John Waterhouse: Ulysses and the Sirens 1891. Purchased 1891 (NGV p.396.3-1)

 

Introduction

Initially, painting was not intended to be a focus for collecting for Melbourne’s art museum, preference being given to plaster casts and busts. But this view soon changed, and paintings began to enter the collection from 1860.

By 1905 painting had assumed a dominant position in both the NGV’s acquisitions budget and its exhibition spaces. There were almost 400 individual pictures in the pre-Felton collection, and the great majority were on permanent display. Most of them dated from 1800 or later, and many were acquired soon after they were produced, although the collection was generally conservative in character, and diverse in quality.

Portraits and landscapes predominated (including a remarkable number of canvases featuring sheep and cows, no doubt to the taste of the pastoralists among the gallery’s early supporters and visitors). Other works treated Biblical, classical or historical themes, many of them typically Victorian in their sentimental or “improving” tone. Genuine Old Masters were almost nowhere to be seen, copies and replicas still being regarded as acceptable alternatives (see now Reproductions, casts and copies), although there were signs that this view was beginning  to shift later in the century.

An exhaustive analysis is well beyond the scope of this introduction, and also superfluous, since others have already mapped out the major lines of the early history (again, see general Introduction to this catalogue for references, especially Cox 1970, Downer & Phipps 1985, and Galbally & others 1992). Accordingly, only a few key points and examples are singled out here.

As mentioned, portraits were prominent, mainly of colonial worthies (paralleling the marble busts and “Oval Portraits” listed elsewhere in this catalogue). Although many are now essentially of documentary interest, others remain valuable in artistic terms: see e.g. Beechey Portrait of A Lady {1865} NGV [PA]; Fox Sir Frederick Sargood 1897 {1897} SLV [PA]Longstaff Portrait of G.F.Folingsby {1891} SLV [PA]; and Tocqué [attrib.] Portrait of a Gentleman {1876} NGV [PA] (this last-named work, whose author was then unknown, was a judicious recommendation by Eugene von Guèrard while he was Master of the National Gallery School).

There were also many pictures on historical subjects, often displaying meticulous archaeological accuracy (see e.g. Alma-Tadema The Vintage Festival 1871 {1888} NGV [PA] and Long Queen Esther 1878 {1879} NGV [PA]). Meditations on the fate of Early Christians were popular (e.g. Rivière A Roman Holiday 1881 {1888} NGV [PA]). So too were military themes, bearing out Christopher Wood’s observation that Victorian painters and their audiences demonstrated an almost insatiable taste for battles, especially from the Napoleonic era. The most popular of several such works in Melbourne, as voted by NGV visitors in 1906, was Thompson Quatre Bras 1875 {1884} NGV [PA] – also an example, still rare at the time, of a major painting by a woman.

 

Landscape painting

Landscape was a particularly strong focus, especially images of the British countryside familiar to so many colonial Australians. The homesickness many experienced is one obvious explanation for this emphasis; indeed, a number soon returned “home” (like some of their 20th-century successors, the so-called “Ten Pound Poms”). Still, modern critics have judged this aspect of the early Melbourne painting collection harshly, and there is an undeniably plodding and repetitive character to many of the British and European landscapes acquired (including, frankly, almost all the paintings selected in 1904 from Alfred Felton‘s collection, under the terms of his will). There were, nevertheless, important exceptions, such as  * Bonington Low Tide at Boulogne {1904} Loc? [PA] (the latter from Felton’s personal collection), and Turner (J.M.W.) Dunstanborough Castle {1888} NGV [PA].

Even at the time, some observers noted lost opportunities, such as the failure to purchase anything by John Constable, although several landscapes by other artists influenced by him, such as Peter Graham, were acquired (see now Cox NGV 1970, esp.pp.22ff.).

