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From Cologne to Melbourne: The watermark collection of Canon Ludwig von Büllingen
In 1994, a rare watermark album assembled in the first half of the nineteenth century by Canon Ludwig von Büllingen (1771–1848), entered the collection of the N
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Framing the future: The growth of Australian houses
In the heart of Melbourne this summer, the view from NGV’s backyard feels more like a postcard from the suburb
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Rembrandt’s watermarked papers at the National Gallery of Victoria
The National Gallery of Victoria (NGV) holds 140 prints by Rembrandt Harmensz. van Rijn, a growing collection of the artist’s intaglio works that began over 130 years ag
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In a state of constant movement
One of a series of essays featuring the answers to questions posed to artists participating in the Megacities project of NGV Triennial 2023 In this third decade of the twenty-first…
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Country without Rain
There is a painting in the NGV Collection by John Longstaff titled Gippsland, Sunday Night, February 20th, 1898.
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Ben Quilty on 150 year, Rorschach 2019
150 year, Rorschach, 2019, is a seven-panel panoramic landscape painting by leading Australian artist Ben Quilty and generously gifted through the Felton Bequest.
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Some notes on conservation
This essay was first published in NGV Triennial 2020, National Gallery of Victoria, Melbourne I read recently an article published by Michael Brune, the executive director of the Sierra Club,…
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Shining a light on low-pressure sodium lamps in DESTINY
In the second half of the DESTINY exhibition, a visitor will encounter some floor length, black curtains.
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All night long
Michael Andrews worked slowly and meticulously as a painter, producing only a handful of finished works in any given year.
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Making sense of nonsense: pseudo-script on an Italian Renaissance maiolica dish
At the Sotheby’s sale of the Pringsheim collection held in London on 7 and 8 June 1939, the Felton Bequest acquired for the National Gallery of Victoria, on the advice…
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Illuminating: conservation of neon lights
During the last few decades, the use of artificial light as a medium in artwork has increased.
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Bunyips and Dragons: Australian Children’s Book Illustrations
Illustrated storybooks are often a child’s first encounter with works of art. Most of us vividly remember the picture books we read as childre
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Guercino’s Two studies for Ahasuerus
A red chalk drawing in the National Gallery of Victoria hitherto referred to as Two turbaned men (fig
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A profile portrait of a Renaissance woman in the National Gallery of Victoria
In keeping with Dr Ursula Hoff’s own practice and with the meticulous training she has urged upon her students, this short article offers thoughts arising from an examination of a single artefactR
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William Blake’s Jerusalem: plate 51
The National Gallery of Victoria is known to Blake scholars world-wide for its unrivalled collection of Blake’s illustrations to Dante’s Divine Com