Works included in this catalogue Heffner Early Morning in Bavaria {1891} NGV [PA] Heffner A Flitting Gleam before the Storm {1884} NGV [PA] Canvases by Heffner, typically set at dawn or dusk, still appear regularly on the art market, fetching modest prices. NGV 1894 also mentions two landscapes by Heffner then in Sydney, but neither still appears
Haydon, Benjamin Robert (1786-1846; English) Marcus Curtius 1843 Oil on canvas, mounted on board, 76.5 x 63.5 cm Purchased, 1897 (advice of Bernard Hall) National Gallery of Victoria (40/2) This canvas, purchased in Melbourne in 1897, for a modest sum, was first brought to Australia in the late 1840s by Richard Twentyman, a London businessman
Hart, Conway Weston (1814-64; English) J.B.Were 1852 Oil on canvas, 128.8 x 102.8 cm Gift of J.B.Were, 1885 National Gallery of Victoria (p.310.10-1) This work, listed in the 1885 annual report and NGV 1894 as by an unknown painter, is documented as the work of Hart, who was active as a portraitist in Victoria and
Halswelle, Keeley (1832-91; Scottish) The Heart of the Coolins, Isle of Skye 1886 Oil on canvas, 112.8 x 184.0 cm Purchased, 1888 (advice of George Folingsby) National Gallery of Victoria (p.312.3-1) Suzanne Fraser, in the catalogue of the 2014 Ballarat Art Gallery exhibition Auld Land Syne, discusses this work as an example of the “Highlandism” obviously
Halswelle, Keeley (1832-91; Scottish) Welcome Shade 1884 Oil on canvas, 105.0 x 181.9 cm Purchased, 1888 (advice of George Folingsby) National Gallery of Victoria (p.312.4-1) This pastoral image, in the tradition established by the purchase of Tschaggeny Sheep in repose 1864 {1864} NGV [PA], was chosen from the Grosvenor Gallery Intercolonial Exhibition held in Melbourne
Halswelle, Keeley (1832-91; Scottish) Green-robed Senators (c.1880) Oil on canvas, 65.8 x 39.5 cm Bequest of Alfred Felton, 1904 National Gallery of Victoria (148-2) The earliest of three landscapes by Halswelle acquired for the NGV before 1905 (although the last to be acquired), this canvas was selected from Felton’s own collection. The title derives from Keats:
Works included in this catalogue Halswelle Green-robed Senators {1904} NGV [PA] Halswelle Welcome Shade 1884 {1888} NGV [PA] Halswelle Heart of the Coolins 1886 {1888} NGV [PA] Halswelle was a successful illustrator and figurative painter, one of whose most popular canvases, Non angli, sed angeli (1877), was acquired for the Art Gallery of New South
Gysis, Nikolaos (1842-1901; Greek) Love’s Pilgrimage 1876 Oil on canvas, 120.5 x 80.0 cm Purchased, 1884 National Gallery of Victoria (p.310.2-1) Greek by birth, Gysis (also known as Gyzis) spent much of his career in Munich, where he became professor at the Academy of Fine Arts in 1886; he produced a variety of genre
Gude, Hans (1825-1903; Norwegian) After the Storm, Norwegian Coast 1888 Oil on canvas, 147.0 x 247.5 cm Gift of Molesworth R. Greene, 1889 National Gallery of Victoria (p.313.4-1) This atmospheric landscape was shown at the Centennial International Exhibition in Melbourne in 1888-89, and purchased by Greene, a local collector, who then donated it to the NGV. The
