Ramsay, Hugh (1877-1906; Scottish/Australian) Life study, full figure Oil painting, size unknown Presented by the artist, 1899 Unidentified; present location unknown A precocious talent, Ramsay won several prizes at the NGV art school (where he studied from 1894-99), including first prize for painting from the nude in 1899, presumably for the present work. He applied unsuccessfully
Quinn, James (1869-1951; Australian) The Nativity Oil on canvas, 149.8 x 126.6 cm Presented by the artist under the terms of the NGV Travelling Scholarship, 1901 National Gallery of Victoria (98-2) Although Quinn made several copies while he was in France in 1895-96, this is the original work he produced under the terms of the scholarship
Quinn, James (1870-1951; Australian), after Botticelli, Sandro (1445-1510; Italian) Virgin and Child with the young St John the Baptist, c.1896 Oil on canvas, 91.1 x 68.2 cm Presented by the artist under the terms of the NGV Travelling Scholarship, 1897 National Gallery of Victoria (31-2) This meticulous copy of Botticelli’s Louvre panel of c.1470 was
Quinn, James (1870-1951; Australian), after David, Jacques-Louis (1748-1825; French) Madame Recamier (c.1895) Oil on canvas, 175.2 x 243.8 cm Presented by the artist under the terms of the NGV Travelling Scholarship, 1895 National Gallery of Victoria (7-2) David’s famous neo-Roman portrait was commissioned in 1800, and acquired by the Louvre after the artist’s death. Quinn’s canvas, typically
Quinn, James (1870-1951; Australian), after Velazquez, Diego (1599-1660; Spanish) The Infanta Margarita Teresa (c.1895) Oil on canvas, 69.5 x 56.5 cm Presented by the artist, 1895 National Gallery of Victoria (8-2) Quinn, the recipient of the NGV Travelling Scholarship in 1893, made this copy in the Louvre. Velazquez’s picture, already in Paris by 1654, shows the princess, born
Quinn, James (1870-1951; Australian), after Hals, Frans (1582-1666; Dutch) The Gipsy (La Bohémienne) (c.1895) Oil on canvas, 55.4 x 45.2 cm Presented by the artist, 1895 National Gallery of Victoria (9-2) This is one of the copies made by Quinn while studying in Paris after winning the NGV Travelling Scholarship in 1893 (refer linked artist entry). Here
Quinn, James (1869-1951; Australian) Study from the Nude Oil painting Gift of the artist 1894 Unidentified; present location unknown This work is listed in the NGV’s 1894 Annual Report, under donations. Further information has yet to be found. Refs. AR 1894, p.22 (details as above)
Works included in this catalogue * Quinn Study from the Nude {1894} Loc? [PA] Quinn after Hals The Gipsy {1895} NGV [PA] Quinn after Velazquez Infanta Margarita Teresa {1895} NGV [PA] Quinn after David Madame Recamier {1895} NGV [PA] Quinn after Botticelli Virgin and Child {1896} NGV [PA] Quinn The Nativity {1901} NGV [PA] Quinn
Pyne, James Baker (1800-70; English) Pandy Mills, Wales 1847 Oil on canvas, 98.5 x 93.3 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (143-2) Another work selected from Felton’s collection, under the terms of his will. He apparently purchased this work in Melbourne in 1892 (for details, refer the NGV’s online catalogue). The
Pratt, Jonathan (1835-1911; English) James Watt’s Workshop 1886 Oil on canvas, 40.5 x 51.0 cm Presented by Messrs George and Richard Tangye, 1889 National Gallery of Victoria (p.314.1-1) Pratt was a genre painter and portraitist who worked in Birmingham – also the domicile of the donors of this painting, according to NGV 1894. The
Portielje, Gérard (1856-1929; Belgian) The Old Bachelor 1885 Oil on panel, 37.2 x 28.0 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (137-2) This meticulous picture, bought from Koekkoek in Melbourne, seems to be typical of the artist’s output: examples still regularly appear at auction in Europe. The image possibly reminded Felton of his own
Plockhorst, Bernhard (1825-1907; German) Easter Morning (Noli me tangere) 1880 Oil on canvas, 196.8 x 131.2 cm Purchased, 1881 National Gallery of Victoria (p.307.9-1) This painting was purchased for the substantial sum of £400 in 1881, after being brought to Melbourne for the 1880 International Exhibition. Local press reports dwelt on the fact that the picture
Philippson, Mathilde (1855-1926; Belgian) Madame Couvreur (“Tasma”) 1890 Oil on canvas, 110.2 x 85.6 cm Presented by Mr E.A. Huybers, 1898; transferred to the SLV from the NGV, 1930 State Library of Victoria (H250) The sitter (1848-97), a successful novelist in her day, is depicted here as the “New Woman” of the late 19th century, as Brenda
Pettie, John (1839-93; Scottish) Challenged (c.1884-85) Oil on canvas, 126.3 x 94.0 cm Gift of J.Paterson, 1885 National Gallery of Victoria (p.311.4-1) The 1905 NGV catalogue suggests that another version of the present painting, “presumably a replica,” was exhibited at the Royal Academy in 1885. But the catalogue of Pettie’s paintings by his nephew Martin
Pettie, John (1839-93; Scottish) Arrest for Witchcraft 1866 Oil on canvas, 97.8 x 151.7 cm Purchased, 1876 (advice of Alfred Thomson) National Gallery of Victoria (p.305.6-1) Pettie worked as an illustrator in the 1850s and 60s (see linked artist entry for details), and many of his paintings have a similar character. This canvas was Pettie’s successful presentation piece
Works included in this catalogue Pettie Arrest for Witchcraft 1866 {1876} NGV [PA] Pettie Challenged {1885} NGV [PA] The artist relocated to London in 1862, joining other Scottish painters working there, notably Orchardson (see Orchardson The First Cloud 1887 {1887} NGV [PA]). In the 1850s and 60s, Pettie worked as a book illustrator, and produced
Peele, James (1847-1905; English) Evening Shadows, Otira Gorge, New Zealand 1891 Oil on canvas, c.95.25 x 151.13 cm Purchased, 1891; de-accessioned and sold at auction, 1941 Unidentified; present location unknown This landscape was bought in Melbourne for a substantial sum, but subsequently de-accessioned. The artist is noted in NGV 1894 as having arrived in Victoria
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,
Works included in this catalogue * Paton (W.) Upper Morelaggan 1876 {1882} Loc? [PA] Paton (W.) Entrance to Glen Etive 1879 {1882} NGV [PA] A noted landscape painter, Waller Paton was the younger brother of Noel Paton. Refs. See Bénézit 10, pp.996-97 (listing the two paintings listed above); see also http://www.bbc.co.uk/arts/yourpaintings/artists/waller-hugh-paton/paintings/slideshow#/8. For the NGV’s current holdings of
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
Works included in this catalogue * Paton (J.N.) A Dream of Latmos 1879 {1882} Loc? [PA] Ryall after Paton (J.N.) The Pursuit of Pleasure 1864 {by 1865} NGV? [PR] The artist, the older brother of Waller Hugh Paton, turned down an invitation to become a member of the Pre-Raphaelite Brotherhood. In 1865, he was appointed
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