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.
Works included in this catalogue Meldrum Study from the Nude {1902} Loc? [PA] Meldrum after Tintoretto Portrait of a Gentleman {1903} Loc? [PA] Meldrum arrived in Australia with his family as a teenager, and enrolled in the National Gallery School in 1892, winning the NGV Travelling Scholarship in 1899. He worked in Paris and Edinburgh,
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
Works included in this catalogue * Loureiro “Baron” 1895 {1895} Loc? [PA] Loureiro Vision of St Stanislaus 1899 {1901) NGV [PA] After studying and painting in Lisbon and Paris, where he associated with Bastien-Lepage and others, Loureiro came to Australia, for his health, in 1884. He brought with him at least one of his French canvases painted
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
Works included in this catalogue Longstaff Portrait of G.F.Folingsby {1891} SLV [PA] Longstaff after Titian Entombment of Christ {1889} NGV [PA] Longstaff after Velazquez Aesopus 1890 {1890} NGV [PA] Longstaff The Sirens {1894} NGV [PA] Longstaff Gippsland, Sunday night, February 20th, 1898 {1898} NGV [PA] Pre-Felton works bought on Longstaff’s advice Demont Don Quixote 1893 {1893} NGV
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
Works included in this catalogue Girardet after Long An Egyptian Feast 1879 {1883} NGV [PR] Long A Question of Propriety 1870 {1871} NGV [PA] Long Queen Esther 1878 {1879} NGV [PA] Earlier in his career, Long was particularly influenced by Spanish art and culture, as evidenced in A Question of Propriety (1870). But from the
Works included in this catalogue Linnell Wheat {1888} NGV [PA] * Linnell Sir Robert Peel 1838 {by 1870} Loc? [PR] A noted realist painter in his day, Linnell is probably best known now for having been a major patron of William Blake. In the early 1820s he commissioned many of the Blake prints and watercolours subsequently
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
Lewis, Charles James (1830-92; English) Mill-race (1865) Oil on canvas, 61.6 x 102.0 cm Purchased, 1871 National Gallery of Victoria (p.303.1-1) This brooding landscape brings to mind some of the realist novels of the period by George Eliot and Thomas Hardy: is the figure by the river-bank merely melancholy, or contemplating ending it all? The artist,
Lee, Frederick (1798-1879; English) Ben Lawers Oil on board, 35.4 x 45.5 cm Presented by the artist, 1872 National Gallery of Victoria (p.303.9/1) Hoff quotes a label on the work as follows: “Ben Lawers, Argyllshire village from Tainvilt. This sketch was painted from nature in 4 hours; given to Society of Fine Arts by Fred.R.Lee
Lee, Frederick (1798-1879; English) River, Mill and Farm Oil on canvas, 112.4 x 183.0 cm Purchased, 1868 National Gallery of Victoria (p.303.1/1) This undated work was bought on the recommendation of the Commissioners of Fine Arts for Victoria. For the artist, elected to the Royal Academy in 1838, see linked entry. Refs. NGV 1875, p.43; NGV 1879,
Works included in this catalogue Lee River, Mill and Farm {1868} NGV [PA] Lee Ben Lawers {1872} NGV [PA] Lucas after Lee River scene in Devonshire {1868} NGV [PR] The artist, elected an RA in 1838, was a successful landscapist, so much so that from 1872 he cruised the world in his private yacht, distributing his
Leader, Benjamin Williams (1831-1923; English) In the Fields 1863 Oil on canvas on wood panel, 70.0 x 105.2 cm Purchased, 1873 (advice of E.L.Montefiore) National Gallery of Victoria (p.304.5-1) This is a relatively early work by Leader, a prolific and successful landscape painter who spent much of his earlier life in his native Worcestershire. His
Layraud, Joseph Fortuné (1834-1912; French) Italian Brigands 1870 Oil on canvas, c. 366 x 640 cm Purchased, 1873 (advice of J.R.Herbert) Present location unknown [reproduction: engraving published in Melbourne, 1873] Despite humble origins, Layraud won the Prix de Rome in 1864 and then studied at the French Academy in Rome. This expansive depiction of Calabrian bandits