Collection Online

Beach Road after the rain (Street scene)
(c. 1927)

Medium
oil on cardboard
Measurements
35.7 × 25.5 cm
Place/s of Execution
Beaumaris, Melbourne, Victoria
Inscription
inscribed in brown paint l.c.: C Beckett
Accession Number
A1-1984
Department
Australian Painting
Credit Line
National Gallery of Victoria, Melbourne
Bequest of Harriet Minnie Rosebud Salier, 1984
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Gallery location
Gallery 7
Level 2, NGV Australia

Frame

Clarice BECKETT
Beach Road after the rain (Street scene) (c. 1927)
Framemaker
John Thallon (Ted Burman)
24 Market Lane
Melbourne
Date
1927
Materials

wood, composition and false gold leaf

Condition

good original condition

About

Thought to be the original presentation of the painting and made by the John Thallon company in 1927.
Thallon died in 1918 and his wife Jane maintained the business with the foreman, Ted Burman as manager.
Sometime between 1928-31 Jane Thallon gave the business to Burman who continued to run it under the name of John Thallon through to the 1960’s.

The frame on Beach Road after the rain is a scotia form with acanthus corners, finished in false gold, patinated to a dark tonality.
The frame is simple in section but ornamented in the corners providing a mixture of subliminal lines overlaid onto the composition of the painting.

This frame was used as a prototype for the re-framing of another Clarice Beckett painting in the collection, Across the Yarra (A9-1985) in 2009.

“Clarice Beckett was very particular about her frames. She didn’t like ornate, heavy, decorated frames. The ones she used had a double moulded ridge, characteristic of the 20’s: they were either gilded or whitewashed, but the only decoration she allowed was a little strap, or ribbon, running diagonally along the join in each corner, or a leaf, or occasionally a scallop.”
Rosalind Hollinrake writes that Clarice Beckett exhibited in a solo show every year from 1923. She hung each show herself, and as well as being particular about her frames, was deliberate in the way she arranged the images. She grouped them thematically – which was not the usual method in the 20’s – letting a double line of paintings flow into a single line, then into a new series. “She had this interesting idea”, one of her contemporaries said, of the way she hung her shows, “that while each painting was complete, they could give each other something as well.”
Modjeska, D (1999) ‘Monocle- To the edge’ in The Australian. The Australian’s Review of Books, 12 May, 1999 pp14-16.