Davis, Henry William Banks (1833-1914; English) Ben Eay in Sunset Glow 1883 Oil on canvas, 122.3 x 213.5 cm Purchased 1883 National Gallery of Victoria (p.309.3-1) This image of cattle in a state of highland bliss, purchased for a significant sum in the year it was painted, appears to be typical of the oeuvre of this
Davies, David (1864-1939; Australian) Moonrise, Templestowe 1894 Oil on canvas, 119.8 x 150.5 cm Purchased 1895 (advice of Bernard Hall) National Gallery of Victoria (99-2) Bernard Hall (NGV Director 1892-1935) has been charged, with reason, with having a “blind spot” when it came to the art of Tom Roberts, whose Shearing the Rams of 1890 was only
Creswick, Thomas (1811-69; English) & Ansdell, Richard (1815-85; English) England 1850 Oil on canvas, 123.3 x 184.8 cm Purchased, 1878 (advice of Alfred Thomson) National Gallery of Victoria (p.306.6-1) As noted in NGV 1894 and 1905, this painting was shown at the Royal Academy in 1850. Creswick was responsible for the landscape, and Ansdell painted the animals and
Creswick, Thomas (1811-69; English) Stepping Stones 1844 Oil on wood panel, 30.1 x 40.1 cm Bequest of Alfred Felton 1904 National Gallery of Victoria (146-2) This work obviously needs cleaning. For the artist, see linked entry. Refs. AR 1904, p.26; NGV 1905, p.92 (III.McArthur Gallery, no.37)
Works included in this catalogue Creswick Stepping Stones 1844 {1904} NGV [PA] Creswick & Ansdell England 1850 {1878} NGV [PA] Creswick, a member of the Birmingham School of landscape painters, became a full member of the Royal Academy in 1850. England was one of the earliest of several collaborations between him and Richard Ansdell. Refs. For Creswick,
Craesbeeck, Joos van (c.1605-61; Flemish) Death and an Old Woman (c.1655) Oil on wood panel, 37.3 x 33.6 cm Purchased, 1874 National Gallery of Victoria (p.304.7-1) When it was purchased, this small panel was attributed to the Dutch Golden Age artist Cornelis Bega (c.1631-64). This opinion persisted until 1961, when Ursula Hoff, objecting that the picture
Coutts, Gordon (1868-1937; Scottish) Study of half-nude figure Oil painting, size unknown Donated by the artist, 1896 Unidentified; present location unknown This work, listed under donations in the NGV’s Annual Report for 1896, no longer appears to be in the collection. Coutts, born in Scotland, spent some time in Australia before relocating permanently to California
Courtens, Franz (1854-1943; Belgian) Morning [Am morgen] (c.1878) Oil on canvas, 75.6 x 112.0 cm Purchased, 1881 National Gallery of Victoria (p.308.2-1) This plein air painting was bought from the Commissioner for Belgium after being shown at the International Exhibition in Melbourne in 1880 (see also Cogen Fisherwomen {1881} Loc? [PA]). Courtens worked in Brussels and then Antwerp
Courtauld, Edith (also known as Arendrup or Arendrup-Courtauld; 1846-1934; English) Memories of the First Palm Sunday 1871 Oil on canvas, 84.0 x 160.5 cm Purchased, 1872 (advice of John Herbert) National Gallery of Victoria (p.303.4-1) The artist was the niece of wealthy mill-owner Samuel Courtauld (1793-1881), whose great-nephew, also named Samuel, later founded the Courtauld Institute (1932). This
Cope, Charles West (1811-90; English) The Pilgrim Fathers: Departure of a Puritan family for New England 1856 Oil on canvas, 221.5 x 287.6 cm Purchased, 1864 (advice of Sir Charles Eastlake) National Gallery of Victoria (p.300.10-1) As the early NGV catalogues emphasize, this is Cope’s original version for the new Houses of Parliament in Westminster,
