This small-format frame is made in the conventional manner of a classical revival frame. The base profile is in timber, mitred at the corners, with the working edge built by the addition of wooden battens. The fluted inner scotia appears to have been carved by hand. The torus ornament is small-scale composition laurel and berry, which is banded at the corners but not centred. The mitres of the scotia are exposed. The surface is gold leaf throughout and is burnished, on a dark grey bole, on the two taeniae and on the corner banding.
The frame is in near perfect original condition.
36.8 x 46.0 x 7.5 cm; sight 17.0 x 26.5 cm
The frame is very beautifully made, with fine detailing, particularly the very small-scale bead and reel course that abuts the raised classical frieze pattern on the flat. It is essentially a large-format classical revival frame, reduced to almost model proportions. It nevertheless feels too big for the small panel. It is equally difficult to know whose framing decision the frame represents and when it was fitted to the painting. The frame maker was not at this address earlier than 1889 and not beyond 1904. The painting entered the collection in 1914 as a gift of Mr. J. H. Connell. A portrait of Mrs. J. H. Connell, painted by John Longstaff and framed by John Thallon, entered the collection the same year. (655-2).
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.