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The frame fits stylistically with a group characterised by this reverse profile form, the most notable being the frame on Frederick McCubbin’s Winter Evening, (61-2) also by Thallon. A similar profile is to be found on McCubbin’s Autumn Morning, South Yarra (3164-4). The flat is more often sanded but the frames are notable for the strong impact of the projecting leaf torus close to the edge of the painting and the pronounced reverse bevel, which pushes the picture plane forward. Note the frame on the back wall of the painting. By interesting contrast, two other paintings in the collection by Wheeler, Le Bain du soir (1770-3) and The swimming pool (1772-3), are framed in Louis XV revival frames, also by Thallon, and carrying a similar label.
John Thallon 122 Little Collins Street, Melbourne
The frame is made from a wooden chassis with a cast plaster, imbricated oak leaf torus on the inner edge, a large-scale string and bead ornament to the back edge and a bevelled, gilded slip. The reverse bevel of the flat carries a ‘stucco’ surface where we might otherwise find sand. The bevel section is butted up to the section which carries the oak torus and nailed and glued in place. The torus sections repeat at 28.5 cm and are nailed as well as glued into place. The basic form is mitred at the corners, reinforced from behind with triangles of recycled timber, nailed in place. The slip is water gilded on a red bole. The rest of the frame is gilded with false gold on a black base. The painting was originally held in the frame with wooden angle blocks.