Collection Online
Dutch pastures, morning
oil on canvas
81.4 × 141.2 cm
inscribed in black paint l.r.: Hermann Baisch. / 1885.
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Purchased, 1888
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
Not on display

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

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.


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


1 The small label on the reverse transcribes: KONRAD BARTH & COMP. MUNCHEN. Vergolderwaaren-Geschaft.

2 See entries for Radspieler and Suckow.

Konrad Barth & Comp. München1

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.


There are some losses in the cast ornament but the surface is largely original.

122.5 x 182.0 x 15.0; sight 79.0 x 138.5 cm