Longstaff, John (1861-1941; Australian) Gippsland, Sunday night, February 20th, 1898 (1898) Oil on canvas, 144.8 x 198.7 cm Purchased, 1898 National Gallery of Victoria (48-2) Painted soon after Longstaff returned to Melbourne from his Travelling Scholarship travels, this work demonstrated his early ambition and talent, applied here to a contemporary and local subject, the climax of the
Longstaff, John (1861-1941; Australian) The Sirens (1892) Oil on canvas, 308 x 212.3 cm Acquired under the terms of the NGV Travelling Scholarship, 1894 National Gallery of Victoria (p.402.3-1) Longstaff fulfilled his scholarship obligations with two copies (see separate entries) and this classic salon painting, a huge, dark, fin-de-siècle fantasy, shown to acclaim at both
Longstaff, John (1861-1941; Australian), after Velazquez, Diego (1599-1660; Spanish) Aesopus 1890 Oil on canvas, 179.6 x 94.6 cm Acquired under the terms of the NGV Travelling Scholarship, 1890 National Gallery of Victoria (p.315.2-1) This was one of three canvases produced under the terms of Longstaff’s 1887 scholarship. In 1890, he spent three months in Spain making a
Longstaff, John (1861-1941; Australian), after Titian (1487/90-1576; Italian) Entombment of Christ (c.1888) Oil on canvas, 146.5 x 212.5 Presented by the artist under the terms of the NGV Travelling Scholarship, 1889 National Gallery of Victoria (p.314/6-1) Titian’s Louvre painting, admired by many in the 19th century, including both Turner and Ruskin, was copied by Longstaff in
Longstaff, John (1861-1941; Australian) Portrait of G.F.Folingsby Esq. (c.1886) Oil on canvas, 94.0 x 66.0 cm (sight) Purchased, 1891 State Library of Victoria (H247) Longstaff studied under Folingsby while the latter was head of the NGV Art School (1882-91). This work displays Longstaff’s precocious talent, while paying tribute to his teacher. In 1887, Longstaff won the
Works included in this catalogue Longstaff Portrait of G.F.Folingsby {1891} SLV [PA] Longstaff after Titian Entombment of Christ {1889} NGV [PA] Longstaff after Velazquez Aesopus 1890 {1890} NGV [PA] Longstaff The Sirens {1894} NGV [PA] Longstaff Gippsland, Sunday night, February 20th, 1898 {1898} NGV [PA] Pre-Felton works bought on Longstaff’s advice Demont Don Quixote 1893 {1893} NGV
Long, Edwin (1829-91; English) Queen Esther 1878 Oil on canvas, 213.5 x 170.3 cm Purchased 1879 (commissioned by Alfred Thomson for the NGV) National Gallery of Victoria (p.307.1-1) This work is typical of the artist’s popular Orientalist later style. The 1894 NGV catalogue gives extended attention to the iconography and archeological detail, based on the
Long, Edwin (1829-91; English) A Question of Propriety 1870 Oil on canvas, 175.2 x 275.0 cm Commissioned for the NGV by Alfred Thomson, 1871 National Gallery of Victoria (p.302.15-1) This canvas, from Long’s earlier period (when he focused mainly on Spanish themes), has the distinctly theatrical or proto-cinematic character of many later 19th-century narrative paintings. But
Works included in this catalogue Girardet after Long An Egyptian Feast 1879 {1883} NGV [PR] Long A Question of Propriety 1870 {1871} NGV [PA] Long Queen Esther 1878 {1879} NGV [PA] Earlier in his career, Long was particularly influenced by Spanish art and culture, as evidenced in A Question of Propriety (1870). But from the
Works included in this catalogue Linnell Wheat {1888} NGV [PA] * Linnell Sir Robert Peel 1838 {by 1870} Loc? [PR] A noted realist painter in his day, Linnell is probably best known now for having been a major patron of William Blake. In the early 1820s he commissioned many of the Blake prints and watercolours subsequently
Linnell, John (1792-1882; English) Wheat (1860) Oil on canvas, 94.2 x 140.6 cm Purchased, 1888 (advice of James McCulloch) National Gallery of Victoria (p.312.8-1) This canvas, first exhibited at the Royal Academy in 1860, was bought from Agnew’s, London. A noted painter of realist landscapes like this, Linnell is probably best known now for having been
Lindo, Philip (1821-92; English) Augustus Henry Tulk 1852 Oil on canvas, 36.2 x 30.0 cm (sight), framed Presented by Mrs Tulk, 1878 State Library of Victoria (H292) Tulk (1810-73) was the first librarian of the Public Library of Victoria (1856-73), and a significant participant in the early development of the institution: see linked entry on him
Lewis, Charles James (1830-92; English) Mill-race (1865) Oil on canvas, 61.6 x 102.0 cm Purchased, 1871 National Gallery of Victoria (p.303.1-1) This brooding landscape brings to mind some of the realist novels of the period by George Eliot and Thomas Hardy: is the figure by the river-bank merely melancholy, or contemplating ending it all? The artist,
Lee, Frederick (1798-1879; English) Ben Lawers Oil on board, 35.4 x 45.5 cm Presented by the artist, 1872 National Gallery of Victoria (p.303.9/1) Hoff quotes a label on the work as follows: “Ben Lawers, Argyllshire village from Tainvilt. This sketch was painted from nature in 4 hours; given to Society of Fine Arts by Fred.R.Lee
Lee, Frederick (1798-1879; English) River, Mill and Farm Oil on canvas, 112.4 x 183.0 cm Purchased, 1868 National Gallery of Victoria (p.303.1/1) This undated work was bought on the recommendation of the Commissioners of Fine Arts for Victoria. For the artist, elected to the Royal Academy in 1838, see linked entry. Refs. NGV 1875, p.43; NGV 1879,
