Title
Ullswater, early morning
circa 1824
Artist
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Details
- Other Title
- Ullswater from Patterdale
- Date
- circa 1824
- Media category
- Painting
- Materials used
- oil on canvas
- Dimensions
- 78.5 x 115.5 cm stretcher; 97.0 x 137.5 x 12.5 cm frame
- Signature & date
Not signed. Not dated.
- Credit
- Purchased 1979
- Location
- South Building, ground level, Grand Courts
- Accession number
- 164.1979
- Copyright
- Artist information
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John Glover
Works in the collection
- Share
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Exhibition history
Shown in 7 exhibitions
British Institution Spring exhibition (1825), British Institution, London, 1825–1825
The second exhibition of the Society of British artists, Royal Society of British Artists, London, 1825–1825
Three years on: acquisitions 1978-81, Art Gallery of New South Wales, Sydney, 15 Oct 1981–01 Dec 1981
John Glover and the Colonial Picturesque, Tasmanian Museum and Art Gallery, Hobart, 27 Nov 2003–01 Feb 2004
John Glover and the Colonial Picturesque, Art Gallery of South Australia, Adelaide, 19 Feb 2004–12 Apr 2004
John Glover and the Colonial Picturesque, National Gallery of Australia, Canberra, 24 Apr 2004–18 Jul 2004
John Glover and the Colonial Picturesque, Ian Potter Centre: NGV Australia, Melbourne, 13 Aug 2004–03 Oct 2004
Constable: Impressions of land, sea and sky, National Gallery of Australia, Canberra, 03 Mar 2006–12 Jun 2006
European Old Masters 16th-19th Century from the Art Gallery of New South Wales, Hazelhurst Arts Centre, , 28 Sep 2017–03 Dec 2017
Grand Courts collection rehang, Art Gallery of New South Wales, Sydney, Nov 2021–2023
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Bibliography
Referenced in 14 publications
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John McPhee. Australian Collection 1., Art Gallery of New South Wales collection series, 'John Glover: Ullswater from Patterdale', Sydney, 1981, colour illus..
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Edmund Capon AM, OBE, I blame Duchamp: my life's adventures in art, 'John Bull and the Little Boy at Manly', pg. 321-333, Sydney, 2009, 327, 328.
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Renée Free, Art Gallery of New South Wales catalogue of British paintings, Sydney, 1987, 69 (illus.).
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Algernon Graves (Compilator), The British Institution 1806-1867: a complete dictionary of contributors and their work from the foundation of the Institution, 'Exhibitors at the British Institution', Bath, 1969 {reprint}. Under GLOVER, John: 1825. 342 'Ulswater; early morning', 3.6 x 4.9
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Anna Gray and John Gage, Constable: impressions of land, sea and sky, Canberra, 2006, 313 (colour illus.). cat.no. A3
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David Hansen, John Glover and the Colonial Picturesque, Hobart, 2003, 47 (colour illus.), 172, 180 (colour illus.). cat.no. 48; titled 'Ullswater, early Morning'; dated c.1824
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Julia Horne, The pursuit of wonder, Carlton, 2005, 39 (colour illus.).
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Terry Ingham, The Australian financial review, 'Saleroom', Sydney, 09 Aug 1979, 17 (illus.).
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Barry Pearce, Three years on: a selection of acquisitions 1978-1981, 'Australian Art', pg. 5-26, Sydney, 1981, 14 (colour illus.). cat.no. 16
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Phillips International Auctioneers and Valuers, Catalogue of the late Lord Northwick's Extensive and Magnificent Collection of Ancient and Modern Pictures, cabinet of Miniatures and Enamels. And other Choice Works of Art, and the Furniture, Plate, Wines, and Effects, at Thirlstane House, Cheltenham, London, 1859. probably lot no. 1154, 'View of Ulswater - morning'
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Michael Rosenthal, The Burlington Magazine, 'John Glover: Hobart and Adelaide', pg. 289-290, London, Apr 2004, 290 (colour illus.). Review of the John Glover retrospective organised by the TMAG.
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Anne Ryan, Australian art: in the Art Gallery of New South Wales, 'Colonial eyes', pg. 17-18, Sydney, 2000, 18, 22 (colour illus.), 300.
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Unknown, Sunday Times Culture, 24 Sep 2006, (illus.).
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Hours in Lord Northwick's Picture Galleries: being a catalogue with critical and descriptive notices of some of the principal paintings in the Thirlestane House collection, Cheltenham, London, 1854. probably cat.no. 705, 'View of Ulswater [sic]: Morning'
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Provenance
British Institution, 1825, London/England, Most likely exhibited at the Spring Exhibition held at the British Institution in 1825, cat.no. 342, 'Ulswater; early morning', 3.6 x 4.9
John Rushout, 2nd Lord Northwick, pre 1854-1859, Cheltenham/Gloucestershire/England, Described in the catalogue 'Hours in Lord Northwick's picture gallery: being a catalogue with critical and descriptive notices of some of the principal paintings in the Thirlestaine House collection, Cheltenham', published by Henry Davies, Montpellier Library & Hall and Virtue, London, 1854: 705. 'View of Ulswater [sic]: Morning'. Glover. This and No. 713 form a pair. They are accurate deliniations of the scenery represented, with its atmosphere of lights and shadows forthfully preserved - the treatment and manner quite in the style of this once popular artist.
Phillips International Auctioneers and Valuers, 26 Jul 1859-16 Aug 1859, Cheltenham/Gloucestershire/England, Sold through Phillips International Auctioneers and Valuers at the sale 'Catalogue of the late Lord Northwick's Extensive and Magnificent Collection of Ancient and Modern Pictures', at Thirlstaine House, Cheltenham, held 26 July - 16 August 1859, lot no. 1154 'View of Ulswater - morning', to Sir Thomas Phillips, Worcester.
Thomas Phillips, post 16 Aug 1859-pre 1872, Cheltenham/Gloucestershire/England, Purchased by Sir Thomas Phillips from the sale 'Catalogue of the late Lord Northwick's Extensive and Magnificent Collection of Ancient and Modern Pictures', through Phillips International Auctioneers and Valuers at Thirlstaine House, Cheltenham, held 26 July - 16 August 1959, lot no. 1154. Possibly sold at at auction 'Pictures at Middle Hill, 1862' through Phillips International Auctioneers and Valuers, held at Middle Hill, Worcester, 1862, lot no. 40. Sir Thomas's estate of Middle Hill was a modest late 18th-century house situated near Broadway, Worcester, and was Phillipps's home from early childhood until 1863, when an escalating feud with his son-in-law James Orchard Halliwell-Phillipps (on whom the estate was entailed) precipitated Sir Thomas's removal to Thirlstaine House, Cheltenham.
James McKinnon, post 1872-pre 1979, London/England, Purchased by the Art Gallery of New South Wales from James McKinnon. McKinnon was unable to provide any further information regarding provenance of the work.