Gritten, Henry (1818-73; English/Australian) Melbourne from the Botanical Gardens, in 1867 1867 Oil on board, 25.7 x 35.6 cm, framed Purchased, 1891; transferred from NGV to SLV, 1930 State Library of Victoria (H298) This work, signed and dated by Gritten, is one of several similar views by the artist (including other examples, acquired later, held in the
Gritten, Henry (1818-73; English/Australian) View on Jackson’s Creek near Sunbury 1866 Oil on canvas, 62.4 x 92.7 cm Gift of Sir Archibald Michie 1866 National Gallery of Victoria (p.300.13-1) Both this work and von Guérard Valley of the Mitta Mitta 1866 {1866} NGV [PA] were donated by Michie in the year they were painted. This work was one of several
Works included in this catalogue Gritten View on Jackson’s Creek 1866 {1866} NGV [PA] Gritten Melbourne, from the Botanical Gardens 1867 {1891} SLV [PA] Gritten, who arrived in Australia in 1853, produced a number of picturesque views of Melbourne and Victoria in the 1850s and 60s. His well-known 1856 watercolour of Melbourne from Prince’s Bridge
Gregory, George (1849-1938; English), after Grant, James (1772-1833; English) The “Lady Nelson” 1879 Oil on canvas, 35.0 x 52.3 cm (sight) Gift of Commodore Wilson, R.N., 1880 State Library of Victoria (H17009) The 1894 and 1905 NGV catalogues, both simply listing this work as by G.Gregory, explain that the vessel shown was the one in which
Gray, Kate (active c.1864-97?; English) Child playing grandmother 1870 Oil on canvas, 35.8 x 30.0 cm Purchased, 1872 (advice of John Ruskin) National Gallery of Victoria (p.303.7-1) This canvas was bought on the advice of Ruskin, while he was an NGV advisor during the early 1870s. Its Victorian sentimentality somehow escaped the attention of those determined to
Graham, Peter (1836-1921; Scottish) After the Massacre at Glencoe 1889 Oil on canvas, 123.2 x 175.8 cm Presented by James Graham, 1889 National Gallery of Victoria (p.315.1-1) Exhibited at the RA in 1889, this impressive canvas refers to the infamous massacre of the MacDonalds by the Campbells in 1692, in the wake of the Jacobite Uprising against the
Graham, Peter (1836-1921; Scottish) An Easterly Breeze 1887 Oil on canvas, 107.7 x 183.5 cm Purchased, 1887 National Gallery of Victoria (p.312.2-1) Graham’s skills at suggesting wind and weather were applied here to the ocean shore (refer linked artist entry). Refs. AR 1887, p.34; NGV1894, p.18 (I.La Trobe Gallery, no.18; ill.); NGV 1905, p.26 (I.La Trobe Gallery,
Graham, Peter (1836-1921; Scottish) Autumnal Showers 1869 Oil on canvas, 124.7 x 174.8 cm Purchased, 1869 (advice of Alfred Thomson) National Gallery of Victoria (p.302.7-1) This relatively early work, recommended enthusiastically by Thomson, was the first of three paintings by Graham to enter the NGV collection in the later 19th century (see linked artist entry for details). Refs.
Works included in this catalogue Graham Autumnal Showers 1869 {1869} NGV [PA] Graham An Easterly Breeze 1887 {1887} NGV [PA] Graham After the Massacre at Glencoe 1889 {1889} NGV [PA] Adept at depicting atmosphere, the artist became particularly renowned for his dramatic views of the Scottish highlands such as Wandering Shadows (Edinburgh, National Galleries of
Gow, Andrew Carrick (1848-1920; English) No Surrender 1879 Oil on canvas, 91.8 x 137.5 cm Gift of Dugald McDougall, 1879 National Gallery of Victoria (p.307.5-1) This gloomy representation of an episode from the Battle of Ligny (1815) shows French troops cornered by Prussian forces. The canvas is clearly in poor condition, and is not currently on display. NGV
Gotch, Thomas Cooper (1854-1931; English) Mental Arithmetic 1883 Oil on canvas, 153.5 x 123.0 cm Gift of J.S.Gotch, 1884 National Gallery of Victoria (p.309.5-1) This illustration of folk wisdom was painted in Newlyn, Cornwall. Later, after a trip to Italy, Gotch’s style moved in a more stylized direction, exemplified by his striking child portrait, My crown and
Gordon-Frazer, Charles (1863-99; British/Australian) John Blyth, Esq. Oil on canvas, c. 162.6 x 106.7 cm (64” x 42”) Presented by subscribers, 1890 Unidentified; present location unknown The sitter (1824-1908) came to Victoria in 1852, and established himself as a successful businessman in Melbourne from the early 1860s; in the 1880s, he was Chairman of the
Gordon-Frazer, Charles (1863-99; British/Australian) Benjamin Cowderoy 1890 Oil on canvas, 235 x 145 cm Presented by the Melbourne Chamber of Commerce 1890 State Library of Victoria (H141869) Cowderoy (1812-1904) was a magistrate and businessman who arrived in Melbourne in 1852, and was elected to the first council of St Kilda in 1857. His grave at the St Kilda
Works included in this catalogue Gordon-Frazer Benjamin Cowderoy 1890 {1890} SLV? [PA] Gordon-Frazer John Blyth {1890} Loc? [PA] Gordon-Frazer travelled widely in the Pacific and South East Asia from 1885 onwards, dying of blackwater fever in Siam (Thailand) at the age of only 36. Shortly after the two portraits noted above entered the Melbourne collection
Goodall, Frederick (1822-1904; English) Rachel Going to the Well 1867 Oil on canvas, 153.5 x 109.0 cm Purchased, 1867 National Gallery of Victoria (p.300.12-1) Goodall, a member of a family of artists, pursued a highly successful career, specializing mainly in Egyptian subjects. NGV 1894 and 1905 both state that this work is a replica, commissioned by
Glover, S. (details unknown) Scene in the North of England Panel, c.20 x 30 cm Presented by William Malcolm, 1870 Unidentified; present location unknown This small panel was listed in NGV 1894 as presented in 1870, but it does not appear in the gallery’s annual report for that year, or NGV 1905. Further details have yet
Gebler, Friedrich Otto (1838-1917; German) Study of a wild boar Oil on paper, 15.6 x 24.5 cm Purchased, 1891 National Gallery of Victoria (p.392.122-1) This work was acquired as the work of Clara Folingsby: see Folingsby (C.) Oil studies {1891} NGV/Loc? [PA]. However, it was later recognized as by Gebler, a specialist in animal painting.
Fuller, Florence Ada (1867-1946; Australian) Barak: last chief of the Yarra Yarra Tribe of Aborigines 1885 Oil on board, 62.2 x 46.9 cm Gift of Mrs Anne Fraser Bon, 1901 State Library of Victoria (H24649) For William Barak (1824-1903), see linked artist entry, and separate entries on two of his paintings acquired for the Melbourne collection prior
Frost, William Edward (1810-77) Samson slaying a Philistine Oil on canvas, c.195 x 99 cm Purchased, 1874; de-accessioned and sold at auction, 1941 Unidentified, present location unknown A large work, this canvas showed “two life-size figures,” according to the gallery’s annual report for 1872; it was listed in NGV 1894, but not the 1905 catalogue.
Frère, Pierre Edouard (1819-86; French) Cottage Interior Oil on canvas, c.28 x 25.5 cm (11” x 10”) Purchased, 1872 (advice of John Ruskin) Present location unknown [photo: work as reproduced in NGV 1905] A typical 19th-century genre painter in the Dutch tradition, Frère was praised extravagantly by Ruskin (NGV advisor 1871-2), who compared him with
Fox, Emmanuel Phillips (1865-1915; Australian) The Landing of Captain Cook at Botany Bay, 1770 1902 Oil on canvas, 192.2 x 265.4 cm Gilbee Bequest 1902 National Gallery of Victoria (119-2) John McDonald (2008) calls this “without doubt the most lifeless and boring picture Fox ever painted.” However Ruth Zubans, in a detailed discussion in her 1995