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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.

MacKenzie family silhouette

All there in black and white

Magazine article by Dr Sarah Engledow, 2007

The National Portrait Gallery acquired a beguiling silhouette group portrait by Samuel Metford, an English artist who spent periods of his working life in America.

Sir William Charles Windeyer

Private virtues public lives

Magazine article by Joanna Gilmour, 2010

Family affections are preserved in a fine selection of intimate portraits.

Portrait of George Selth Coppin

The Multifarious Career of George Selth Coppin

Magazine article by Dr Sarah Engledow, 2004

George Selth Coppin (1819-1906) comedian, impresario and entrepreneur, was a driving force of the early Australian theatre.

Wesley Enoch and David McAllister

Splendid, many-splendoured

Magazine article by Sandra Bruce, 2021

Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.

The artist and her family, c. 1854 by Martha Berkeley

Presence and absence

Magazine article by Joanna Gilmour, 2018

The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.

A Goldfields Member

Showing character

Magazine article by Joanna Gilmour, 2016

Joanna Gilmour on Tom Durkin playing with Melbourne's manhood.

Self-portrait with bowler hat, 1885–6 by Paul Cézanne

Hail Cézanne

Magazine article by John Elderfield, 2017

John Elderfield lauds the portraiture of Paul Cézanne, the artist described by both Matisse and Picasso as ‘the father of us all’.

Puberty, 1984

Personal Politics

Magazine article by Dr Frances Borzello, 2001
Dr Frances Borzello, British art historian and author discusses the uniqueness of women's self-portraits.
Tracey

Sophisticated and glamorous

Magazine article by Amanda Rowell, 2015

Michael Riley’s early portraits by Amanda Rowell.

A woman of New South Wales, c. 1840

More cash than dash

Magazine article by Joanna Gilmour, 2011

Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.

Venetia, Lady Digby, circa 1633-1634 by Sir Anthony van Dyck

Love in the extreme

Magazine article by Joanna Gilmour, 2020

Joanna Gilmour reveals love’s more intense manifestations in the tale of Lord Kenelm and Venetia Digby.

Osher, 2018 by Stephen Baccon

Snap chat

Magazine article by Anne O'Hehir, 2019

2019 National Photographic Portrait Prize judge Anne O’Hehir looks beneath the surface of this year’s entries.

Lady Barkly

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.

Karl Robert, Count Nesselrode, 1818 by Sir Thomas Lawrence

The Lawrence lustre

Magazine article by Angus Trumble, 2019

Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.

Thomas Sutcliffe Mort and his wife Theresa

Tiny Trace of a Colonial Giant

Magazine article by Dr Sarah Engledow, 2004

At just 7.8 x 6.2 cm, the daguerreotype of Thomas Sutcliffe Mort and his wife Theresa is one of the smallest works in the collection of the National Portrait Gallery.

Captain W Kinghorne

The bright-eyed Mariner

Magazine article by Dr Sarah Engledow, 2008
A new colonial portrait brings a zealous captain near.
© National Portrait Gallery 2022
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Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
Fax +61 2 6102 7001
ABN: 54 74 277 1196

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 past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency