Bibliography

URSULA HOFF BIBLIOGRAPHY

BIBLIOGRAPHY – PART I: BY URSULA HOFF

While all care has been taken to present the complete list of books, articles and lectures by Dr Ursula Hoff, it is possible that some omissions may have been made.

Additions and contributions to this list are welcome through the CONTACT US page.

Manuscripts:

  • Diary, 1939, The Baillieu Library, the University of Melbourne.
  • Diaries, 1974-1992, 30 volumes, The Baillieu Library, the University of Melbourne.
  • Dr Ursula Hoff Papers and Correspondence, The Baillieu Library, the University of Melbourne.
  • Dr Ursula Hoff Papers, University of Melbourne Archives.
  • Dr Ursula Hoff Correspondence, Shaw Research Library, National Gallery of Victoria.
  • Dr Ursula Hoff Papers, Department of Prints and Drawings, National Gallery of Victoria.
  • Correspondence with Dr Hoff¹s cousin Li Carstens, Uppsala, Sweden, The Baillieu Library, the University of Melbourne.

Thesis:

  • “Rembrandt und England”, PhD diss., University of Hamburg, 1935.

Books & Exhibition Catalogues [in chronological order]:

  • Rembrandt and England. Hamburg, 1941.
  • Charles I, Patron of Artists. London: Collins, 1942.
  • Art Appreciation. Melbourne: Australian Army Education Services, 1945.
  • European Art before 1800, 1st Melbourne: National Gallery of Victoria, 1948.
  • (with Alan McCulloch, Joan Lindsay, and Daryl Lindsay) Masterpieces of the National Gallery of Victoria. Melbourne: Cheshire, 1949.
  • (with Laurence Thomas) Jubilee Exhibition of Australian Art. Sydney: Ure Smith, 1951.
  • National Gallery of Victoria: Catalogue of Selected Pictures. Melbourne: National Gallery of Victoria for the Education Department, c. 1959.
  • Charles Conder: His Australian Years. Melbourne: National Gallery Society of Victoria, 1960.
  • The Melbourne Dante Illustrations by William Blake. Melbourne: National Gallery of Victoria, 1961.
  • European Art before 1800, 2nd Melbourne: National Gallery of Victoria, 1961.
  • (and Margaret Plant) National Gallery of Victoria: Painting, Drawing, Sculpture. Melbourne: Cheshire, 1968.
  • European Art before 1800, 3rd Melbourne: National Gallery of Victoria, 1948.
  • (with Nicholas Draffin) Rembrandt 1606-1696. Melbourne: National Gallery of Victoria, 1969.
  • (and Martin Davies) Les Primitifs Flamands I: Corpus de la Peinture des Anciens Pays-Bas Méridionaux au Quinzième Siècle 12: National Gallery of Victoria. Brussels: Centre National de Recherches Primitifs Flamands, 1971.
  • Charles Conder. Melbourne: Lansdowne Press, 1972.
  • Goethe and the Dutch Interior: a Study in the Imagery of Romanticism. Sydney: Sydney University Press, 1972.
  • (with introduction by Eric Westbrook) National Gallery of Victoria. London: Thames & Hudson, 1973; reprint 1979.
  • European Painting and Sculpture before 1800, 4th Melbourne: National Gallery of Victoria, 1973.
  • The National Gallery of Victoria. London: Thames and Hudson, 1973.
  • Comments on the London Art Scene touching on changing attitudes in the art trade and on exhibition policies of public galleries and museums. Melbourne: National Gallery of Victoria, 1978.
  • The Felton Bequest. Melbourne: National Gallery of Victoria, 1983.
  • (with introduction by T.G. Rosenthal) The Art of Arthur Boyd. London: Deutsch, 1986.
  • (by Robert Lindsay, with essays by Ursula Hoff and Patrick McCaughey) John Brack: A Retrospective Exhibition. Melbourne: National Gallery of Victoria, 1987.
  • (with Emma Davapriam) European Paintings before 1800 in the National Gallery of Victoria, 5th Melbourne: National Gallery of Victoria, 1995.

