Lieutenant Colonel of the Royal South Gloucester Regiment of Militia of Cheltenham and philanthropist.
Lieutenant-Colonel John Harvey Ollney
died 1836
This person is the subject of ongoing research. We have started by researching their relationship to the enslavement of people.
Biographical notes
Slavery connections
No known connections with slavery.
Abolition connections
No known connections with abolition.
National Gallery painting connections
Donor: bequeathed in 1837: NG60, NG70, NG86, NG101-104, NG135–136, NG137–138, NG140–141, NG145–146, NG2980 and NG123 (transferred to Tate, N00123).
Bibliography
History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, https://www.historyofparliamentonline.org/
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— Item on publisher's website
C. Matthew et al. (eds), Oxford Dictionary of National Biography, Oxford 1992-, https://www.oxforddnb.com/
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— Item on publisher's website
J. Turner et al. (eds), Grove Art Online, Oxford 1998-, https://www.oxfordartonline.com/groveart/
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— Item on publisher's website
UCL Department of History (ed.), Legacies of British Slave-ownership, London 2020, https://www.ucl.ac.uk/lbs/
Checked and not found
— Item on publisher's website
Paintings previously owned by Lieutenant-Colonel John Harvey Ollney
(Showing 6 of 15 works)
Style of Bernardo Bellotto
This is an imaginary scene – a caprice – inspired by buildings in Italian cities and the surrounding countryside. It shows ruins from the classical past alongside contemporary architecture. Dwarfed by a crumbling arched portico, a small group of figures – tourists and residents of the small town...
Not on display
Probably by Jan van Goyen
In some paintings a vast, empty landscape might evoke feelings of loneliness or even melancholy, but this small picture, probably painted by Jan van Goyen, seems to do just the opposite. It’s light and airy, with a patch of sun on glowing soil, and tiny, almost comical, trees, their branches mis...
Not on display
In this busy but peaceful scene Abraham Storck shows an idealised version of life on a Dutch river in the seventeenth century, but his painting of the vessels is detailed and accurate. The rising sun is hidden behind the sails of the man-of-war (the great warship coming in from the sea) and the g...
Not on display
Christ’s body has been taken down from the Cross and is being carried on a shroud to his place of burial. His head rests limply on his shoulder; his pale, foreshortened body is the focus of a whole retinue of grieving figures, each expressing their sorrow in a different way.This small picture is...
After Padovanino
After a female friend boasted of the jewels she owned, Cornelia Africana, a widowed Roman matron and mother of Tiberius and Gaius Gracchus (known as the Gracchi), declared her sons to be her jewels. Cornelia educated the boys after their father’s death and they went on to serve as tribunes (power...
Not on display
A lizard grasps at a shrub and tries to scare off a crane, which has trapped its tail under a clawed foot. A snake twisted around a vine above joins in, its long red tongue visible as it hisses at the bird.This is one of only two mosaics in the National Gallery’s collection as we no longer collec...
Not on display
The young woman in this portrait is shown half length, hands folded in the conventional way for women sitters at this time. We don’t know who she is, or who painted her. Her dress is demure but fashionable and costly. She wears satin and lace, and pearls round both wrists, round her neck and on t...
Not on display
This portrait was bequeathed to the National Gallery in 1837. Time hasn‘t been kind to it. Painted in oil on an oak panel, the background in particular seems to have suffered damage or been painted over at some point.We don’t know who the sitter is or who painted the picture, but is thought perha...
Not on display
Panini painted a number of imaginary scenes in which a known monument is set within a fanciful arrangement of ruins. The crumbling stone pyramid here is based on the tomb of Caius Cestius in Rome, but all of the other elements are invented. Remnants of the city’s classical past fill the foregroun...
In the courtyard of this vast and palatial complex of buildings, a woman stands with her young servants. The bright red of her dress and the dark blue of her attendants’ outfits are echoed in the feathers of the parrot that is perched on the pedestal to the right. Two men seemingly demonstrate th...
Not on display
This is the second of Lancret’s series of paintings depicting The Four Ages of Man and represents Adolescence (L'Adolescence).A young lady stands in the centre of the painting in a grand circular room with tall windows. She admires herself in the mirror held up by a young page while her hair is d...
Not on display
This is the first of Lancret’s series of paintings depicting The Four Ages of Man.Ten wealthy children, a baby, a nurse and a governess are outside in a tiled neoclassical loggia. Two of the children are being taught to read by the governess, while the others are playing boisterous games. A boy a...
Not on display
This is the fourth and final painting in Lancret’s series of The Four Ages of Man, entitled Old Age (La Vieillesse). Lancret dispensed with the usual depiction of old people warming themselves indoors before an open fire to take the scene outdoors. A young woman rejects an old man’s advances whil...
Not on display
This is the third of Lancret’s series of paintings depicting The Four Ages of Man and represents Youth (La Jeunesse).Three pairs of lovers embrace one another in a woodland glade. In the foreground, two archers are engaged in a game of ‘pape-guay’, which involves shooting at an imitation bird (us...
Not on display
The story of the Tower of Babel (Genesis 11: 1–9) is intended to explain the existence of different languages. After the Great Flood, all of humanity spoke the same language. Noah’s great-grandson, Nimrod, decided to build a tower in Babel that would reach heaven. When God saw it, he was angry an...
Not on display
You've viewed 6 of 15 paintings