Folingsby, George Frederick (1828-91; Irish/Australian) Oil studies, various sizes Purchased, 1891 National Gallery of Victoria (p.392.1-1 etc.); others unidentified, collection unknown [reproduced at right: Study of a man’s head (p.395.15-1)] The NGV’s annual report for 1891 notes the acquisition of 83 oil studies from Folingsby’s estate, 56 of which are extant in the NGV (for details, and
Folingsby, George Frederick (1828-91; English) Sir Charles Sladen 1884 Oil on canvas, 192 x 137 cm (sight), framed Presented by subscribers, 1884 State Library of Victoria (H141870) Sladen (1816-84), a lawyer and politican, was premier of Victoria, briefly, in 1868, having previously been Victorian Treasurer, and a member of the Legislative Council. Here, he wears the
Folingsby, George Frederick (1828-91; English) The Honourable James Service 1886 Oil on canvas, 153 x 100 cm Presented by subscribers 1886 State Library of Victoria (H141874) Service (1823-99), who emigrated from Scotland in 1853, founded an import and wholesale business in 1855, and was elected to the Victorian legislative assembly in 1857. He was Victorian premier
Folingsby, George Frederick (1828-91; Irish/Australian) William Saurin Lyster 1883 Oil on canvas, 141 x 110 cm, framed Presented by subscribers 1883; transferred from the NGV to the SLV 1929 State Library of Victoria (H5237) Lyster (1821-80), a theatre and opera impresario, was born in Ireland; he first came to Melbourne with his troupe in 1861,
Folingsby, George Frederick (1828-91; Irish/Australian) First Meeting between Henry VIII and Anne Boleyn (1879) Oil on canvas, 156.1 x 120.9 cm Purchased, 1879 National Gallery of Victoria (p.307.4-1) This work, commissioned from the artist, typifies the historical re-enactments popular in the Victorian period. Folingsby migrated to Melbourne in the year the present work was painted in Germany
Folingsby, George Frederick (1828-91; Irish/Australian) Bunyan in Prison 1864 Oil on canvas, 112.8 x 134 cm Purchased by the Commissioners of Fine Arts for Victoria, 1864 (advice of Charles Eastlake) National Gallery of Victoria (p.300.11-1) This image, showing Bunyan’s incarceration for supposed sedition (1660-72), was one of the first group of paintings selected for the Melbourne collection. Folingsby
Folingsby, Clara Wagner (c.1839-c.1873; German) Oil studies, various sizes Purchased, 1891 National Gallery of Victoria (p.389.1-1 etc.); and Location unknown [photo: Old boat (Dugout), Bavarian lake (p.389.22-1)] German-born Clara Folingsby, the wife of George Folingsby (NGV director and master of the art school, 1882-91: see separate entries), was a recognized artist in her own right, described in an
Flintoff, Thomas (c.1809-91; English) Sir William John Clarke 1885 Oil on canvas, 149.5 x 118.8 cm (visible image; framed) Presented by subscribers 1888; transferred from the NGV 1951 State Library of Victoria (H141877) The sitter, a wealthy benefactor to the NGV and other Melbourne institutions during the later 19th century (for details, see donor entry), is shown
Flintoff, Thomas (c.1809-91; English) G.A.Thomson 1884 Oil on canvas, 91.7 x 71.5 cm (framed) Presented by the sitter, 1884; transferred from the NGV to the SLV, 1934 State Library of Victoria (H5389) This work, signed and dated at lower right, dates from Flintoff’s later period in Melbourne, where he worked as a portrait painter and
Marigolds 1891 Oil on canvas, 51.4 x 38.8 cm Purchased, 1892 (advice of Bernard Hall) National Gallery of Victoria (p.308.4-1) This modest still life, shown in the Anglo-Australian Exhibition staged in Melbourne in 1892, was one of the first works purchased on the Hall’s advice, shortly after he took up his appointment as NGV director. The
Fahey, Edward Henry (1844-1907; English) Sea Fog blowing over Oulton Broad, Norfolk 1887 Oil on canvas, c. 76.2 x 152.4 cm Purchased, 1892; de-acquisitioned and sold at auction, 1950 Unidentified, present location unknown This canvas was bought for a substantial sum from the Anglo-Australian Exhibition in Melbourne in 1892. See also Fahey The Farm 1890
Faed, Thomas (1826-1900; Scottish) The Mitherless Bairn 1855 Oil on wood panel, 63.2 x 90.0 cm Purchased, 1886 National Gallery of Victoria (p.311.11-1) Faed, who moved from Scotland to London in 1852, made his name with this painting, shown to great acclaim at the Royal Academy in 1855. It was bought for Melbourne for £1000 in
Eschke, Hermann (1823-1900; German) Freshwater Bay, Isle of Wight 1877 Oil on canvas, c. 68.6 x 89 cm Purchased, 1881 Unidentified, present location unknown The NGV 1905 catalogue advises that this canvas was purchased from the 1880 Melbourne International Exhibition. The painter, whose biographical details are listed in NGV 1894 (noting his appointment as professor
Ellis, Edwin (1841-95; English) Summer Morning, North Wales (1888) Oil on canvas, 122.0 x 213.0 cm Gift of David Beath, 1889 National Gallery of Victoria (p.314.2-1) Ellis specialized in British coastal landscapes. This example, now clearly in need of restoration – and hence not reproduced here – is noted in NGV 1905 as showing the same view
van Dyck, Anthony (1599-1641; Flemish) (after) Cornelis van der Geest Oil on wood panel, 82.5 x 67.6 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (149/2) The 1905 NGV catalogue describes this panel as an anonymous copy of van Dyck’s original in the National Gallery in London, painted c.1620, and acquired for London in 1824.