Articles [in chronological order]:

  • “Meditation in Solitude”, Journal of the Warburg Institute, 1:4, April 1938, 292-294.
  • “Peter Paul Rubens”, Old Master Drawings, XIII, June 1938, 14-16.
  • “Das Wesen der Französischen Kunst in Späten Mittelalter” [Book Review], The Burlington Magazine for Conoisseurs, 73:428, November 1938, 229-30.
  • “Albert Eckhout, ein niederländischer Maler…” [Book Review], The Burlington Magazine for Connoisseurs, 74:434, May 1939, 248.
  • “Some Aspects of Adam Elsheimer’s Artistic Development”, The Burlington Magazine for Connoisseurs, 75:437, August 1939, 58-64.
  • “Some Drawings in the Print Room of the National Gallery of Victoria”, Australian Artist, I, 1947.
  • “English Monumental Brasses”, Quarterly Bulletin of the National Gallery of Victoria, 3:1, 1948, 6-7.
  • “Rembrandt’s Drawings” [Book Review], Meanjin, 8:3, spring 1949, 188-190.
  • “Three Panels Reproduced Here…”, Quarterly Bulletin of the National Gallery of Victoria, 3:4, 1949, 3-4.
  • “Landscape into Art” [Book Review], Meanjin, 9:4, summer 1950, 313-314.
  • “The Print Collection”, Quarterly Bulletin of the National Gallery of Victoria, 4:3, 1950, 1-6.
  • “The Ideals of Topography and Illustration”, Quarterly Bulletin of the National Gallery of Victoria, 5:1, 1951, 4.
  • “Rembrandt’s Portrait of a Man”, Meanjin, 10:1, autumn 1951: 48-49.
  • “Reflections on the Heidelberg School”, Meanjin, 10:2, winter 1951, 125-33.
  • “Notes on the Jubilee Exhibition”, Meanjin, 10:2, winter 1951, 145-8.
  • “Rouault’s Christ’s Head; Constable’s The Loch”, Meanjin, 10:3, spring 1951: 257-8.
  • “Liotard’s Lady in a Turkish Dress”, Quarterly Bulletin of the National Gallery of Victoria, 5:2, 1951, 3-4.
  • “Rembrandt van Rijn (1606-1669)”, Quarterly Bulletin of the National Gallery of Victoria, 5:2, 1951, 2-3.
  • “The Drawing Reproduced Here…”, Quarterly Bulletin of the National Gallery of Victoria, 5:4, 1951, 4.
  • “St John the Baptist”, Quarterly Bulletin of the National Gallery of Victoria, 6:1, 1952, 3-4.
  • “Georges Rouault”, Quarterly Bulletin of the National Gallery of Victoria, 6:1, 1952, 5-6.
  • “The Art of Jean Bellette”, Meanjin, 11:4, summer 1952, 358-60.
  • “Catalan Stone Figure, 13th Century”, Quarterly Bulletin of the National Gallery of Victoria, 7:1, 1953, 4.
  • “Australian Paintings”, Quarterly Bulletin of the National Gallery of Victoria, 7:2, 1953, 1-2.
  • “Matisse’s revolutionary break-away from realistic representation”, Quarterly Bulletin of the National Gallery of Victoria, 7:2, 1953, 3.
  • “Géricault’s Entombment”, Quarterly Bulletin of the National Gallery of Victoria, 7:3, 1953, 1-2.
  • “These three recent acquisitions…”, Quarterly Bulletin of the National Gallery of Victoria, 7:3, 1953, 5-6.
  • “Content and Form in Modern Art”, Meanjin, 12:4, summer 1953, 449-50.
  • “Charles Conder”, The Burlington Magazine, 96:611, February 1954, 61.
  • “The Counts Czartoryski of Cracow”, Quarterly Bulletin of the National Gallery of Victoria, 8:2, 1954, 1-2.
  • “A recent acquisition…”, Quarterly Bulletin of the National Gallery of Victoria, 8:4, 1954, 4.
  • “Goethe and the Dutch Interior”, Australian Goethe Society Proceedings, 5, 1954/55, 43-48.
  • “Frederick McCubbin”, Frederick McCubbin, exhib. cat., Melbourne: National Gallery of Victoria, 1955.
  • “In the early nineties of the last century…”, Quarterly Bulletin of the National Gallery of Victoria, 9:1, 1955, 5-6.
  • “A group of recently acquired paintings…”, Quarterly Bulletin of the National Gallery of Victoria, 9:2, 1955, 5-6.
  • “The recently acquired plaque of Christ…”, Quarterly Bulletin of the National Gallery of Victoria, 9:3, 1955, 1-2.
  • “The landscape with a group of trees…”, Quarterly Bulletin of the National Gallery of Victoria, 9:3, 1955, 3-4.
  • “The Phases of McCubbin’s Art”, Meanjin, 15:3, spring 1956, 301-6.
  • “The acquisition through the Felton Bequest…”, Quarterly Bulletin of the National Gallery of Victoria, 10:3, 1956, 1-2.
  • “By their decision to lend…”, Quarterly Bulletin of the National Gallery of Victoria, 11:1, 1957, 1-2.
  • “From about 1927 onwards…”, Quarterly Bulletin of the National Gallery of Victoria, 11:2, 1957, 5-6.
  • “The bicentenary of William Blake”, Quarterly Bulletin of the National Gallery of Victoria, 11:4, 1957, 4-6.
  • “Albrecht Dürer: the Barlow Collection of Prints in the National Gallery of Victoria”, Meanjin, 16:2, winter 1957, 162-8.
  • “The Paintings of Arthur Boyd”, Meanjin, 17:2, 1958, 143-7.