Works included in this catalogue Lee River, Mill and Farm {1868} NGV [PA] Lee Ben Lawers {1872} NGV [PA] Lucas after Lee River scene in Devonshire {1868} NGV [PR] The artist, elected an RA in 1838, was a successful landscapist, so much so that from 1872 he cruised the world in his private yacht, distributing his
Leader, Benjamin Williams (1831-1923; English) In the Fields 1863 Oil on canvas on wood panel, 70.0 x 105.2 cm Purchased, 1873 (advice of E.L.Montefiore) National Gallery of Victoria (p.304.5-1) This is a relatively early work by Leader, a prolific and successful landscape painter who spent much of his earlier life in his native Worcestershire. His
Layraud, Joseph Fortuné (1834-1912; French) Italian Brigands 1870 Oil on canvas, c. 366 x 640 cm Purchased, 1873 (advice of J.R.Herbert) Present location unknown [reproduction: engraving published in Melbourne, 1873] Despite humble origins, Layraud won the Prix de Rome in 1864 and then studied at the French Academy in Rome. This expansive depiction of Calabrian bandits
Law, David (1831-1901; Scottish) Ben Venue and Loch Vennacher, in the Highlands of Scotland Oil on canvas, c.71.3 x 124.5 cm Purchased, 1881; de-accessioned and sold at auction, 1950 Unidentified; present location unknown NGV 1894 quotes lines from Scott’s Lady of the Lake, mentioning “huge Ben Venue.” This canvas was de-accessioned in 1950. The NGV still
Works included in this catalogue Law Ben Venue and Loch Vennacher {1881} Loc? [PA] Law Cliveden on the Thames {1883} NGV [WT] Law Windsor Castle {1883} NGV [WT] The artist specialized in landscape watercolours, and two examples bought in 1883 are still in the NGV (details above). The Art Gallery of New South Wales also owns
Lance, George (1802-64; English) Still Life 1830 Oil on canvas, 46.5 x 35.5 cm Purchased, 1883 National Gallery of Victoria (p.308.11-1) Wood describes Lance as one of “the two greatest exponents of still-life in the Victorian period,” the other being his pupil William Duffield. Lance specialized in meticulous, traditional still lives like this. NGV 1894 notes several
Koller, Wilhelm (Guillaume) (1829-84; Austrian/ Belgian) Parting from Betrothed (Le Départ du Fiancé) 1864 Oil on wood panel, 71.2 x 57.8 cm Purchased, 1864 (advice of Charles Eastlake) National Gallery of Victoria (p.300.17-1) One of the first paintings bought by the Commissioners of Fine Arts on Eastlake’s advice. Echoing historical romances of the period, it typifies
Koekkoek, Hermannus, the Younger (1836-1909; Dutch) Unlading Fishing Smacks, Coast of Normanby Oil on canvas, c. 48 x 78 cm Presented by Canon Bromby, 1889; returned to E.H.Bromby, 1926 Unidentified, present location unknown This work was bequeathed to the NGV in 1889 by Canon J.E.Bromby (1809-89), the first headmaster of Melbourne Grammar School (1857-74): see
Koekkoek, Hermannus, the Younger (1836-1909; Dutch) Land’s End Oil on canvas, c. 56 x 106.7 cm Presented by the artist, 1888; de-accessioned and sold at auction, 1950 Unidentified, present location unknown The present painting is recorded as on loan to the Ballarat Gallery in 1894, and then to the Neerim South Mechanics’ Institute in 1913-14; it
Works by Koekkoek included in this catalogue * Koekkoek Land’s End {1888} Loc? [PA] * Koekkoek Unlading Fishing Smacks {1889} Loc? [PA] Pre-Felton work donated by Koekkoek Koepping after Munkácsy Le Mont de Piete {1889} NGV [ET] The artist, a member of a family of Dutch landscapists, apparently specialized in marine views. His works regularly
Kneller, Godfrey (1646-1723; German/British) Portrait of a Lady (c.1680) Oil on canvas, 59.5 x 49.0 cm (oval) Presented by Robert Litton, 1886 National Gallery of Victoria (p.311.7-1) This picture was first described, in the NGV’s annual report for 1886 and early catalogues, as the work of an unknown artist, and later listed as an anonymous 18th-century British
Kemp-Welch, Lucy (1869-1958; English) Horses Bathing in the Sea 1900 Oil on canvas, 152.9 x 306.5 cm Purchased, 1900 (advice of the Royal Academy) National Gallery of Victoria (93-2) This expansive (10-foot-wide), vividly realized image of soldiers with their steeds must have made a powerful impression in the NGV of the early 1900s. Painted in Dorset
Kemp, John (active 1876-80; Australian) Edward Henty 1880 Oil on canvas, 118 x 89 cm (sight) Gift of Mrs Edward Henty, 1880 State Library of Victoria (H141881) Henty (1810-78) was Victoria’s first settler, arriving in Portland from Tasmania in 1834, and running Merino sheep and cattle together with his brother Francis. This portrait was framed
Kemp, John (active 1876-80; Australian) John Pascoe Fawkner 1877 Oil on canvas, 120 x 90 cm (sight) Presented by subscribers, 1877 State Library of Victoria (H141882) This portrait of Fawkner (1792-1869), one of the founders of Melbourne, and a significant early donor to the art collection, was painted after his death, probably from a photograph, and
Works included in this catalogue Kemp John Pascoe Fawkner 1877 {1877} SLV [PA] Kemp Edward Henty 1880 {1880} SLV [PA] Little appears to be known about this artist, who is not listed in the online Dictionary of Australian artists (DAAO). Refs. Not listed in Bénézit, AKL or DAAO. The SLV catalogue provides the details noted