van Dyck, Anthony (1599-1641; Flemish) (after) Mystic Marriage of St Catherine Oil on canvas, 142.5 x 120.4 cm Purchased, 1869 (advice of Alfred Thomson) National Gallery of Victoria (301.7/1) This work, bought in London, is a replica of the original canvas in the British royal collection (c.1622-29). The 1894 NGV catalogue suggested that the Melbourne
Duntze, Johannes (1823-95; German) A Norwegian Fjord Oil on canvas, c.86.4 x 139.7 cm Purchased, 1875; de-accessioned and sold at auction, 1950 Unidentified; present location unknown This work was listed in 1894 as on loan to the Bendigo Art Gallery; and later it was recorded as on loan to the Bairnsdale District School of Mines.
Dudgeon, Thomas (c.1804-80?; Scottish) Dumbarton on the Clyde Oil on canvas (?), c.50 x 90 cm Presented by George Macmillan, 1870 Unidentified; present location unknown Dudgeon is known for various views of Dumbarton on the Clyde, including one apparently in the Glasgow Art Gallery. Several other examples have been auctioned recently (see photo below). [comparative
Dowling, Robert (1827-86; English/Australian) Sir Henry Brougham Loch 1886 Oil on canvas, 127.0 x 89.0 cm (sight), framed Presented by Lord Loch, 1890 State Library of Victoria (H141879) This portrait of Loch (1827-1900), governor of Victoria 1884-89, was painted during Dowling’s second Australian sojourn, late in life (1884-86). Although dated 1886, it must have been largely
Dowling, Robert (1827-86; English/Australian) after Partridge, John (1790-1872; English) Lord Melbourne 1884 Oil on canvas, 241.4 x 177.2 cm Presented by Sir W.J.Clarke, 1884 National Gallery of Victoria (p.309.8-1) William Lamb, 2nd Viscount Melbourne (1779-1848), was British prime minister in 1837, when Port Phillip was settled and the city named after him. He became a mentor to
Dowling, Robert (1827-86; English/Australian) A Sheikh and his son entering Cairo on their return from a pilgrimage to Mecca 1874 Oil on canvas, 139.3 x 244.5 cm Presented by subscribers, 1878 National Gallery of Victoria (p.306.7-1) Dowling painted this large Orientalist composition in London, after a visit to Egypt. It was shown at the Royal Academy,
Dowling, Robert (1827-86; English/Australian) George Evans (c.1856) Oil on canvas, 74.5 x 62.0 cm Presented by Mrs A. Evans, 1886 State Library of Victoria (H17284) The sitter (1785-1876) was a Victorian pioneer who built the historic homestead of Emu Bottom, Sunbury, in about 1836. In 1851, the bulk of his squatting run (along with others) was made
Dicksee, Frank (1853-1928; English) The Crisis 1891 Oil on canvas, 122.4 x 158.1 Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.396.2-1) In this exemplary late Victorian image, “intense feeling” is clearly to the fore, as Herkomer emphasized in recommending it (as quoted in NGV 1894). Australian art historian Bernard Smith, bemoaning the
Demont, Adrien-Louis (1851-1928; French) Don Quixote 1893 Oil on canvas, 111.0 x 156.0 cm Purchased, 1893 (advice of John Longstaff) National Gallery of Victoria (p.399.5-1) This eccentric landscape was one of several paintings selected for Melbourne from the Paris Salon of 1893 by Longstaff, while he was studying and working in Europe after winning the inaugural
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)
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