  • “Recent acquisitions to the Print Room”, Quarterly Bulletin of the National Gallery of Victoria, 12:1, 1958, 1-4.
  • “Two valuable prints”, Quarterly Bulletin of the National Gallery of Victoria, 12:1, 1958, 5-6.
  • “A pupil of Giulio Campagnola”, Quarterly Bulletin of the National Gallery of Victoria, 12:2, 1958, 4.
  • “A Sculptor’s Thoughts, by Vera Mukhina” [Book Review], Meanjin, 18:1, 1959, 125-7.
  • “The Thomas D. Barlow Collection of Dürer’s engravings and woodcuts”, Annual Bulletin of the National Gallery of Victoria, 1, 1959, 14-19.
  • “Rachel de Ruvigny, Countess of Southampton, by Sir Anthony van Dyck”, Annual Bulletin of the National Gallery of Victoria, 2, 1960, 1-4.
  • “Portraits Acquired under the Everard Studley Miller Bequest”, Annual Bulletin of the National Gallery of Victoria, 2, 1960, 15-20.
  • “An Illuminated Byzantine Gospel Book”, Special Bulletin of the National Gallery of Victoria, 1961.
  • “The Woburn Abbey Paintings”, Meanjin, 21:1, 1962, 93-4.
  • “Paintings of S.T. Gill” [Book Review], Meanjin, 21:2, 1962, 247-51.
  • “A Constable Landscape after Claude”, Art Gallery of New South Wales Quarterly, 4:3, 1962, 111-113.
  • “A New Double Portrait by Rigaud”, Annual Bulletin of the National Gallery of Victoria, 5, 1963, 11-14.
  • “Recent Additions to the National Gallery”, Annual Bulletin of the National Gallery of Victoria, 5, 1963, 27-30.
  • “A History of Australian Painting [Book Review], Meanjin, 22:2, winter 1963, 227-35.
  • “John Olsen” [Book Review], Art and Australia, 1:2, summer 1963, 120.
  • “A.J.L. McDonnell as adviser to the Felton Bequest and its purchasing policy during the post-war period”, Annual Bulletin of the National Gallery of Victoria, 6, 1964, 2-7.
  • “Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 6, 1964, 27-8.
  • “Australia’s National Gallery: Dutch and Flemish Pictures in Melbourne”, Apollo, 1964, 448-57.
  • “Alfred Felton’s Bequest” [Book Review], Meanjin, 23:1, 1964, 103-5.
  • “The Sources of Hercules and Antaeus by Rubens”, in In Honour of Daryl Lindsay: Essays and Studies, Melbourne: Oxford University Press, 1964.
  • “Charles Conder”, Art and Australia, 2:1, Summer 1964, 30-7.
  • “John Brack”, Art and Australia, 2:4, spring 1965, 276-81.
  • “Perth Art Prize”, Art and Australia, autumn 1965, 107.
  • “Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 7, 1965, 26-31.
  • “Two Rococo Drawings by Boucher in the Print Room Collection”, Annual Bulletin of the National Gallery of Victoria, 8, 1966/67, 16-25.
  • “Clark on Rembrandt” [Book Review], The Age, 1967.
  • “Arthur Streeton at Coogee”, Art and Australia, 5:1, spring 1967, 286-9.
  • “Charles Conder”, Charles Conder, exhib. cat., Sydney: Art Gallery of New South Wales, 1966; Sheffield: Graves Art Gallery, 1967.
  • “Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 8, 1967-68, 27-33.
  • “Foreword” [with Eric Westbrook]”, Art Bulletin of Victoria, 9, 1967-68, 3-5.
  • “Recent Additions to the National Gallery…”, Art Bulletin of Victoria, 9, 1967-68, 38-44.
  • “European Paintings”, Art and Australia: The National Gallery of Victoria Special Issue, 6:3, Summer 1968, 211-3.
  • “Prints and Drawings”, Art and Australia: The National Gallery of Victoria Special Issue, 6:3, Summer 1968, 217.
  • “Witt Collection Drawings in Adelaide”, Art and Australia, 5:4, Autumn 1968, 582.
  • “Recent Acquisitions and Donations”, Art Bulletin of Victoria, 10, 1968-69, 48-59.
  • “Rembrandt’s Image in the Twentieth Century”, Art and Australia, 7:1, winter 1969, 58-60.
  • “Pablo Picasso”, Picasso: La Suite Vollard, exhib. cat., Sydney: Bonython Art Gallery, and Melbourne: Tolarno Gallery, 1969.
  • “Editorial”, Art Bulletin of Victoria, 11, 1969-70, 2-3.
  • “Vale Franz Philipp”, Meanjin, 29:3, 1970, 337.
  • Tobit Burying the Dead, a Newly Acquired Drawing by G.B. Castiglione”, Art Bulletin of Victoria, 12, 1970-71, 19-20.
  • “In Memory of Franz Philipp”, Art Bulletin of Victoria, 12, 1970-71, 30.
  • “Bendigo Art Gallery: Louis Buvelot”, Art Bulletin of Victoria, 12, 1970-71, 26.
  • “A tapestry from a painting by Simon Vouet”, Art Bulletin of Victoria, 13, 1971-72, 25-9.
  • “Editorial”, Art Bulletin of Victoria, 14, 1973, 4-5.
  • “Creative though Notorious: Charles Conder”, Hemisphere, 18, 6 Jun 1974, 16-22.
  • “Tribute to Ian Fairweather”, Meanjin, 33:4, summer 1974, 438-9.
  • “Rembrandt’s Shell – Conus Marmoreus”, Art Bulletin of Victoria, 16, 1975, 16-19.
