Interior of the church of St Anne, Bruges
- Artist/s name
- oil on canvas
- 122.3 x 183.5 cm
- Accession Number
- Credit Line
- National Gallery of Victoria, Melbourne
- Gallery location
- Not on display
- WINSOR & NEWTON
- Centre reverse of canvas
- WINSOR & NEWTON/38 RATHBONE PLACE
- Ink stamp
- More information
- National Portrait Gallery
E. M. Foord
90 Wardour Street, Soho,
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.
Despite some damage to the corners and the overall accumulation of dirt, the frame is in original condition.
- 166.0 x 227.5 x 13.0 cm; sight 120.3 x 182.0 cm
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.
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.