This thesis is concerned with re-establishing the significance of George McCulloch (1848-1907) as a collector of late Victorian art, as well as looking at the importance of his collection both in terms of its major themes, and as a reflection of contemporary culture at the time. George McCulloch was a wealthy Scottish collector who has largely been overlooked, possibly due to the decline in popularity of Victorian art in the early twentieth century, as well as the dispersal of his collection in 1913. McCulloch made his money through mining in Australia, before retiring to London and becoming one of the biggest buyers of contemporary British and Continental works in the London art market, in the last decade of the nineteenth century. Described by The Art Journal of 1907, as 'one of the greatest collectors of contemporary art England has ever seen', McCulloch had a policy of only buying works by artists born in his lifetime, and in a short period of about ten years amassed a collection of over four hundred works, by some of the most celebrated and successful artists of the period. McCulloch's collection included key works by artists of the Aesthetic Movement, such as Frederic Leighton, Edward Burne-Jones, Albert Moore and James McNeill Whistler, as well as numerous works by the Rustic Naturalist painters, Jules Bastien-Lepage, members of the Newlyn School of Painters, George Clausen and Henry Herbert La Thangue. Through the acquisition of a 1913 Christie's catalogue of McCulloch's Collection which recorded both the purchaser of the works and the prices realised at the auction, the loan of the Special Edition of The Art Journal 1909, and the analysis of journals, newspapers and catalogues of the period, relevant texts on Victorian Art, art institutions and auction houses, this thesis will seek to reposition McCulloch as an important collector of late-Victorian art. This discourse will look at several aspects of McCulloch's collection, such as the key themes of Aestheticism, Rustic Naturalism and Landscape, the history and 'path to fame' of many of the major works, and the sumptuous 'Palace of Art' that McCulloch built to showcase his collection.