Collection Online

(Phillip Island from San Remo)
(c. 1930-1933)

Medium
oil on cardboard
Measurements
18.6 × 23.7 cm
Place/s of Execution
San Remo, Victoria
Inscription
none
Accession Number
2008.29
Department
Australian Painting
Credit Line
National Gallery of Victoria, Melbourne
Gift of Jennifer Rogers in memory of her father, Ron Lilburne, 2008
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
Description
Framed

Frame

Clarice BECKETT
(Phillip Island from San Remo) (c. 1930-1933)
Framemaker
John Thallon (Ted Burman)
24 Market Lane
Melbourne
Date
1927
Materials

wood, composition and false gold leaf

Condition

good original condition

Clarice BECKETT
(Phillip Island from San Remo) (c. 1930-1933) (colourman)
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 Phillip Island is small in scale to fit the very small scale painting. It is a simple moulding with banded corners, finished with false gold. It carries the John Thallon label on the reverse.

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.