Terms and Conditions
The artist, title and date of the work must be listed anywhere the image is reproduced:
Sam Bough
The weald of Kent 1857
oil on canvas
123.0 × 183.8 cm
National Gallery of Victoria, Melbourne
Purchased, 1871
Photo: National Gallery of Victoria, Melbourne
Where possible, the image must be reproduced in full (no cropping or over-printing). If you wish to use a detail of the work, a full reproduction of the work must also be reproduced elsewhere in the publication.
While the NGV believes this work to be in the Public Domain, it is the responsibility of the publisher to ensure that no further permissions are required for use.
For a complete list of terms and condition of use see the National Gallery of Victoria’s copyright policy.
Artwork Details
Inscription
inscribed in brown paint l.c.: Sam Bough / 1857
inscribed in pen and brown ink on paper label on reverse u.c.: The Weald of Kent. / Sam Bough ARSA
inscribed in pen and brown ink on paper label on reverse u.c.: 6344 / Captn (n underlined) Gourlay / Hobart Town / New South Wales
Accession Number
p.303.3-1
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)
Human Figures Landscapes
Subjects (specific)
domestic sheep (species) horse (species) Kent (county) United Kingdom (nation) wagons (cargo vehicles) Weald, The (general region) windmills
Provenance
Exhibited Royal Scottish Academy, Edinburgh, 1858, no. 514, lent by the Association for the Promotion of the Fine Arts in Scotland; Exhibition of Scottish Art Union Pictures, rooms of Mr Walesby, no. 5 Waterloo Place, London, June 1858; Glasgow Art Union prize, 1859, won by Captain Gourlay; his collection, Hobart, 1859–71[1]; offered for sale through McMeckan, Blackwood & Co. (dealer), Melbourne, December 1871; from where purchased for the NGV, 1871.[2]
[1] Arrived Hobart, January 1859. See ‘The Fine Arts’, in The Courier, Hobart, Saturday 8 January 1859, p. 2, accessed http://nla.gov.au/nla.news-article2466148
[2] See ‘Tuesday January 2 1872’, in The Argus, Melbourne, Tuesday 2 January 1872, p. 4–5, accessed http://nla.gov.au/nla.news-article5858392
Exhibited: Royal Scottish Academy, Edinburgh, 1858, no. 514, lent by the Association for the Promotion of the Fine Arts in Scotland; Exhibition of Scottish Art Union Pictures, rooms of Mr Walesby, no. 5 Waterloo Place, London, June 1858; Exhibition of Art Treasures, Hobart, 1862, no. 197, lent by Captain Gourlay[1]; The First Fifty Years: Nineteenth Century British Art from the Gallery Archives, NGV, Melbourne, 1992; Hidden Treasures, David Jones Art Gallery, Sydney, 1992.
[1] See ‘Exhibition of Art Treasures’, in The Mercury, Hobart, Tuesday 23 December 1862, p. 5, accessed http://nla.gov.au/nla.news-article8813855
Frame
Original, John Thallon, Melbourne, surface not original
Frame
The painting dates from 1857, it was acquired in 1871 and the frame dates from the early 1880s. The series of dates outlined here offer an interesting perspective on some of the issues associated with framing of paintings in public collections. To date there is no record of the painting coming into the collection in a frame, though it is difficult to imagine it did not. The early purchases were often framed when acquired but equally there are records of accounts for frames being provided to the gallery from the 1870s. We should see this current framing as a re-framing by the gallery some ten years or more after purchase and reflective of the on-going challenge presented by this approach to the framing of paintings.
Frame Details
Framemaker
J. & T. Thallon
Melbourne
Date
1882-8
Materials
This neo classical fluted frame uses composition decoration on a wooden base. It uses a laurel and berry torus ornament and a fluted inner scotia. The working edge is made by the addition of a strip of timber to the base profile, which is the common construction method. The slip fits into a shallow rebate, commonly used to securely house glass, allowing the slip to form a space between the glass and the painting. The overall section, when the slip is included, is broad for frames of this type.
Frame Condition
The surface of the frame is not original. It has been re-gilded throughout.
Dimensions
175.0 x 235.5 x 14.0 cm; sight 121.5 x 181.5 cm