[engraving by Samuel Calvert, published in the Illustrated Australian News, 14 June 1875] Among various recognizable works, * Giambologna [after] Rape of the Sabines {1878} Loc? [SC] (no longer in the collection) is prominent. The room, later re-named the McArthur Gallery, how houses the State Library’s Family History collection.
NB both the NGV and SLV provide over-arching messages concerning Aboriginal images, advising that deceased people may be represented, that care has been taken to avoid including images of a sensitive nature, and that terms and conditions concerning any work may have been imposed by Indigenous communities. Similar advice and provisos apply to works in
Chronologically, the pre-Felton era corresponds, more or less, with the first phase of modernism, as generally understood by cultural historians. Richard Brettall, for instance, in his Oxford History of Art volume Modern Art 1851-1929 (1999), argues that the Great Exhibition of 1851 ushered in the era of modernity, exemplified not only by the remarkable iron and
One of the pre-Felton sculptures de-accessioned in the 1940s was a marble group by British sculptor George Halse, called Advance, Australia. Carved in 1865 and donated to the NGV in 1891, it encapsulates the idea of colonial Australia as a naïve adolescent venturing out from under the protective embrace of Britannia “into the clear open
Melbourne architect Joseph Reed (c.1823-90) won the competition for the Melbourne Public Library in 1854, and the original building (the main section of the existing west façade on Swanston Street) was built in stages through to 1864; see also Queen’s Hall. A more grandiose domed scheme for the entire block by Reed (1859) did not