Nor did any significant French plein-air paintings enter the collection during the period. Even if sufficient funds had been available, it seems debatable whether local taste could readily have accommodated such works. Later, though, shifting taste and the resources of the Felton Bequest led to significant Impressionist purchases for the NGV, beginning with Camille Pissarro’s Boulevard Montmartre 1897, in the first group of Felton Bequest purchases recommended by Bernard Hall in 1905.

Nevertheless, several good examples of progressive 19th-century European painting were acquired prior to 1905: see e.g. Courtens Morning {1881} NGV [PA]Fantin-Latour Marigolds 1891 {1892} NGV [PA], Souza Pinto In the Fields 1892 {1893} NGV [PA] and, perhaps most impressively, Nozal The Seine at St Pierre {1891} NGV [PA]. The last two paintings noted were both bought on  the advice of Australian painter John Longstaff, who, in Paris as the recipient of the first NGV Travelling Scholarship, c.1887-95, flirted briefly with Impressionism, before defaulting to a more academic style for the remainder of his long and increasingly conservative career.

 

Australian examples

Throughout the history of the NGV, artists and critics have complained regularly about the perceived lack of attention to Australian art in the collection, and the imbalance between funds spent on local and international painting. But the pre-Felton painting galleries actually presented visitors with a considerable range of good Australian examples, across a variety of genres, from portraiture and historical subjects, to landscape painting.

Significant local landscapes were acquired during the 1860s-70s, beginning with the selection of Chevalier The Buffalo Ranges, Victoria 1864 {1864} NGV [PA] as the winner of a competition designed specifically to initiate the collection of Australian painting. This was soon followed by the acquisition of major landscapes by von Guérard, Buvelot and others. Lively debates held in Melbourne at the time weighed the relative merits of these different painters: for an informative account, see Downer & Phipps, Victorian Vision (1985), ch.2.

As the collection continued to develop, there was greater scope for comparison between British/European landscapes and locally-produced examples, especially as artists and spectators became more familiar with European traditions gradually re-calibrated their vision.

Bernard Hall, in the years immediately following his appointment as NGV Director in 1892, showed considerable imagination and acumen in this regard. Hall’s arrangement of the expanded and refurbished exhibition galleries, as recorded in the NGV catalogue produced under his supervision in 1894, featured a number of interesting juxtapositions of Australian and Northern European landscape paintings, encouraging gallery visitors to make the comparisons for themselves. In the McArthur Gallery for example, Buvelot Waterpool near Coleraine 1869 {1870} NGV [PA] was displayed between two traditional English landscapes of the period, Bough Weald of Kent 1857 {1871} NGV [PA] and Creswick & Ansdell England 1850 {1878} NGV [PA], and the Buvelot and Creswick/Ansdell canvases were reproduced on facing pages in NGV 1894 (pp.86-87).

During the 1890s, Hall also advised on the purchase of a number of examples of more progressive recent Australian landscape painting (refer linked entry on Hall, noting examples by Davies, Humphrey, Mather, McCubbin, Withers, and others). For instance, in 1896, he recommended the purchase of Streeton ‘The Purple Noon’s Transparent Might’ 1896 {1896} NGV [PA] (like many of the other Australian landscapes mentioned, only recently completed), concluding, with a pre-Federation flourish: “I strongly advise the Trustees not to miss the opportunity of acquiring it, & of adding to the Australian section what is most characteristically Australian in the way of pictorial presentment.”

By 1905, then, a relatively small but impressive group of recently-produced Australian paintings could be viewed in the NGV, alongside international examples.

The key exception was Indigenous art, which, together with images of Australia’s original inhabitants, was virtually non-existent in the pre-Felton collection. In fact, this remained the case for many years after 1904/5. Not until 1949 was Robert Dowling‘s haunting Tasmanian Aborigines (1856-57) purchased for the NGV, although several of Dowling’s more conventional canvases were held in the pre-Felton collection (refer artist entry for details). And it was only in the 1980s that Aboriginal art was finally collected seriously for the NGV.

