This study arose from an encounter with some paintings (still lives, Madonnas and other religious or genre scenes of mainly seventeenth-century Northern European origin) at the Queensland Art Gallery in 2012. They were intriguing because they were part of a bequest by squatter and colonial parliamentarian Thomas Lodge Murray-Prior (1819-92), which formed the nucleus of the original Queensland Art Gallery collection when it opened in 1895. Little is known about them, but they raise questions: What part did they play in the life of the donor? Did he collect them merely to burnish his reputation? Were they hung in a town house or in the bush? How did they enter the collection of the Queensland Art Gallery and what reception did they receive? What subsequent use has been made of them? This article examines the collection and the role it played in Murray-Prior's life, arguing that it is a coherent collection of Northern European art and more than a status symbol. Furthermore, it has much to say about a period that saw the development of art collecting and exhibiting. As such, it is the perfect foundation for an art gallery in colonial Australia.

中文翻译：

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昆士兰殖民时期的艺术品味：昆士兰美术馆基础遗赠 Thomas Lodge Murray-Prior

他们在捐赠者的生活中扮演了什么角色？他收集它们只是为了提高他的声誉吗？他们是挂在联排别墅还是灌木丛中？他们是如何进入昆士兰美术馆的收藏的，他们受到了怎样的接待？它们后来有什么用途？本文考察了该收藏品及其在 Murray-Prior 生活中所扮演的角色，认为它是北欧艺术的连贯收藏品，而不仅仅是身份的象征。此外，它对见证艺术收藏和展览发展的时期有很多话要说。因此，它是澳大利亚殖民地艺术画廊的完美基础。关于艺术收藏和展览的发展时期，它有很多话要说。因此，它是澳大利亚殖民地艺术画廊的完美基础。关于艺术收藏和展览的发展时期，它有很多话要说。因此，它是澳大利亚殖民地艺术画廊的完美基础。