Collection Online

Interior of the church of St Anne, Bruges
1851

Medium
oil on canvas
Measurements
122.3 × 183.5 cm
Accession Number
p.402.2-1
Department
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Purchased, 1894
Gallery location
Not on display

Colourmen

Colourman
WINSOR & NEWTON
Location
Centre reverse of canvas
Transcription
WINSOR & NEWTON/38 RATHBONE PLACE
Medium
Ink stamp
More information
National Portrait Gallery

Frame

David ROBERTS
Interior of the church of St Anne, Bruges 1851
Framemaker
E. M. Foord
90 Wardour Street, Soho,
London
Date
1851
Materials

The frame is built on a wooden chassis. The working edge is created by the addition of a wooden section, which is lap-joined to the reverse of the profile, which is in turn mitred. The construction is common in this framing form. Spacer blocks locate the slip. The scotia pattern is particularly well made, the fine composition scrollwork sitting on a hatched background. The leading edge is shaped into the large foliate corner ornaments. The surface is water gilded throughout.

Condition

Despite some damage to the corners and the overall accumulation of dirt, the frame is in original condition.

Dimensions
166.0 x 227.5 x 13.0 cm; sight 120.3 x 182.0 cm
More information
National Portrait Gallery
David ROBERTS
Interior of the church of St Anne, Bruges 1851 David ROBERTS
Interior of the church of St Anne, Bruges 1851 (colourman)
About

The frame is labelled E M Foord centre top dating it to the years when the company was managed by the founder, George Foord’s wife Elizabeth. The company became Foord and Dickinson in 1858 and this frame is likely to be contemporary with the painting.1 As such, it is likely to be the earliest English frame by an identifiable maker in the collection and was presumably made for the exhibition of the painting in the Royal Academy, London, in 1851. It is a fine example of the style associated with the painter Thomas Lawrence, who used it for portraits. Here it is adapted to the landscape format. The style appears to make its way to Australia around 1830-40 and is to be found in variant form in the framing of paintings by John Glover, among others.

Notes

1 For notes on the transition of the company see Jacob Simon, The Art of the Picture Frame, National Portrait Gallery, London, 1996, p.134.