  • “Three newly-acquired Symbolist Graphics by Ensor, Aman-Jean and Munch”, Art Bulletin of Victoria, 17, 1976, 20-28.
  • “Art Exhibitions in London and Edinburgh May-December 1975”, Art and Australia, 13:4, April-June 1976, 375-80.
  • “The Print Collection”, Art and Australia: Australian National Gallery Special Issue, 14:4, winter 1977, 308-11.
  • “Elitism and the Arts: How to Widen the Elite”, Art and Australia, XV:1, September 1977, 73-6.
  • “Tribute: Anthony Underhill”, Art and Australia, 15:2, summer 1977, 141-3.
  • “London Letter June 1976 to June 1977”, Art and Australia, 15:2, summer 1977, 200.
  • “National Gallery” [Book Review], Art and Australia, 15:3, autumn 1978, 247.
  • “Australian Paintings in British Collections”, Art and Australia, 16:2, summer 1978, 172.
  • “The Feat of Klee” [Book Review], Meanjin, 38:4, summer 1979, 529-34.
  • “Paul Klee: Figures and Faces” [Book Review], Art and Australia, 16:3, autumn 1979, 227.
  • “The Everard Studley Miller Bequest”, in Anthony Bradley and Terry Smith (eds), Australian Art and Architecture: Essays Presented to Bernard Smith. Melbourne: Oxford University Press, 1980.
  • “USSR: Old Master Paintings”, Art and Australia, 17:3, Autumn 1980, 232-3.
  • “Australian Paintings in the Royal Collections”, Art and Australia, 17:3, Autumn 1980, 267-9.
  • “London Letter”, 17:3, Art and Australia, March 1980, 274-5.
  • “View from London: Observations on the Art in the 1970s”, Art and Australia, 18:2, summer 1980, 138-40.
  • “USSR: Old Master Paintings”, Art and Australia, 17:3, March 1980, 232-3.
  • “Jack Manton Collection” [Book Review], Art and Australia, 18:1, spring 1980, 21.
  • “View from London: Observations on Art in the 1970s”, Art and Australia, 18:2, summer 1980, 138-40.
  • “Picasso and Velasquez”, Art and Australia, 18:3, autumn 1981, 280.
  • “London Letter”, Art and Australia, 19:2, summer 1981, 205-8.
  • “Gustave Courbet: Study for Young Ladies on the Banks of the Seine in Summer”, Art and Australia: Australian National Gallery Special Issue, 20:1, spring 1982, 52-4.
  • “Cross-currents in Dutch and Flemish painting in the Seventeenth Century”, Apollo, 118, 1983, 57-63.
  • “Charles Conder, Arthur Streeton, and Tom Roberts”, Apollo, 1983, 508-512.
  • “Letter from Texas”, Art and Australia, 20:4, winter 1983, 456-60.
  • “Observations of Art History in Melbourne 1946-1964”, Australian Journal of Art, 3, 1983, 5-9.
  • “Charles Blackman”, Charles Blackman: Works on Paper 1948-1957, exhib. cat., Melbourne: Tolarno Gallery, 1984; Sydney: Holdsworth Gallery, 1985.
  • “Letter from Italy: Arthur Boyd’s Casa Parentaio and Sculpture Park at Celle”, Art and Australia, 21:4, 1984, 448-9.
  • “London Letter”, Art and Australia, 22:2, summer 1984, 170-6.
  • “Saenredam and his Critics”, Australian Journal of Art, 4, 1985, 5-13.
  • “City Bushmen: the Heidelberg School and the Rural Mythology” [Book Review], Art and Australia, 24:3, winter 1986, 466-71.
  • “The Landscapes of Arthur Boyd”, Jillian Bradshaw Memorial Lecture, Bentley, WA: Western Australian Institute of Technology, 1986.
  • “Arthur Boyd”, Arthur Boyd, exhib. cat., London: Fischer Fine Art, 1986.
  • “Obituary: Dr Mary Woodall 1901-1988”, Art Bulletin of Victoria, 29, 1989, 61-3.
  • “Variation, transformation, and interpretation: Watteau and Lucian Freud”, Art Bulletin of Victoria, 31, 1990, 26-31.
  • “Arthur Boyd”, Arthur Boyd: The Magic Flute and Other Paintings, exhib. cat., Sydney: Wagner Art Gallery, 1991; New York: Pyramid Gallery, 1991.
  • “Obituary: Prof. A.D. Trendall”, Art Bulletin of Victoria, 36, 1996, 61.
  • “Greta Hort”,Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1996, 14: 499-500.
  • “English Monumental Brasses”, Quarterly Bulletin of the National Gallery of Victoria, 3:1, 1948, 6-7.
  • “Three Panels Reproduced Here…”, Quarterly Bulletin of the National Gallery of Victoria, 3:4, 1949, 3-4.
  • “The Print Collection”, Quarterly Bulletin of the National Gallery of Victoria, 4:3, 1950, 1-6.
  • “The Ideals of Topography and Illustration”, Quarterly Bulletin of the National Gallery of Victoria, 5:1, 1951, 4.
  • “Liotard’s Lady in a Turkish Dress”, Quarterly Bulletin of the National Gallery of Victoria, 5:2, 1951, 3-4.
  • “Rembrandt van Rijn (1606-1669)”, Quarterly Bulletin of the National Gallery of Victoria, 5:2, 1951, 2-3.
  • “The Drawing Reproduced Here…”, Quarterly Bulletin of the National Gallery of Victoria, 5:4, 1951, 4.
  • “St John the Baptist”, Quarterly Bulletin of the National Gallery of Victoria, 6:1, 1952, 3-4.
