- Artist/s name
- oil on canvas
- 107.0 x 76.5 cm
- Place/s of Execution
- Melbourne, Victoria
- Accession Number
- Credit Line
- National Gallery of Victoria, Melbourne
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
- Gallery location
- Not on display
- WINSOR & NEWTON / COLE
- Centre reverse of canvas
- WINSOR & NEWTON/....QUALITY CANVAS / E.W.COLE,/THE WALK,/COLLINS ST./MELBOURNE.
- Ink stamps (two seperate stamps, Cole stamp misaligned below Winsor & Newton stamp)
- More information
- National Portrait Gallery
Isaac Whitehead (Jnr.)
178 Collins Street,
The frame is built from a large timber profile with a run of composition shield and dart ornament to the sight edge and a run of pea and string to the back edge. The corners and centres are cross-banded with composition straps. The inner mitres of the scotia are covered with condensed acanthus leaves. The bead is burnished while the rest of the surface appears to be matte, with a size layer. The slip is located with spacer blocks without being let into a rebate. The working edge is slightly tapered to the back. The structure is mitred and braced on the reverse, including a cover strip across the corners of the slip.
The frame is in good original condition with surface wear and deterioration of the size layers apparent.
- 138.0 x 107.0 x 10.5 cm; sight 105.0 x 75.0 cm
The framer is identified by a label centre, bottom reverse. Isaac Whitehead died in 1881 and his son continued the business with ongoing changes of address.1 Like other frames that are attributable to the son, this one is based on a strongly classical form, but in this instance the shape and detailing are more closely associated with frames made by John Thallon. The large-scale reeded leading edge is to be found on the frame on Tom Roberts’ Louise, daughter of the Hon. L. L. Smith from 1888. (4647-3) The simple scotia profile is one that recurs through the 1880s and 1890s. The Whitehead frame is distinguished by the tapered relief of the working edge, a refinement that changes the relationship the frame has to the wall and is not often seen, despite being a feature of seventeenth-century Dutch frames. The subject of this painting is the first owner of Tom Roberts’ Shearing the rams. (4654-3)
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.