Terms and Conditions
The artist, title and date of the work must be listed anywhere the image is reproduced:
Hermann Baisch
Dutch pastures, morning 1885
oil on canvas
81.4 × 141.2 cm
National Gallery of Victoria, Melbourne
Purchased, 1888
Photo: National Gallery of Victoria, Melbourne
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Dutch pastures, morning
1885
Medium
oil on canvas
Measurements
81.4 × 141.2 cm
Credit Line
National Gallery of Victoria, Melbourne
Purchased, 1888
Gallery location
Not on display
Artwork Details
Inscription
inscribed in black paint l.r.: Hermann Baisch. / 1885.
Accession Number
p.313.5-1
Department
International Painting
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Dame Carol Colburn-Grigor CBE through Metal Manufactures Limited
Subjects (general)
Agriculture Animals
Subjects (specific)
agricultural land cattle fences (site elements) flat landscapes grazing areas morning Netherlands (nation) pastures
Provenance
With Captain C. Wageman RE, by 1887[1]; exhibited German Art Gallery, Melbourne Centennial International Exhibition, Melbourne, 1888–89, no. 8; from where purchased for the NGV, 1888.
[1] Wageman, an engineer by trade, was the Melbourne agent for the German artists exhibited. See ‘Pictures for Australia’ in The Australasian, Saturday 5 September 1891, p. 24, accessed http://nla.gov.au/nla.news-article140709181.
Exhibited: German Art Gallery, Melbourne Centennial International Exhibition, Melbourne, 1888–89, no. 8; loaned as part of an ‘interchange of paintings’ between Melbourne, Sydney and Adelaide to the Art Gallery of South Australia, Adelaide, 1894–95[1].
[1] One of six Victorian loans to Adelaide. See ‘The Interchange of Pictures’, in Evening Journal, Tuesday 7 August 1894, p. 3, and; ‘Interchange of Loan Pictures’ in The Sydney Morning Herald, Saturday 8 June 1895, p. 10.
Frame
Original, by Konrad Barth & Comp., Munich
Frame
This frame, when returned from long-term loan, had not been altered from the time the painting was fitted. The nails used to locate the painting, though original, had pierced the canvas of the tacking edges. This use of nails remains a common, though destructive, approach to securing the painting in the frame. The frame is one of a number of German frames in the collection, all characterized by crisp ornament, achieved with cast plaster mouldings.2
Notes
1 The small label on the reverse transcribes: KONRAD BARTH & COMP. MUNCHEN. Vergolderwaaren-Geschaft.
2 See entries for Radspieler and Suckow.
Frame Details
Framemaker
Konrad Barth & Comp.
München
Date
1885
Materials
The frame uses cast plaster and composition ornament on a wooden chassis. The slip has been assembled after gilding. The corners are joined with dovetail splines. The mitres are cut through the ground layer. The frame is gilded with gold leaf in both matte and burnished finishes. The matte areas appear to carry a size layer. The burnished areas are on a grey bole. No bole is evident on the cast ornaments. The inner frieze is likely to be from composition to facilitate meeting the curve of the ogee. The leading edge ornament is imbricated laurel and berry, banded at the corners and cross-banded at the centres. The frieze ornament is mitred at the corners and, interestingly, carries an undercut leaf along its top edge. These leaves may be separate pieces added to the section to create an impressive sense of moulding. The mitred corners of the wooden chassis are re-enforced with triangles on the reverse.
Frame Condition
There are some losses in the cast ornament but the surface is largely original.
Dimensions
122.5 x 182.0 x 15.0; sight 79.0 x 138.5 cm