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
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
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
Buvelot, Louis (1814-88; Swiss/Australian) Summer Afternoon, Templestowe 1866 Oil on canvas, 76.6 x 118.9 cm Purchased, 1869 National Gallery of Victoria (p.300.5-1) This canvas and its twin, Buvelot Winter Morning, near Heidelberg 1866 {1869} NGV [PA], were among the first works the artist painted after his arrival in Australia in 1865. Later, he said that the Melbourne
Buss, Robert William (1804-75; English) The Monopolist 1840 Oil on canvas, 51.1 x 61.0 cm Purchased, 1877 (advice of Archibald Michie) National Gallery of Victoria (p.305.10-1) The artist made his name with illustrative images like this. Indeed, as NGV curator Ted Gott observes, Buss was engaged during the 1830s to produce illustrations for Dickens’ Pickwick Papers, and
Burn, Henry (1807?-84; English/Australian) Melbourne from the Domain 1871 Oil on canvas, 39.2 x 64.5 cm (sight) Purchased, 1891 State Library of Victoria (H297) The skyline of Melbourne, here looking distinctly Tuscan, hovers on the horizon, beyond a classicizing scene of bucolic bliss. This is one of several early Melbourne images by Burn, who arrived in Australia
Bunny, Rupert (1864-1947; Australian) Sea Idyll (c.1891) Oil on canvas, 100.5 x 161.5 cm Gift of Alfred Felton, 1892 National Gallery of Victoria (p.399.1-1) This racy picture in the French Salon style, the only work Felton gave to the NGV during his lifetime, was also the sole Australian painting hanging in the NGV’s La Trobe Gallery
Brozik, Václav (1851-1901; Bohemian) The Defenestration, 1618 (1889) Oil on canvas, 132.7 x 210.6 cm Purchased, 1890 National Gallery of Victoria (p.316.1-1) Brozik, well known in his day as a painter of portraits and historical subjects, worked in both Prague and Paris. This work, typical of the later 19th-century taste for theatrical re-enactments of historical events, shows revolting
Braith, Anton (1836-1905; German) The Stud Herd 1875 Oil on canvas, 53.0 x 96.0 cm Purchased, 1884 National Gallery of Victoria (p.310.1-1) The painter, a native of Munich, was “a farm labourer’s son who took an interest in drawing animals at a very early age” (according to Bénézit), and subsequently specialized in scenes like this
Boyd, Emma Minnie (1858-1936; Australian) To the workhouse 1891 Oil on canvas, 91.0 x 61.2 cm Gift of Mrs Emma a’Beckett, 1893 National Gallery of Victoria (p.399.4-1) The artist came from a wealthy Anglo-Australian family, the a’Becketts, and showed early talent in both watercolour and oil painting. Encouraged by members of her family, including her uncle
Boyd, Arthur Merric, Senior (1862-1940; New Zealander/Australian) Waiting for the tide 1895 Oil on canvas, c. 88.9 x 134.62 cm Purchased, 1895 Unidentified; present location unknown This was one of several contemporary Australian paintings purchased for the Melbourne collection from the Victorian Artists’ Society in 1894-5: see e.g. Humphrey Under a Summer Sun 1895 {1895} NGV
Bough, Samuel (1822-78; English) Weald of Kent 1857 Oil on canvas, 123.0 x 183.8 cm Purchased, 1871 National Gallery of Victoria (p.303.3-1) Bough, who worked mostly in Scotland, was admired by Robert Louis Stevenson, among others; examples of his work are held in the Tate Gallery and other British collections. In the NGV’s McArthur Gallery, from