Paulson, Annie (1806-66; English) Fruit Piece Oil on canvas, c.68.5 x 76 cm Presented by J.Paulson, Esq., 1871; de-accessioned and sold at auction, 1941 Unidentified; present location unknown The 1894 NGV catalogue, which describes this work as “unfinished,” notes that “Mrs Paulson exhibited a few pictures at the Suffolk Street Exhibition between 1838 and 1850.” She
Paton, Waller Hugh (1828-95; Scottish) Entrance to Glen Etive, from near King’s House 1879 Oil on canvas, 86.0 x 140.0 cm Purchased 1882 National Gallery of Victoria (p.308.9-1) This canvas was recently restored by the NGV, prior to its inclusion in the exhibition on the Scottish impact on Australian art before Federation mounted at the Ballarat Art
Paton, Waller Hugh (1828-95; Scottish) Upper Morelaggan, Loch Long 1876 Oil on canvas, 92 x 138 cm Purchased, 1882; de-accessioned and sold at auction, 1941 Present location unknown [photo: via Sotheby’s 2006 auction entry] The NGV still holds another canvas by Paton also purchased in 1882 (refer separate entry), but the present painting was de-accessioned in 1941,
Paton, Joseph Noel (1821-1901; Scottish) A Dream of Latmos 1879 Oil on canvas, c.63.5 x 62.25 cm Purchased, 1882 (advice of James McCulloch); de-accessioned and sold at auction, 1950 Present location unknown [photo at right: internet source: refer notes] The 1894 and 1905 NGV catalogues both identify the subject of this painting as the Greek legend
Paterson, John Ford (1851-1912; Scottish/Australian) Fernshaw: a Bush Symphony 1900 Oil on canvas, 150.0 x 215.0 cm Purchased, 1900 (advice of Bernard Hall) National Gallery of Victoria (77-2) This large canvas was bought for £200, after being exhibited at the Old Court Studios in Melbourne. The artist spent three years in Melbourne in his early twenties, and
Orchardson, William Quiller (1832-1910; Scottish) The First Cloud 1887 Oil on canvas, 134.8 x 193.7 cm Purchased, 1887 National Gallery of Victoria (p.312.1-1) This classic late Victorian drawing-room scene survived the later cull of such period pieces. It was purchased in the year it was painted, for £2,750, the highest price paid for a work for the NGV, to
Opie, Edward (1810-94; English) Travelling Tinker Oil on canvas, c.78 x 60 cm Purchased, 1873 Unidentified; present location unknown This painting, bought for a modest sum, was listed in both NGV 1894 and 1905 as on loan to regional Victorian galleries, and its later fate is unclear. The artist, as noted in NGV 1894, worked
Nozal, Alexandre (1852-1929; French) The Seine at St Pierre, near Louviers: A morning in October (1891) Oil on canvas, 202.0 x 300.6 cm Purchased, 1891 (advice of John Longstaff) National Gallery of Victoria (p.396.1-1) One of the gallery’s more remarkable late 19th-century acquisitions, this canvas was bought on the recommendation of Australian painter John Longstaff, while
North, John William (1842-1924; English) An English Summer’s Day 1891-92 Oil on canvas, 89.8 x 106.7 cm Purchased, 1892 (advice of Hubert von Herkomer) National Gallery of Victoria (p.397.5-1) The 1894 NGV catalogue quotes at length from Herkomer’s enthusiastic endorsement of North: “I can safely say that he is the only landscape painter of the
Nisbet, Pollok Sinclair (1848-1922; Scottish) The Edge of the Forest 1879 Oil on canvas, 50.9 x 36.0 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (145-2) According to the NGV catalogue, this painting may have arrived in Melbourne soon after it was exhibited in Edinburgh in 1880, and then acquired later by Felton. The
Moloney, C. (active c.1869), after Murillo, Bartolomé (1617-82; Spanish) Virgin of the Rosary (c.1869) Oil on canvas, 167.0 x 112.8 cm Purchased, 1870 (advice of Alfred Thomson) National Gallery of Victoria (p.302.2-1) The commission of this copy of Murillo’s Prado original reflected early efforts to obtain good Old Master copies for Melbourne. Thomson, writing to Redmond