  • “Georges Rouault”, Quarterly Bulletin of the National Gallery of Victoria, 6:1, 1952, 5-6.
  • “Catalan Stone Figure, 13th Century”, Quarterly Bulletin of the National Gallery of Victoria, 7:1, 1953, 4.
  • “Australian Paintings”, Quarterly Bulletin of the National Gallery of Victoria, 7:2, 1953, 1-2.
  • “Matisse’s revolutionary break-away from realistic representation”, Quarterly Bulletin of the National Gallery of Victoria, 7:2, 1953, 3.
  • “Géricault’s Entombment”, Quarterly Bulletin of the National Gallery of Victoria, 7:3, 1953, 1-2.
  • “These three recent acquisitions…”, Quarterly Bulletin of the National Gallery of Victoria, 7:3, 1953, 5-6.
  • “The Counts Czartoryski of Cracow”, Quarterly Bulletin of the National Gallery of Victoria, 8:2, 1954, 1-2.
  • “A recent acquisition…”, Quarterly Bulletin of the National Gallery of Victoria, 8:4, 1954, 4.
  • “In the early nineties of the last century…”, Quarterly Bulletin of the National Gallery of Victoria, 9:1, 1955, 5-6.
  • “A group of recently acquired paintings…”, Quarterly Bulletin of the National Gallery of Victoria, 9:2, 1955, 5-6.
  • “The recently acquired plaque of Christ…”, Quarterly Bulletin of the National Gallery of Victoria, 9:3, 1955, 1-2.
  • “The landscape with a group of trees…”, Quarterly Bulletin of the National Gallery of Victoria, 9:3, 1955, 3-4.
  • “The acquisition through the Felton Bequest…”, Quarterly Bulletin of the National Gallery of Victoria, 10:3, 1956, 1-2.
  • “By their decision to lend…”, Quarterly Bulletin of the National Gallery of Victoria, 11:1, 1957, 1-2.
  • “From about 1927 onwards…”, Quarterly Bulletin of the National Gallery of Victoria, 11:2, 1957, 5-6.
  • “The bicentenary of William Blake”, Quarterly Bulletin of the National Gallery of Victoria, 11:4, 1957, 4-6.
  • “Recent acquisitions to the Print Room”, Quarterly Bulletin of the National Gallery of Victoria, 12:1, 1958, 1-4.
  • “Two valuable prints”, Quarterly Bulletin of the National Gallery of Victoria, 12:1, 1958, 5-6.
  • “A pupil of Giulio Campagnola”, Quarterly Bulletin of the National Gallery of Victoria, 12:2, 1958, 4.
  • “The Thomas D. Barlow Collection of Dürer’s engravings and woodcuts”, Annual Bulletin of the National Gallery of Victoria, 1, 1959, 14-19.
  • Rachel de Ruvigny, Countess of Southampton, by Sir Anthony van Dyck”, Annual Bulletin of the National Gallery of Victoria, 2, 1960, 1-4.
  • “Portraits acquired under the Everard Studley Miller Bequest”, Annual Bulletin of the National Gallery of Victoria, 2, 1960, 15-20.
  • “A new double portrait by Rigaud”, Annual Bulletin of the National Gallery of Victoria, 5, 1963, 11-14.
  • “Recent Additions to the National Gallery”, Annual Bulletin of the National Gallery of Victoria, 5, 1963, 27-30.
  • “A.J.L. McDonnell as adviser to the Felton Bequest…”, Annual Bulletin of the National Gallery of Victoria, 6, 1964, 2-7.“Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 6, 1964, 27-8.
  • “Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 7, 1965, 26-31.
  • “Two Rococo Drawings by Boucher…”, Annual Bulletin of the National Gallery of Victoria, 8, 1967-68, 16-25.
  • “Recent Additions to the National Gallery…”, Annual Bulletin of the National Gallery of Victoria, 8, 1967-68, 27-33.
  • “Foreword” [with Eric Westbrook]”, Art Bulletin of Victoria, 9, 1967-68, 3-5.
  • “Recent Additions to the National Gallery…”, Art Bulletin of Victoria, 9, 1967-68, 38-44.
  • “Recent Acquisitions and Donations”, Art Bulletin of Victoria, 10, 1968-69, 48-59.
  • “Editorial”, Art Bulletin of Victoria, 11, 1969-70, 2-3.
  • Tobit burying the Dead, a newly acquired drawing by G.B. Castiglione”, Art Bulletin of Victoria, 12, 1970-71, 19-20.
  • “In memory of Franz Philipp”, Art Bulletin of Victoria, 12, 1970-71, 30.
  • “Bendigo Art Gallery: Louis Buvelot”, Art Bulletin of Victoria, 12, 1970-71, 26.
  • “A tapestry from a painting by Simon Vouet”, Art Bulletin of Victoria, 13, 1971-72, 25-9.
  • “Editorial”, Art Bulletin of Victoria, 14, 1973, 4-5.
  • “Rembrandt’s Shell – Conus marmoreus”, Art Bulletin of Victoria, 16, 1975, 16-19.
  • “Three newly-acquired symbolist graphics by Ensor, Aman-Jean and Munch”, Art Bulletin of Victoria, 17, 1976, 20-28.
  • “Obituary: Dr Mary Woodall 1901-1988”, Art Bulletin of Victoria, 29, 1989, 61-3.
  • “Variation, transformation, and interpretation: Watteau and Lucian Freud”, Art Bulletin of Victoria, 31, 1990, 26-31.
  • “Obituary: Prof. A.D. Trendall”, Art Bulletin of Victoria, 36, 1996, 61.

