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Napier Waller

Recorded 1965

Margaret Anderson, 1942

Collection: National Portrait Gallery
Purchased 1999

Lenny, 2019

Christian Waller, c. 1920s

Gift of an anonymous donor 2022

a Traveller (2nd Baron Lamington), 1892

Purchased 2015

The line of fire

Michelle Fracaro examines the life of World War II nurse Margaret Anderson, whose portrait by Napier Waller is in the NPG collection.

Enigma

Grace Carroll contemplates the curious case of Christian Waller.

Double Portrait: Vida and Marie Breckenridge (study), 1999

Gift of Marie Breckenridge 2004

Promise Fulfilled

The life and achievements of Sir Edward Holden, who is represented in the portrait collection by a bust created by Leslie Bowles.

Matthew Burnett, c. 1865

Collection: National Portrait Gallery
Purchased 2015

First Ladies

First Ladies profiles women who have achieved noteworthy firsts over the past 100 years.

Arianne McNaught

I think the most important thing in capturing candid shots is to never take the photo when people are expecting you to press the shutter. The more poignant moments are not the stock standard images of people looking at the camera smiling but after or before when they are really interacting with each other.

In the galleries

Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.

National Photographic Portrait Prize 2020

The exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

All dressed up

Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?

Time and light

This sample of 56 photographs takes in some of the smallest photographs we own and some of the largest, some of the earliest and some of the most recent, as well as multiple photographic processes from daguerreotypes to digital media.

Arianne McNaught

An interview with the photographer.

The personal and the historical

Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.