C1862

Wesleyan Church Melbourne.

Artist:

Samuel Thomas Gill (1818 - 1880)

Engraved view of the Wesleyan Church in Lonsdale Street, designed by Mr. Joseph Reid. Wesley Church, in Lonsdale Street was built in 1858. The Superintendent, Daniel Draper, strongly proposed a grand gothic design with high quality architecture. This design was … Read Full Description

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S/N: VILL-VM-0224–199754
(C051)
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Details

Full Title:

Wesleyan Church Melbourne.

Date:

C1862

Artist:

Samuel Thomas Gill (1818 - 1880)

Engraver:

Arthur Willmore 
(1814 – 
1888)

Condition:

In good condition.

Technique:

Hand coloured engraving.

Image Size: 

115mm 
x 130mm

Paper Size: 

277mm 
x 207mm
AUTHENTICITY
Wesleyan Church Melbourne. - Antique Print from 1862

Genuine antique
dated:

1862

Description:

Engraved view of the Wesleyan Church in Lonsdale Street, designed by Mr. Joseph Reid.

Wesley Church, in Lonsdale Street was built in 1858. The Superintendent, Daniel Draper, strongly proposed a grand gothic design with high quality architecture. This design was criticised by many Wesleyans as too ornate, too Gothic and too Anglican for a Wesleyan Church. However, Draper’s design prevailed. The foundation stone was laid on 2 December 1857, and the Church was opened on 26 August 1858.

Biography:

Samuel Thomas Gill (1818-1880)

S.T.Gill as he is often now known, was born at Somerset, England, the son of Rev. Samuel Gill, Baptist minister, and educated at Plymouth in a school kept by his parents, and later at Dr Seabrook’s academy. His father taught him drawing and he was later employed in London as ‘Draftsman and Water Colour Painter’ by the Hubard Profile Gallery, an establishment which produced silhouettes.

He arrived in South Australia in 1839 and by March 1840 he had established a studio in Gawler Place, Adelaide, which was open from ‘eleven till dusk‘; he offered to produce portraits of human beings, horses and dogs, and to sketch houses and transfer the sketches ‘to paper suited for home conveyance‘. In 1846 he accompanied the expedition Horrocks which reached the head of Spencer Gulf. 

In 1852 Gill travelled to the Victoria and in the next twenty years produced drawings, watercolours and lithographs of scenes of the Victorian and New South Wales gold fields. After 1870 Gill fell into obscurity and on 27 October 1880 he collapsed in Post Office Place, Melbourne, and was found to be dead when taken to hospital.

Gill’s legacy is a large body of work which portrayed life during the greatest gold boom the world had seen.


Arthur Willmore (1814–1888)

Wilmore was born at Birmingham on 6 June 1814, brother of James Tibbitts Willmore, by whom he was trained. He became an engraver, excelling chiefly in landscape work. He was extensively employed and executed many plates for the ‘Art Journal’ from pictures by Collins, Cooke, Creswick, Rubens, Stanfield, Turner, Van Dyck, and others. His most important work was ‘The Return of the Lifeboat,’ after E. Duncan, engraved for the Art Union, 1878. Willmore frequently exhibited at the Royal Academy between 1858 and 1885. 
He died on 3 Nov. 1888.

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