly refined, essentially classical revival, frame uses an unusually deep scotia and linear relief (reeding) along the leading edge. The frame is almost certainly a copy of the frame on J. W. Waterhouse’s Ulysses and the sirens, 1891 (p.396.3-1), which entered the collection in 1891, the year before the Bunny. The Whitehead frame has reduced the depth of the scotia and uses a shallower angle to the reeded leading edge. It is a somewhat simplified version of the Waterhouse frame.2  The frame was removed from Sea idyll and sold in a job lot in 1941. It was recovered from the monastery of The Benedictine Community of New Norcia Inc in Western Australia in 1998 and refitted to the painting.

Notes

1 At this date Isaac Whitehead’s son ran the business. (See Anna Maria Espinoza, ‘A Framemaker of Colonial Melbourne: Isaac Whitehead c. 1819–1881’, in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999. pp. 33–48.)

2 The maker of the Waterhouse frame has not been identified.