Mogford, John (1821-85; English) Watergate Bay, near Newquay, Cornwall 1864 Oil on canvas, 38.5 x 76.1 cm Purchased by the Commissioners of Fine Arts for Victoria, 1864 (advice of Charles Eastlake) National Gallery of Victoria (p.301.2-1) This luminous landscape was included in the first batch of paintings bought for Melbourne by the Commissioners of Fine Arts. The
Meldrum, Max (1875-1955; Scottish/Australian), after Tintoretto, Jacopo (1518-94; Italian) Portrait of a Gentleman Medium and size unknown Acquired 1903 Unidentified; present location unknown This work and * Meldrum Study from the Nude {1902} Loc? [PA] both appear to have been acquired under the terms of the artist’s NGV Travelling Scholarship (awarded in 1899). Both appear in the
Meldrum, Max (1875-1955; Scottish/Australian) Study from the Nude Medium and size unknown Acquired 1902 Unidentified; present location unknown This work (evidently a painting) appears to have been shipped to the NGV in 1901, under the terms of the NGV Travelling Scholarship Longstaff was awarded in 1899: see linked artist entry for further details and references.
Melbye, Vilhelm (1824-82; Danish) [also called William Melby] Start Point, off the Coast of Devonshire 1870 Oil on canvas, 91.7 x 153.4 cm Purchased, 1871 National Gallery of Victoria (p.303.2-1) The gallery’s 1871 annual report gives the title as “The Storm – Start Point Light”; and NGV 1894 notes that Start Point is “the spot last
McCubbin, Frederick (1855-1917; Australian) A Winter Evening 1897 Oil on canvas, 120.8 x 151.2 cm Purchased, 1900 (advice of Bernard Hall) National Gallery of Victoria (61-2) NGV 1905 notes that this work, the earliest of McCubbin’s paintings to be acquired for the NGV, was “selected by the Director in 1900.” The entries in the NGV’s 1900 annual
Mather, John (1848-1916; Scottish/Australian) Autumn in the Fitzroy Gardens 1894 Oil on canvas, 61.0 x 91.3 cm Purchased, 1895 (advice of Bernard Hall) National Gallery of Victoria (p.402.6-1) This canvas, the first of several works bought for the Melbourne collection from Victorian Artists’ Society exhibitions in 1894-5, on Hall’s advice (see e.g. Humphrey Under a Summer
Maignan, Albert (1845-1908; French) The Last Moments of Chlodobert (1880) Oil on canvas, 100.6 x 135.3 cm Presented by Messrs Wallis & Sons, 1885 National Gallery of Victoria (p.311.5-1) This painting, shown at the 1880 Paris Salon, and reproduced in a contemporary wood engraving, is typical of Maignan’s historical subjects. NGV 1894 and 1905 quote from
Ludwig, Carl (1839-1901; German) Chestnut Grove, Valley of the Tessin, Italy (c.1875) Oil on canvas, 100.7 x 154.6 cm Purchased, 1889 National Gallery of Victoria (p.316.6-1) This unassuming landscape was shown at the Centennial International Exhibition held in Melbourne in 1888. The painter, who studied in Munich and taught in Stuttgart and Berlin, apparently specialized in
Loureiro, Artur Jose (1853-1932; Portuguese/ Australian) The Vision of St Stanislaus 1899 Oil on canvas, 304.6 x 195.8 cm Purchased, 1901 (advice of Bernard Hall) National Gallery of Victoria (99-2) This large-scale religious composition, shown at the Paris Salon in 1901, was acquired for the substantial sum of £350. The subject, as explained in NGV 1905, is St
Loureiro, Artur Jose (1853-1932; Portuguese/Australian) “Baron” 1895 Oil on canvas, c. 124.5 x 76.2 cm Purchased 1895 Unidentified; present location unknown The NGV’s 1895 annual report describes this work as a “portrait of a St Bernard dog.” The painting, which dates from the artist’s Australian years (1884-1901), was still catalogued as in the NGV in
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
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
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