Remarkably, however, two small paintings by Indigenous painter William Barak did enter the Melbourne collection by donation in 1895. But neither these works nor the impressive portrait of the artist (Fuller Barak 1885 {1901} SLV [PA]) were listed in the NGV’s 1905 catalogue, still evidently being categorized as part of the Museum’s Ethnographic collections.

 

Individual entries

A’Beckett (E.) Francis Henty {1892} SLV [PA]
A’Beckett (E.) Hamilton Hume {1881} SLV [PA]
A’Beckett (E.) James Macpherson Grant 1886 {1886} SLV [PA]
Adam Balmoral {1878} NGV [PA]
Adams Trespassers 1878 {1904} NGV [PA]
Alma-Tadema The Vintage Festival 1871 {1888} NGV [PA]
Altson (A.) The Golden Age 1893 {1895} NGV [PA]
Altson (A.) after van Dyck Portrait of a Lady of Rank 1891 {1892} NGV [PA]
* Altson (A.) after Rembrandt An Old Man {1894} Loc? [PA]
* Altson (M.) Monochrome Head of Horse {1899} Loc? [PA]
* Altson (M.) Study from the nude {1904} Loc? [PA]
* Arnz Still Life {1889} Loc? [PA]

Baisch Dutch Pastures, Morning 1895 {1888} NGV [PA]
Barak Untitled [Aboriginal ceremony] {1895} SLV [PA]
Barak Untitled [Aboriginal ceremony, with wallaby and emu] {1895} SLV [PA]
Baxter Rose of England 1861 {1864} NGV [PA]
* Baxter Rosebud of England 1861 {1864} Loc? [PA]
Beavis The Charcoal Burners {1904} NGV [PA]
Becker Old Prince’s Bridge 1857 {1894} SLV [PA]
Bedford (J.) La Belle Yseult 1863 {1864} NGV [PA]
Beechey Portrait of a Lady {1865} NGV [PA]
Bell (E.) Grandmother’s Reading Lesson {1885} NGV [PA]
Bennetter Naval battle 1876 {1884} NGV [PA]
Beyle Last Resting Place of Coco {1881} NGV [PA]
* Blaas Venetian Girl 1 and 2 {1879} Loc? [PA]
* Bonington Low Tide at Boulogne {1904} Loc? [PA]
Botterill Sir Redmond Barry {1892} SLV [PA]
Bough Weald of Kent 1857 {1871} NGV [PA]
* Boyd (A.) Waiting for the tide 1895 {1895} Loc? [PA]
Boyd (E.) To the Workhouse 1891 {1893} NGV [PA]
Braith The Stud Herd 1875 {1884} NGV [PA]
Brozik The Defenestration {1890} NGV [PA]
Bunny Sea Idyll {1892} NGV [PA]
Burn Melbourne from the Domain 1871 {1891} SLV [PA]
Buss The Monopolist 1840 {1877} NGV [PA]
Buvelot Between Tallarook and Yea 1880 {1902} NGV [PA]
Buvelot Summer Afternoon, Templestowe 1866 {1869} NGV [PA]
Buvelot Waterpool near Coleraine 1869 {1870} NGV [PA]
Buvelot Winter Morning, near Heidelberg 1866 {1869} NGV [PA]

Campriani On the Grand Canal, Venice 1904} NGV [PA]
Carta Adam and Eve finding Abel 1869 {1870} NGV [PA]
Cecchini Cape Gris Nez {1882} NGV [PA]
Cedergren On the ice, Stockholm 1853 {1861} NGV [PA]
* Chartran A Widow {1884} Loc? [PA]
Chevalier The Buffalo Ranges, Victoria 1864 {1864} NGV [PA]
Chevalier Dr Maund 1863 {1863} NGV [PA]
* Chevalier Sketch for “The Indian Shepherd” {1891} Loc? [PA]
Clark (T.) Sir Henry Barkly {1865} SLV [PA]
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]
* Cogen Fisherwomen {1881} Loc? [PA]
Cole (G.) Hay Waggon 1870 {1870} NGV [PA]
Cole (T.) Duncan Gillies 1891 {1891} SLV [PA]
Cope The Pilgrim Fathers 1856 {1864} NGV [PA]
Courtauld Memories of the First Palm Sunday 1871 {1872} NGV [PA]
Courtens Morning {1881} NGV [PA]
* Coutts Study of half-nude figure {1896} Loc? [PA]
Craesbeeck Death and an Old Woman {1874} NGV [PA]
Creswick Stepping Stones 1844 {1904} NGV [PA]
Creswick & Ansdell England 1850 {1878} NGV [PA]