Cole, Tennyson (1862-1939; English) The Hon.Duncan Gillies 1891 Oil on canvas, 56.0 x 31.0 cm Presented by subscribers, 1891; transferred to the SLV from the NGV, c.1951 State Library of Victoria (H141878) [reproduction: view of the work as shown in a photo by Nicholas Caire, 1891] Scottish-born Gillies (1834-1903) came to Victoria at the
Cole, George (1810-83; English) Hay Waggon 1870 Oil on canvas, 43.2 x 63.4 cm Purchased, 1870 National Gallery of Victoria (p.302.12-1) This lugubrious landscape is listed in the 1875 and 1894 NGV catalogues, but not in NGV 1905 (suggesting it was not then on display). The entry in NGV 1894 accords the artist rather faint praise
Cogen, Félix (1838-1907; Belgian) Fisherwoman Oil on canvas, c.148.59 x 99.06 cm Purchased, 1881; de-accessioned and sold at auction 1950 Unidentified; present location unknown This work was shown in the 1880 International Exhibition in Melbourne and purchased from the Commissioner for Belgium. The artist apparently specialized in realist images of the daily life of
Coates, George (1869-1930; Australian), after van Dyck, Anthony (1599-1641; Flemish) Portrait of a Father with his Son, also known as Portrait of President Richardot (1899) Oil on canvas, 109.7 x 78.5 cm Presented by the artist under the terms of the NGV Travelling Scholarship, 1900 National Gallery of Victoria (67-2) This second copy arising from
Coates, George (1869-1930; Australian), after Correggio (c.1489-1534; Italian) Marriage of St Catherine Oil on canvas, 107 x 104 cm Presented by the artist under the terms of the NGV Travelling Scholarship, 1899 National Gallery of Victoria (50-2) Correggio’s Louvre panel, a Leonardesque composition of the mid 1520s, has often been copied. For an engraving of it, from
Coates, George (1869-1930; Australian/English) Motherhood (1903) Oil on canvas, 283.4 x 140 cm (including frame) Acquired under the terms of the NGV Travelling Scholarship, 1904 National Gallery of Victoria (134-2) Coates’ receipt of the Travelling Scholarship in 1896 resulted in three works for the pre-Felton collection, all still in the NGV: this finely-crafted domestic “altarpiece,” and
Works included in this catalogue Coates Motherhood {1904} NGV [PA] Coates after Correggio Marriage of St Catherine {1899} NGV [PA] Coates after van Dyck Portrait of a Father with his Son {1900} NGV [PA] Coates won the NGV Travelling Scholarship in 1896, producing the three works listed above under the terms of that award. He went on to lead a
Clark, Thomas (c.1814-83; English/Australian) Sir Henry Barkly (1864) Oil on canvas, 290.0 x 187.0 cm Presented by the Government of Victoria, 1865 State Library of Victoria (H2002.55) This grandiose portrait of Barkly, Victoria’s third Governor (from 1856 to 1863), shows him wearing the Order of the Bath, awarded for earlier diplomatic service. According to the
Chevalier, Nicholas (1828-1902; Swiss/Australian) Original sketch for the picture of “The Indian Shepherd” Oil on canvas, c. 76 x 50 cm Presented by Saul Joshua, 1891; de-accessioned and presented to the Borough of Queenscliffe, 1941 Unidentified, present location unknown Further research is needed on this work and its fate after 1941. Refs. AR 1891, p.26;
Chevalier, Nicholas (1828-1902; Swiss/Australian) The Buffalo Ranges, Victoria 1864 Oil on canvas, 132.3 x 183.7 cm Purchased, 1864 National Gallery of Victoria (p.300.7-1) Painted a decade after Chevalier arrived in Australia, this painting was the winning entry in a competition held to select the first Australian painting to be purchased for the new Melbourne collection. It met with
