Collection Online

Shepherdess with sheep and goats

oil on wood panel
41.0 × 70.1 cm
Place/s of Execution
Munich, Bavaria, Germany
inscribed (diagonally) in black paint l.r.: A. Braith / Munchen / 1874
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Gift of John H. Connell, 1914
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
Gallery location
19th Century European Paintings Gallery
Level 2, NGV International

Collection of John H. Connell (1860–1952), and his wife Emily (1864–1913), Melbourne, until her death, 1913; gift of John H. Connell, to the NGV, 1914.

Antoine Vollon’s still life compositions married the direct depiction of simple foods and utensils with a handling that reflected careful study of the painting techniques of seventeenth-century Spanish and Dutch old masters. From the mid 1860s onward, Vollon’s aintings drew regular crowds at the annual Paris Salons, critical accolades, and a flood of commissions. His success was such as to ignite rumours of his happy disregard – letters unanswered, cheques ignored – for the many collectors seeking his work.


Shepherdess with sheep and goats 1874
J. Harrison
85 Burwood Road, Hawthorn,
Melbourne 1
1898–9, 1902–9

The frame is made up from a timber profile and composition decorative work. The flutes of the inner scotia appear to be carved in the timber while other decorative elements are composition. The inner and outer cove and adjacent cavetto are burnished water gilding. The remainder of the frame appears to be oil gilded.


The frame has been extensively over-painted and repaired, leaving the true intention of the surface appearance ambiguous.

71.6 x 99.8 x 9.0 cm; sight 40.4 x 68.5 cm
Shepherdess with sheep and goats 1874 Anton BRAITH
Shepherdess with sheep and goats 1874 (colourman)

Given the difference in date between the painting and the frame this is unlikely to be the first framing of the painting. The frame most likely reflects the taste of the previous owner. The convex curve to the outer edge, the centering of the torus on the profile along with the unusual scale overall make this an interesting variant of the popular neo-classical-style frame by a Melbourne framer other than Thallon.


1 The company is listed at the 85 Burwood Rd address from 1898–9 and 1902–9; the frame could date to any year within this range (Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999).