Davies (D.) Moonrise, Templestowe 1894 {1895 NGV [PA]
Davis Ben Eay in Sunset Glow 1883 {1883} NGV [PA]
Demont Don Quixote 1893 {1893} NGV [PA]
Dicksee The Crisis 1891 {1891} NGV [PA]
Dowling George Evans {1886} NGV [PA]
Dowling after Partridge Lord Melbourne 1884 {1884} NGV [PA]
Dowling A Sheikh and his son 1874 {1878} NGV [PA]
Dowling Sir Henry Brougham Loch 1886 {1890} SLV [PA]
* Dudgeon Dumbarton on the Clyde {1870} Loc? [PA]
* Duntze A Norwegian Fjord {1875} Loc? [PA]
Dyck (van) [after] Cornelis van de Geest {1904} NGV [PA]
Dyck (van) [after] Mystic Marriage of St Catherine {1869} NGV [PA]

Ellis Summer Morning, North Wales {1889} NGV [PA]
* Eschke Freshwater Bay, Isle of Wight 1877 {1881} Loc? [PA]

Faed The Mitherless Bairn 1855 {1886} NGV [PA]
* Fahey Sea Fog blowing over Oulton Broad 1887 {1892} Loc? [PA]
Fantin-Latour Marigolds 1891 {1892} NGV [PA]
Flintoff G.A.Thomson 1884 {1884} SLV [PA]
Flintoff Sir William John Clarke 1885 {1888} SLV [PA]
Folingsby (C.) Oil studies {1891} NGV/Loc? [PA]
Folingsby (G.) Bunyan in Prison 1864 {1864} NGV [PA]
Folingsby (G.) Henry VIII and Anne Boleyn {1879} NGV [PA]
Folingsby (G.) James Service 1886 {1886} SLV [PA]
Folingsby (G.) Oil studies {1891} NGV/Loc? [PA]
Folingsby (G.) Sir Charles Sladen 1884 {1884} SLV [PA]
Folingsby (G.) William Suarin Lyster 1883 {1883} SLV [PA]
* Ford Life and Death of a Rose {1883} Loc? [PA]
Fox Landing of Captain Cook 1902 {1902} NGV [PA]
Fox Robert L.Ellery 1896 {1897} NGV [PA]
Fox Sir Frederick Sargood 1897 {1897} SLV [PA]
Fox after Velazquez The Topers {1893} NGV [PA]
* Frère Cottage Interior {1872} Loc? [PA]
* Frost Samson slaying a Philistine {1874} Loc? [PA]
Fuller Barak 1885 {1901} SLV [PA]

Gebler Study of a wild boar {1891} NGV [PA]
* Glover (S.) Scene in the North of England {1870} Loc? [PA]
Goodall (F.) Rachel going to the Well 1867 {1867} NGV [PA]
Gordon-Frazer Benjamin Cowderoy 1890 {1890} SLV [PA]
* Gordon-Frazer John Blyth {1890} Loc? [PA]
Gotch Mental Arithmetic 1883 {1884} NGV [PA]
Gow No Surrender 1879 {1879} NGV [PA]
Graham After the Massacre at Glencoe 1889 {1889} NGV [PA]
Graham Autumnal Showers 1869 {1869} NGV [PA]
Graham An Easterly Breeze 1887 {1887} NGV [PA]
Gray Child playing grandmother 1870 {1872} NGV [PA]
Gregory (G.) The “Lady Nelson” 1879 {1880} SLV [PA]
Gritten Melbourne, from the Botanical Gardens 1867 {1891} SLV [PA]
Gritten View on Jackson’s Creek 1866 {1866} NGV [PA]
Gude After the Storm, Norwegian Coast 1888 {1889} NGV [PA]
Guérard Mount Kosciusko 1866 {1870} NGV [PA]
Guérard Spring in the valley of the Mitta Mitta 1866 {1866} NGV [PA]
Gysis Love’s Pilgrimage 1876 {1884} NGV [PA]