Chevalier, Nicholas (1828-1902; Swiss/Australian) Dr Maund 1863 Oil on canvas, 92.3 x 71.8 cm Presented by Miss Maund, 1863 National Gallery of Victoria (p.300.8-1) This posthumous portrait shows Dr John Maund (1823-58), a local physician who, during his brief period in Melbourne (he immigrated in 1853, and died 5 years later, aged only 35), was
Works included in this catalogue Chevalier Houses of Parliament, Melbourne 1856 {by 1894?} SLV [PR] Chevalier Dr Maund 1863 {1863} NGV [PA] Chevalier The Buffalo Ranges, Victoria 1864 {1864} NGV [PA] * Chevalier Sketch for “The Indian Shepherd” {1891} Loc? [PA] * Montefiore after Chevalier Crossing a Creek, N.Z. {by 1894} Loc? [PR] * Montefiore after
Chartran, Théobald (1849-1907; French) A Widow Oil on canvas, c.63.5 x 48.3 cm Purchased, 1884 Present location unknown [photo: work as reproduced in NGV 1905] Chartran, a pupil of the academic painter Alexandre Cabanel (1823-89), was a successful artist who also contributed caricatured portraits to Vanity Fair in the 1870s. According to NGV 1894, he won
Cedergren, Per Wilhelm (1823-96; Swedish) On the Ice, Stockholm 1853 Oil on canvas on wood panel, 61.1 x 90.8 cm Presented by J.P.Cederberg, 1861 National Gallery of Victoria (p.300.6-1) This canvas and Short Fish, fruit and flowers 1860 {1861} NGV [PA] were early acquisitions for Melbourne, predating the first official purchases of paintings for the new
Cecchini, Eugenio-Prichard (1831-96; Italian) Cape Gris Nez (1881) Oil on canvas, 62.0 x 86.5 cm Presented by the Hon. C.J.Ham, 1882 National Gallery of Victoria (p.308.6-1) NGV 1894 and 1905 both list the title of this work as “Cape Gris Nez, North Coast of France,” and call the artist Eugene Cecchini. Sea Coast in Brittany,
Carta, Natale (1800-88; Italian) Adam and Eve finding Abel 1869 Oil on canvas, 113.9 x 136.6 cm Purchased, 1870 (advice of Charles Summers) National Gallery of Victoria (p.302.4-1) The 1875 NGV catalogue indicates that this classicizing work was bought on the advice of Summers, presumably in Rome, where the sculptor and the Sicilian-born painter both
Campriani, Giovanni (b.1878; Italian) On the Grand Canal, Venice Oil on canvas, 57.4 x 37.0 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (142-2) A typical tourist view of Venice by this artist, whose dates vary somewhat in different sources. Born in Naples, he followed the example of his father and teacher
Buvelot, Louis (1814-88; Swiss/Australian) Between Tallarook and Yea 1880 Oil on canvas, 106.7 x 167.7 cm Gift of W.T. Stanford, 1902 National Gallery of Victoria (118-2) The contrast between this atmospheric work and Buvelot Summer Afternoon, Templestowe 1866 {1869} NGV [PA], painted less than 15 years earlier, reveals a striking development. This painting exemplifies Buvelot’s late
Buvelot, Louis (1814-88; Swiss/ Australian) Waterpool near Coleraine (sunset) 1869 Oil on canvas, 107.4 x 153 cm Purchased, 1870 National Gallery of Victoria (p.302.11-1) “What excited his contemporaries about Buvelot’s paintings was his ability to find poetry in the prosaic, transforming the ordinary and accessible, rather than searching out new romantic subjects in the most
Buvelot, Louis (1814-88; Swiss/Australian) Winter Morning, near Heidelberg 1866 Oil on canvas, 76.8 x 118.2 cm Purchased, 1869 National Gallery of Victoria (p.300.4-1) By contrast with the traditional classical construction of its twin, Buvelot Summer Afternoon, Templestowe 1866 {1869} NGV [PA], this picture has a less idealizing cast. The distant view is now largely blocked by trees