 

Lectures:

  • “Goethe and the Dutch Interior: A Study in the Imagery of Romanticism”, The Annual Lecture, Third Annual General Meeting, The Australian Academy of Humanities, Canberra, 16 May 1972.
  • “Observations of Art History in Melbourne 1946-1964”, Art Association of Australia, 1983.
  • “Saerdon and His Critics”, Franz Philipp Memorial Lecture, National Gallery of Australia, 24 August 1984.
  • “The Landscapes of Arthur Boyd”, Jillian Bradshaw Memorial Lecture, Western Australian Institute of Technology, Bentley, Perth, 1986.

BIBLIOGRAPHY – PART II: ABOUT URSULA HOFF

Bibliographic sources that mention or make a reference to Ursula Hoff are innumerable. The list below contains some of the more important publications that have appeared to date.

Additions and contributions to this list are welcome through our CONTACT page.

 

Interviews:

McGrath, Amy. Interview with Dr Ursula Hoff, 9 July 1981. Canberra, National Library of Australia, Oral History Collection.

Mellon, James. Interview with Dr Ursula Hoff, 1989. Melbourne, State Library of Victoria, Oral History Collection.

Haese, Richard. Interview with Dr Ursula Hoff, 1975. Melbourne, State Library of Victoria, Oral History Collection.

 

Theses:

Heinen, Ute. “Emigration Australien: Ursula Hoff und Gertrude Langer: Zwei Europäische Kunsthistorikerinnen und ihr Einfluss auf die Entwicklung der Kunstgeschichte als wisseschaftliche Disziplin auf dem australishen Kontinent.” [date unknown]

Palmer Bull, Sheridan. “A discriminate and prudent judgement: a study of Ursula Hoff”. B.A. Honours thesis, La Trobe University, 2000.

 

Books:

A Tribute to Dr Ursula Hoff AO OBE. Melbourne: National Gallery of Victoria, 2005

Holden, Colin. The Outsider: A Portrait of Ursula Hoff. Nth Melbourne, Vic: Australian Scholarly Publishing, 2009.

Palmer, Sheridan. Centre of the Periphery: Three European Art Historians in Melbourne. Nth Melbourne, Vic: Australian Scholarly Publishing, 2008.

Poynter, John. Mr Felton’s Bequests. Melbourne: Miegunyah, 2003.

 

Articles:

 Anderson, Jaynie. “In Homage to Ursula Hoff, on her Ninetieth Birthday”, Art and Australia, 38:2, 2000, 250-57.

Eichberger, Dagmar. “Ursula Hoff: A Tribute”, Melbourne Art Journal, 3, 1999, 304.

Heinen, Ute. “Die Panofskyschülerin Ursula Hoff und ihr Einfluss auf die Entwicklung der Kunstgeschichte als wissenschaftliche Disziplin auf dem australischen Kontinent”. Exil, 2, 2005, 69-84.

Holden, Colin. “Insights from Ursula Hoff’s Diaries while Felton Bequest Adviser”, Melbourne Art Journal, 8, 2005, 112-5.

Palmer, Sheridan. “Dr Ursula Hoff: Museology and Masterpieces”, Australia and New Zealand Journal of Art, 6:1, 2005, 115-9.

Palmer, Sheridan. “Maladies of the Soul”, Meanjin, 64:1-2, 2005, 55-9.

Palmer, Sheridan. “Ursula Hoff and the German Tradition”, Melbourne Art Journal, 8, 2005, 102-111.

Palmer, Sheridan. “Barlow Collection a Hoff Legacy”, The Age, 3 June 2005, Metro 6.

Prendergast, Maria. “Hats off to Ursula Hoff”The Sunday Age, 12 December 1999, Review 10.

Struve, Walter. “Ursula Hoff”, Gallery, Feb-Mar 2000, 12-13.

Wendland, Ulrike. “Ursula Hoff”, Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil, München: K.G. Saur, 1999; 1:314-317.

 

 

Obituaries

Anderson, Jaynie. “Obituary: Ursula Hoff (1909-2005)”, http://www.humanities.org.au/Fellows/Obituaries/ObitsDetails.asp?ID=21 [PDF available].

Anderson, Jaynie. “Tribute: Ursula Hoff”, Art and Australia, 43:1, spring 2005, 27.

Brack, Helen. “Ursula Hoff Remembered”, in A Tribute to Dr Ursula Hoff AO OBE, Melbourne: National Gallery of Victoria, 2005, 14-15.

Dean, Sonia. “Ursula Hoff as Editor of the Art Bulletin of Victoria”, in A Tribute…, 2005, 8-9.

Lane, Terence. “Ursula Hoff and Australian Art”, in A Tribute…, 2005, 13-14.

Leahy, Cathy. “The Dürer Collection at the NGV”, in A Tribute…, 2005, 10-11.

Ryles, Graham. “Ursula Hoff in Retirement”, in A Tribute…, 2005, 21-2.

Tipping, Marjorie. “A Memoir of Ursula Hoff”, in A Tribute…, 2005, 4-6.

Zdanowicz, Irena. “Ursula Hoff as Mentor”, in A Tribute…, 2005, 9-11.

Zdanowicz, Irena. “Obituary: Dr Ursula Hoff”, Art Bulletin of the National Gallery of Victoria, 45, 2005, 68-71.

 

Ursula Hoff as a Felton Bequest Adviser

By Andrew Grimwade*

Dr Ursula Hoff never met Alfred Felton, for she was born five years after his death in 1904. He would, however, have been proud of her for the great lustre she brought to his Bequest throughout her 40-year career at the NGV from 1943 to 1983.

My personal connection with Dr Hoff started back in 1960 when the NGV was located in its old Swanston Street premises, which it shared jointly with the Public Library and the Museum. It was from that time that we became better acquainted, slowly and gradually – for friendship with Ursula Hoff always took time!

When I became a Trustee in 1964, we met more often, mainly through Committees of the Council of Trustees. I began to appreciate the brilliant scholarship that she had brought to the NGV. It was entirely due to her that the culture of the NGV had changed from one of a colonial gallery to one of the pre-eminent scholarship. In those early years, there were obscenely more degrees around the Board table than held by the NGV staff put together! Today it is very different – all because of Dr Hoff.

