Edmond John (Ned) Hogan (1883-1964), farmer and premier, left school early and engaged in road-making, timber-cutting, farm-labouring and rabbiting in addition to farm chores at home.
1 portrait in the collection
Collection: National Portrait Gallery
Purchased 2012
Lady Florence Packer (1915-2012) was born in Paris to Edmond Porges, a major in the British Army, and his Russian wife Marie-Mathilde Brodsky.
1 portrait in the collection
Collection: National Portrait Gallery
Gift of Lady Florence Packer 2004
John Allan (1866-1936) was a Deakin shire-councillor for many years and president in 1914-15.
1 portrait in the collection
Tony Adam (b. 1938) model, grazier and farmhand, grew up in Melbourne and attended Melbourne Grammar school, but left when he was sixteen.He went to work on Angledool and Llanillo stations in outback New South Wales and Queensland.
1 portrait in the collection
George Michael Prendergast (1854-1937), printer and premier, was born to an Irish goldminer and his wife and was apprenticed to the printer of the Pleasant Creek News in 1868.
1 portrait in the collection
Sir Stanley Seymour Argyle (1867-1940), premier and medical practitioner, studied medicine at the University of Melbourne and at King’s College, London.
1 portrait in the collection
Facing Memory: Headspace 4 provides us with valuable insights into the thoughts, creative processes and art-making practices of secondary students from Year 7 to Year 12 from sixty-two schools in the Australian Capital Territory, regional New South Wales and Victoria
This year (in March) we will celebrate the twentieth anniversary of the formal establishment of the National Portrait Gallery. In the life of institutions, twenty years is not a long time.
The oil portrait of Sir Frank Packer KBE by Judy Cassab was gifted to the National Portrait Gallery in 2006.
Barry York charts the course from childhood request to autographed celebrity portrait anthology.
Jane Raffan examines unique styles of Indigenous portraiture that challenge traditional Western concepts of the artform.
Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.