Halswelle Green-robed Senators {1904} NGV [PA]
Halswelle Heart of the Coolins 1886 {1886} NGV [PA]
Halswelle Welcome Shade 1884 {1888} NGV [PA]
Hart J.B.Were 1852 {1885} NGV [PA]
Haydon Marcus Curtius 1843 {1897} NGV [PA]
Heffner Early Morning in Bavaria {1891} NGV [PA]
Heffner A Flitting Gleam before the Storm {1884} NGV [PA]
Herbert Moses bringing down the Tablets of the Law 1877 {1878} NGV [PA]
Herdman The Fern Gatherer 1864 {1864} NGV [PA]
Hering Druidical monuments 1871 {1872} NGV [PA]
Herkomer Queen Victoria {1892} NGV [PA]
Herring Horses and Pigs {1864} NGV [PA]
Hillemacher Psyche in the Underworld 1865 {1872} NGV [PA]
* Hodgson Arab Prisoners 1870 {1871} Loc? [PA]
Humphrey Under a Summer Sun 1895 {1895} NGV [PA]
* Hunt (A.) Moonrise, near Bamborough Castle {1873} Loc? [PA]
Hunt (D.) Langley Dell {1889} NGV [PA]

* Innocenti Italian Peasants {1870} Loc? [PA]

Jackson (J.) [attrib.] Sir David Wilkie {1877} NGV [PA]
Joanowitch The Traitor {1890} NGV [PA]
Johnson A Salvation Army Shelter 1891 {1892} NGV [PA]

Kauffmann (H.) Card Players in a Country Inn 1872 {1879} NGV [PA]
Kemp John Pascoe Fawkner 1877 {1877} SLV [PA]
Kemp Edward Henty 1880 {1880} SLV [PA]
Kemp-Welch Horses Bathing in the Sea 1900 {1900} NGV [PA]
Kneller Portrait of a Lady {1886} NGV [PA]
* Koekkoek Land’s End {1888} Loc? [PA]
* Koekkoek Unlading Fishing Smacks {1889} Loc? [PA]
Koller Parting from Betrothed 1864 {1864} NGV [PA]

Lance (G.) Still Life 1830 {1883} NGV [PA]
* Law Ben Venue and Loch Vennacher {1881} Loc? [PA]
* Layraud Italian Brigands 1870 {1873} Loc? [PA]
Leader In the fields 1863 {1873} NGV [PA]
Lee Ben Lawers {1872} NGV [PA]
Lee River, Mill and Farm {1868} NGV [PA]
Lewis (C.J.) Mill-race {1871} NGV [PA]
Lindo Augustus Henry Tulk 1852 {1878} SLV [PA]
Linnell Wheat {1888} NGV [PA]
Long Queen Esther 1878 {1879} NGV [PA]
Long A Question of Propriety 1870 {1871} NGV [PA]
Longstaff Gippsland, Sunday night, February 20th, 1898 {1898} NGV [PA]
Longstaff Portrait of G.F.Folingsby {1891} SLV [PA]
Longstaff The Sirens {1894} NGV [PA]
Longstaff after Titian Entombment of Christ {1889} NGV [PA]
Longstaff after Velazquez Aesopus 1890 {1890} NGV [PA]
* Loureiro “Baron” 1895 {1895} Loc? [PA]
Loureiro Vision of St Stanislaus 1899 {1901} NGV [PA]
Ludwig Chestnut Grove {1889} NGV [PA]

Maignan Last Moments of Chlodobert {1885} NGV [PA]
Mather Autumn in the Fitzroy Gardens 1894 {1895} NGV [PA]
McCubbin A Winter Evening 1897 {1900} NGV [PA]
Melbye Start Point 1870 {1871} NGV [PA]
* Meldrum Study from the Nude {1902} Loc? [PA]
* Meldrum after Tintoretto Portrait of a Gentleman {1903} Loc? [PA]
Mogford Watergate Bay 1864 {1864} NGV [PA]
Moloney after Murillo Virgin of the Rosary {1870} NGV [PA]

Nisbet Edge of the Forest 1879 {1904} NGV [PA]
North An English Summer’s Day 1891-92 {1892} NGV [PA]
Nozal The Seine at St Pierre {1891} NGV [PA]

* Opie Travelling Tinker {1873} Loc? [PA]
Orchardson The First Cloud 1887 {1887} NGV [PA]

Paterson Fernshaw 1900 {1900} NGV [PA]
* Paton (N.) A Dream of Latmos 1879 {1882} Loc? [PA]
* Paton (W.) Upper Morelaggan 1876 {1882} Loc? [PA]
Paton (W.) Entrance to Glen Etive 1879 {1882} NGV [PA]
* Paulson Fruit Piece {1871} Loc? [PA]
* Peele Evening Shadows, Otira Gorge 1891 {1891} Loc? [PA]
Pettie Arrest for Witchcraft 1866 {1876} NGV [PA]
Pettie Challenged {1885} NGV [PA]
Philippson Madame Couvreur 1890 {1898} SLV [PA]
Plockhorst Easter Morning 1880 {1881} NGV [PA]
Portielje The Old Bachelor 1885 {1904} NGV [PA]
Pratt James Watt’s Workshop 1886 {1889} NGV [PA]
Pyne Pandy Mills, Wales 1847 {1904} NGV [PA]

Quinn The Nativity {1901} NGV [PA]
* Quinn Study from the Nude {1894} Loc? [PA]
Quinn after Botticelli Virgin and Child {1896} NGV [PA]
Quinn after David Madame Recamier {1895} NGV [PA]
Quinn after Hals The Gipsy {1895} NGV [PA]
Quinn after Velazquez Infanta Margarita Teresa {1895} NGV [PA]

* Ramsay Life study {1899} Loc? [PA]
* Raphael [attrib.] Head of St John {1889} Loc? [PA]
* Richardson (C.) “O Grave, Where is thy Victory?” 1898 {1899} Loc? [PA]
Richardson (J.) [after] Sir Richard Steele {1889} NGV [PA]
Rivière Deer Stealers 1875 {1876} NGV [PA]
Rivière A Roman Holiday 1881 {1888} NGV [PA]
Roberts St Anne, Bruges 1851 {1894} NGV [PA]
Rubens [after] The Garden of Love {1904} NGV [PA]

Sabbione Victor Emmanuel II {1877} SLV [PA]
Scheffer Temptation of Christ 1854 {1886} NGV [PA]
Scheltema Driving in the cows {1895} NGV [PA]
Schenck Anguish {1879} NGV [PA]
Schendel The Poultry Vendor 1863 {1864} NGV [PA]
* Schmidt In the Studio {1884} Loc? [PA]
Seiler The Standard Bearer {1884} NGV [PA]
Short Fish, fruit and flowers 1860 {1861} NGV [PA]
* Singleton Edmund Kean {1869} Loc? [PA]
Sonntag Scene on the Hudson {1867] NGV [PA]
Souza Pinto In the Fields 1892 {1893} NGV [PA]
Stanfield The Morning after Trafalgar 1863 {1888} NGV [PA]
Streeton ‘The Purple Noon’s Transparent Might’ 1896 {1896} NGV [PA]
Swan African panthers {1892} NGV [PA]