She had helped Melbourne to become the centre of the Arts in Australia. She was one of the pioneers of Arts Scholarship, together with Sir Joseph Burke, Bernard Smith, Franz Philipp, a tradition carried on subsequently by Margaret Manion, Patrick McCaughey and Gerard Vaughan.

In 1973, Ursula Hoff retired as Assistant Director and was immediately accorded the rare honour for a member of staff by being appointed a Trustee. She served from 1973 to 1974 and, because of her working knowledge of the Gallery, she strengthened the sense of scholarship within the Council of Trustees.

Not surprisingly, it was the general recognition of her brilliant scholarship that persuaded the Felton bequest to appoint her as its London Adviser, as the successor to the acclaimed Dr Mary Woodall in 1975. Through this move, Hoff was to complete a full circle of her life, returning to a Europe more peaceful that the Europe of Hitler she had left in 1939. She was to serve the Felton Bequest in London for eight years to 1983.

We did not realise at the time that, with the advent of jet travel, faxes, email and the internet, she was to be the Bequest’s last full time Adviser in London. Her distinguished predecessors included Frank Rinder (1919-1928), Sir Kenneth Clark, later Lord Clark (1945-1951), A.J.L. McDonnell (1947-1964) and Dr Mary Woodall (1965-1974).

Knowing the NGV collection as she did, Hoff became a very special and meticulous Felton Bequest Adviser. She loved being in the centre of its artworld. One evening we dined together in the revolving restaurant at the top of London’s highest building. I recall the child-like enthusiasm she evinced when talking about London’s many art treasures whilst the lights of the city sparkled far below us.

But her great scholarship, couples with a lifetime immersed in the immensity of Prints and Drawings, too often encouraged her to collect too widely and to spread her funds over too many minor acquisitions.

I recall the Felton Bequests’ Committee Meeting in June 1976, when we cautioned that she was to restrict her purchasing by buying “fewer items of greater importance rather than attempting to spread the buying over a wider field.” At the same meeting, we tempered this reproof by generously increasing her discretionary allowance to $20,000 (probably $100,000 in 2005 terms). By this action, she had been given more discretion than then allowed to the NGV Director himself!

Despite an excessive number of minor acquisitions in London, she soon raised her sights by buying a Picasso etching and a Hans Arp marble sculpture. Then we succeeded beyond our wildest dreams when she recommended the outlay of US$300,000 to purchase a rare major collection of 274 Rajastan paintings. We somewhat stretched the Felton guidelines (prohibiting part-payments) and we acquired this world-class collection by part-payment over two years. It is a monumental acquisition and is probably worth about $5 million today.

In 1981, Hoff followed this success with a “strong recommendation” to acquired Claude Lorrain’s fine drawing A Wooded Landscape for US $200,000. At this point I should reveal that Hoff was often under duress from others to support their acquisition recommendations. With her meticulous attention to language, she used a secret code – if under duress, she “recommended”, on the other hand, if she were fully supportive, she “strongly recommended”! Years later, in her retirement, she confirmed to me her sensitive little play on words.

We all remember that she was not normally loquacious. As one of those present, I can confirm that the then Felton Bequest Chariman, Sir Clive Fitts, did in fact chide her on her capacity of stay silent in five languages!

Following Patrick McCaughey’s appointment as the NGV Director, we were all encouraged to seek “museum-wide acquisitions”. Hoff was the first to respond with the acquisition in 1982 of Boucher’s The Agreeable Lesson. For only $427,017, it was a “remarkable coup”.

Her final acquisition was delayed until funds became available in 1985. And what a fitting final acquisition! It was to be Canaletto’s magnificent The Bacino of San Marco. Yet, no sooner had we approved and committed $720,000 to the purchase, to our dismay, the Australian dollar was floated. By this time, part-payment had been discouraged so we made a top lever approach to the Premier and the Victorian Government came to the rescue. The NGV was lent $1,000,000 until the Felton Bequest had accumulated the extra dollars to meet the eventual cost of $1,064,638 in January 1986.

On Ursula’s return to Melbourne for a farewell dinner in 1983, we all agreed that a full-time London Adviser was no longer necessary – as the advice could now be obtained from part-time advisers. An 80-year era had ended!

Upon her retirement in 1985, the Felton Bequest paid a final tribute to Dr Ursula Hoff by present her portrait to the NGV. It was the brilliant, intuitively austere and dramatic painting by her old friend John Brack. It will forever remind us of a distinguished and meticulous scholar, a quiet advancer of the Arts and a loyal friend of the Arts community.

* © Extracts from Andrew Grimwade, “Ursula Hoff as a Felton Bequest Adviser”, in A Tribute to Dr Ursula Hoff AO OBE 1909-2005 (Melbourne: National Gallery of Victoria, 2005), 15-17.