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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Lady Barkly, 1863

Batchelder & O'Neill

albumen silver carte de visite (support: 10.7 cm x 6.2 cm, image: 9.0 cm x 5.7 cm)

More images of this artwork

British botanist, Anne Maria Barkly née Pratt (c. 1838–1932) collected and drew plant specimens while accompanying her husband, Sir Henry Barkly, on his governing duties abroad. Following Sir Henry’s time as Governor of Victoria from 1856 to 1863, Lady Barkly accompanied her husband and his daughter by his first wife, Emily, to South Africa to assume the position of Governor of Mauritius (1863-1870). It was here that Lady Barkly corresponded with Sir Joseph Dalton Hooker at Kew Gardens about the plants of the island. In 1870, she journeyed to South Africa to join her husband in his newly appointed position as the Governor of the Cape of Good Hope. During their seven year stay on the Cape, Lady Barkly along with step daughter Emily Blanche Barkly made drawings of the plants that Sir Henry collected. Copies of their drawings of Stapeliae (odoriferous succulents in which her husband was very interested) were sent with Sir Henry’s descriptions of the living plants to Kew Gardens. Lady Barkly also collected plants herself, mainly pteridophyta. In 1875, she compiled and published A Revised List of the Ferns of South Africa. A set of her ferns was arranged at the Albany Museum in 1890. She is listed in the Dictionary of British and Irish Botanists, as is her step-daughter. In 1860, Nicholas Chevalier designed a fancy-dress costume for the new Lady Barkly, trimmed with sheepskin and gemstone nuggets, appliqued with fern motifs and accessorised with a lyrebird-inspired fan. In this carte de visite, Lady Barkly is depicted in day dress with double-puff bishop sleeves, her small, elegant hat with frill detail perched on top of her head. The detailing of her fur-trimmed shawl is reflected in the mirror behind, while her hands rest gently on a lace shawl with leaf motif.

The preeminent Melbourne photographic firm Batchelder & O’Neill had its origins in the studio founded on Collins Street in 1854 by the Massachusetts-born photographer Perez Mann Batchelder (1818–1873), who had come to Victoria after several years in California. Batchelder’s brothers Benjamin (1826–1891), Nathaniel (1827–1860) and Freeman (life dates unknown) joined him in Melbourne in February 1856. The firm promised ‘Portraits taken on Glass and Silver Plates by the Collodion and Daguerreotype Process, in the highest perfection of the art’ and ‘in a style surpassed by none in the colonies’. The studio also offered tuition in photography and ‘supplied [the trade] with apparatus and materials of every description.’ Perez Batchelder left Victoria in 1857 and another American, Daniel O’Neill, joined the business. By late 1864, Batchelder & O’Neill – with O’Neill as sole partner – had relocated to Swanston Street. O’Neill later moved to Sydney, where in April 1868 he advertised the availability of his carte de visite of the Duke of Edinburgh’s would-be assassin Henry O’Farrell a week before his execution. Meanwhile, Perez Batchelder had returned to Boston, where he died in 1873. By 1866 the old firm no longer existed, but other photographers traded under the names ‘Batchelder’s Portrait Rooms’ and ‘Batchelder & Co.’ from 1866 to 1895.

Collection: National Portrait Gallery
Purchased 2014

Accession number: 2014.53

Currently not on display

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Artist and subject

Batchelder & O'Neill

Lady Anne Maria Barkly (age 25 in 1863)

Subject professions

Public identity

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill

A real Pratt

Magazine article by Dr Sarah Engledow, 2015

The death of a gentlewoman is shrouded in mystery, a well-liked governor finds love after sorrow, and two upright men become entangled in the historical record.

Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill

Carte-o-mania!

Previous exhibition, 2018

Drawn from the NPG’s burgeoning collection of cartes de visite, Carte-o-mania! celebrates the wit, style and substance of the pocket-sized portraits that were taken and collected like crazy in post-goldrush Australia.

The National Portrait Gallery
The National Portrait Gallery
The National Portrait Gallery

The Gallery

Explore portraiture and come face to face with Australian identity, history, culture, creativity and diversity.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.