Terms and Conditions
The artist, title and date of the work must be listed anywhere the image is reproduced:
Charles Conder
While daylight lingers 1890
oil on canvas
35.7 × 56.0 cm
National Gallery of Victoria, Melbourne
Bequest of Mrs Mary Helen Keep, 1944
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.
While daylight lingers
1890
Medium
oil on canvas
Measurements
35.7 × 56.0 cm
Credit Line
National Gallery of Victoria, Melbourne
Bequest of Mrs Mary Helen Keep, 1944
Gallery location
Not on display
Artwork Details
Place/s of Execution
Heidelberg, Victoria
Inscription
inscribed (diagonally) in red paint l.r.: ChAS (underlined) CONDER / MELBOURNE. 1890
Accession Number
1391-4
Department
Australian Painting
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
Subjects (general)
Agriculture Landscapes
Subjects (specific)
agricultural land domestic sheep (species) grass (plant material) livestock men (male humans) sheep farms trees
Movements
Australian Impressionism Heidelberg School
Frame
Reproduction, 2004, based on a frame contemporary with the painting and on photographs from 1918 and 1925
Frame
The former framing of Conder, While daylight lingers, 1890, (formerly Yarding sheep) acquired in 1944, is in the Louis XIV style. The form and finish of this frame is commonly associated with the re-framing of the French Impressionist painters and it is not hard to draw a line between the presentation of those paintings and the corresponding works of Australian art. As a framing style it reflects a shift in the presentation of paintings to suit a market.
There is ample photographic evidence for the early and often original presentation of Australian paintings of the nineteenth century. Giving pictures back the borders that were current when they were painted often brings surprising changes in our perception of space and composition.
The frame proposed was a replica of the frame from Ricketts Point. The frame was commissioned in 2004.
The chassis of the frame was machined from Queensland maple and sugar pine, gessoed and supplied as cut lengths but not joined.
The joinery, ornamentation and finishing was carried out at the NGV.
The re-framing coincided with cleaning and restoration of the painting in 2004.
The restored painting was fitted in the frame May 2005.
Frame Details
Framemaker
Reproduction - commissioned by the NGV
Date
2004
Materials
Queensland maple and sugar pine