Tattegrain The Convalescent {1885} NGV [PA]
Taylor Ghee Donnelly Creek, Healesville 1895 {1895} NGV [PA]
Thomas Charles Summers 1866 {1881} SLV [PA]
Thompson Quatre Bras 1875 {1884} NGV [PA]
Thunder Peter Lalor as Speaker 1893 {1893} SLV [PA]
Tocqué [attrib.] Portrait of a Gentleman {1876} NGV [PA]
* Toovey Flamborough Head {1875} Loc? [PA]
Tschaggeny Sheep in repose 1864 {1864} NGV [PA]
Tucker Maid of all work {1900} NGV [PA]
Turner (J.M.W.) Dunstanborough Castle {1888} NGV [PA]

* Unterberger The Gulf of Salerno {1875} Loc? [PA]

Vibert French Artists in a Spanish Posada 1862 {1864} NGV [PA]

Waite Abram Louis Buvelot 1894 {1896} NGV [PA]
Waite Coaxing Ways {1895} NGV [PA]
Walker (F.) The Right of Way {1891} NGV [PA]
Waller Jealous 1875 {1875} NGV [PA]
Walton (F.) ‘Summer has gone…’ {1892} NGV [PA]
Ward (E.) Josephine signing the Act of her Divorce 1853 {1888} NGV [PA]
Ward (J.) Sheep {1903} NGV [PA]
Waterhouse Ulysses and the Sirens 1891 {1891} NGV [PA]
Watts Alfred Tennyson {1888} NGV [PA]
Watts Love and Death {1888} NGV [PA]
Webb (C.) Checkmate 1866 {1870} NGV [PA]
Webb (J.) Gloucester {1904} NGV [PA]
Webb (J.) Lock on the Thames 1885 {1904} NGV [PA]
Webb (J.) Rotterdam at Sunset 1868 {1869} NGV [PA]
Weber (O.) First Snow on the Tyrolean Alps {1868} NGV [PA]
Weber (T.) Fishing Boats leaving Boulogne Harbour {1884} NGV [PA]
Weigall Dr Charles Perry 1875 {1876} SLV [PA]
Whitehead Stony Weir {1904} NGV [PA]
Williams The Italian Family 1834 {1864} NGV [PA]
Wilson [manner of] Landscape with Italian buildings {1904} NGV [PA]
Withers Tranquil Winter 1895 {1895} NGV [PA]
Wynfield Death of George Villiers 1871 {1881} NGV [PA]

Unknown (Burtt?) Sir Charles Darling {1890} SLV [PA]
Unknown (Australian 19C) Government House at Jolimont {1900} SLV [PA]
* Unknown (British 17C) “Portrait, time of Cromwell” {1870} Loc? [PA]
Unknown (British 18C) Mr Nash {1870} NGV [PA]
Unknown (British 18C?) Portrait of a Gentleman {1873} NGV [PA]
* Unknown (British 19C?) Destruction of the Druids in Anglesea {1867} Loc? [PA]
* Unknown (British 19C?) Duke of Wellington {1897} Loc? [PA]
* Unknown (British?) A highland still {1885} Loc? [PA]
* Unknown (British?) An Indian Prince {by 1894} Loc? [PA]
Unknown (Dutch or Flemish 17C?) Reading a Letter {1885} NGV [PA]
* Unknown (Dutch?) Dutch Peasants {1885} Loc? [PA]
Unknown (German 19C?) William I, Emperor of Germany {1870} SLV [PA]
Unknown (Italian 17C?) after Reni Repentance of St Peter {1889} NGV [PA]
Unknown (Italian 19C?) after Seghers Christ at the Column {1883} NGV [PA]
Unknown (Italian 19C?) Christ and Joseph {1885} NGV [PA]
* Unknown (Italian 19C?) Italian Boy and Cat {1867} Loc? [PA]
* Unknown (Italian 19C?) Martyrdom of St Sebastian {1867} Loc? [PA]
Unknown (Russian 17C) Virgin and Child {1868} NGV [PA]