-
‘The Breaking of the Web’: William Holman Hunt’s two early versions of The Lady of Shalott
The mid-nineteenth-century English artists known as the Pre-Raphaelites are represented in the collection of the National Gallery of Victoria by a group of important paintings and works on paper.
-
Look homeward Angel: Marshall Claxton’s emigrant
Marshall Claxton’s painting An emigrant’s thoughts of home (1859) (
-
This edition of the Art Bulletin of Victoria 33 features essays that examine a wide range of works from the NGV’s collectio
Edition 33
This edition of the Art Bulletin of Victoria 33 features essays that examine a wide range of works from the NGV’s collectio
-
Tintoretto’s Doge Pietro Loredano at the National Gallery of Victoria: the earlier version?
The eighty-five-year-old magistrate is shown without the stiff formality of many dogal portraits, almost as though he was ready to converse with the viewer.1 Ε. Pillsbury &
-
The art of Frederick McCubbin: a view of his materials and technique
A knowledge of the techniques and materials used by Frederick McCubbin throughout his career, together with a careful examination of the artist’s paintings, reveals McCubbin’s late work to be as technically complex…
-
Prints of fortune: Hubert Herkomer’s 1891–92 etching purchases for the National Gallery of Victoria
In 1891 and 1892 the National Gallery of Victoria, then an institution barely thirty years old, purchased a group of sixty-four original old master and nineteenth-century engravings and etching
-
A pioneer of Australian picture framing: an introduction to the work of Lillie Williamson
A knowledge of picture frames can prove invaluable to an art historian seeking to date a painting or to confirm aspects of its provenance
-
Contributions to the study of the Melbourne Triptych. II: The miracle of the loaves and fishes, The Raising of Lazarus, The Rest on the Flight to Egypt and St Peter
This study, which follows on from that of the left wing of the Melbourne triptych, the Marriage at Cana (fig. 1a),1
-
Everard Studley Miller and his bequest to the National Gallery of Victoria
When Everard Studley Miller died aged sixty-nine on 5 July 1956, the major beneficiary of his £262 940 estate was the National Gallery of Victor
-
This edition of the Art Bulletin of Victoria 37 encompasses essays discussing works from a variety of areas of the NGV’s collection: Ann Galbally and Robyn Sloggett investigate John Peter…
Edition 37
This edition of the Art Bulletin of Victoria 37 encompasses essays discussing works from a variety of areas of the NGV’s collection: Ann Galbally and Robyn Sloggett investigate John Peter…
-
Félix Nadar’s Alexandre Dumas père
In 1995, the National Gallery of Victoria’s Women’s Association generously provided funds to enable us to acquire a substantial group of rare and important nineteenth-century French photo
-
Head covering of the mummy of Pedehorpasheriesi
This head covering shows the deceased, Pedehorpasheriesi, whose name is given on the fillet that decorates the headdress
-
John Henry Connell: the man and his collection
The National Gallery of Victoria’s Connell Collection provoked great excitement when first exhibited in 19
-
Thea Proctor in London 1910–11: her early involvement with fashion
‘Clothes,’ said Miss Proctor, sitting in that white-walled studio of hers where the woodcuts make such attractive spashes [sic] of yellow and magenta and vermilion, ‘fashionable clothes are too much t
-
Zoffany as punster and prankster: some comments on his David with the head of Goliath
In about 1750 the young Johan Zoffany1He was born Johann Joseph Zauffalӱ at Frankfurt-am-Main in 1733, the son of the Bohemian-born Franz Zauffalӱ, who was originally a cabinet-maker, but later…