Woollett, William (1735-85; English), after van Dyck, Anthony (1599-1641; Flemish) Rubens Engraving Date of acquisition unknown (by 1894) Unidentified; present location unknown Woollett made highly regarded prints after Benjamin West and others; in 1775 he became “engraver-in-ordinary” to King George III. His portrait of Rubens is listed in the catalogue raisonné of Woollett’s engravings by
Works included in this catalogue * Willmore (A.) after Gill Collegiate Grammar School {by 1865} Loc? [PR] * Willmore (A.) after Gill Wesleyan Church, Melbourne {by 1865} Loc? [PR] Willmore was one of the main engravers responsible for the prints after S.T.Gill included in Victoria Illustrated, first published in 1857 by Sands & Kenny, Melbourne, and
Willmore, Arthur (1814-88; English) after Gill, S.T. (1818-80; English/Australian) Wesleyan Church, Melbourne (1862) Engraving, 26.5 x 29 cm Acquired by 1865 Location unknown As with * Willmore (A.) after Gill Collegiate Grammar School {by 1865} Loc? [PR], this is a provisional identification of a work listed in both NGV 1865 and AR 1870-71 as an
Willmore, Arthur (1814-88; English) after Gill, S.T.(1818-80; English/Australian) Collegiate Grammar School, St Kilda Engraving, 26.5 x 29 cm Acquired by 1865 Location unknown [photo: engraving from Victoria Illustrated 1862 (SLV)] A print listed in both NGV 1865 and AR 1870-71 as an anonymous engraving of “Church of England Grammar School,” is identified here, provisionally, as
Walton, C.W., & Co. (active c.1868; English) J.Cashel Hoey (c.1868?) Engraving, 54 x 43 cm Purchased, 1892 State Library of Victoria (H5220) John Cashel Hoey (1828-92), an Irish journalist and editor, was appointed to the board of advice for the Victorian Agent-General in 1872 by Premier Gavin Duffy (for whom, see * Summers (Charles) Sir Charles Gavan
Walker, William (1791-1867; Scottish), after Pickersgill, Henry William (1782-1875; English) Sir Roderick Impey Murchison 1851 Mezzotint, 35.9 x 29.2 cm (image), 54,1 x 39.4 cm (sheet) Presented by Kenneth Robert Murchison, 1894 State Library of Victoria (H5413) The sitter (1792-1871), a noted Scottish geologist, first identified the Silurian period (1839). Much of his later life was
Walker, Edmund (active from 1836; d.1882; English), after Gilfillan, John Alexander (1793-1864; English/New Zealander) Interior of a Native Village or “Pa” in New Zealand (c.1852) Chromo-lithograph, c.48 x 64.4 cm Acquired by 1871 Present location unknown Gilfillan arrived in New Zealand with his family in 1841, and lived near Putiki Pa, situated at the town
Guérard, Eugène von (1811-1901; Austrian/ Australian) Australian Landscapes [nos.1-24] (1866-68) Chalk lithographs, tint stones on cream paper, each 30.0 x 48.5 cm, on sheet 50.6 x 68.7 cm (approx.) Acquired 1868 State Library of Victoria (H25840 etc.) [PCLTEFBOX GUER F.1-24] [photo: Plate 4: North East View from the top of Mt.Kosciusko. NSW (SLV H25837)] This
Works included in this catalogue * Volpato after Raphael Deliverance of St Peter {by 1865} Loc? [PR] * Volpato after Raphael The School of Athens {by 1865} Loc? [PR] and * Volpato after Raphael The School of Athens (c.2) {1868?} Loc? [PR] Volpato first worked in Venice and then moved to Rome in 1771, making
Volpato, Giovanni (1735-1803; Italian), after Raphael (1483-1520; Italian) The School of Athens Engraving Presented by W.Jaffray (by 1865?) Present location unknown Raphael’s famous fresco, in the Stanza della Segnatura in the Vatican, dates from 1509-11. This print is clearly identified with the details above in NGV 1894 and 1905. An earlier reference in NGV 1865, noting
Volpato, Giovanni (1735-1803; Italian), after Raphael (1483-1520; Italian) Deliverance of St Peter from Prison Engraving Presented by W.Jaffray (by 1865) Present location unknown This print and * Volpato after Raphael The School of Athens {by 1894} Loc? [PR] were both based on well-known frescoes from Raphael’s Vatican Stanze (this one reproducing the fresco in the Stanza di
Vintner, John (c.1828-1905; English), after Pearce, Stephen (1819-1904; English) Admiral John Lort Stokes Lithograph, 36 x 29.5 cm Presented by the sitter, 1881 State Library of Victoria (H5227) Stokes (1811-85) travelled on HMS Beagle for many years, including Charles Darwin’s second voyage of 1831-36 (recorded in 1839). In 1846, Stokes published his own account of a subsequent
Works after Raeburn included in this catalogue * Dawe after Raeburn (?) Lord Alexander Abercromby {by 1865} Loc? [PR] * Turner (C.) after Raeburn The Honble David Hume {by 1865} Loc? [PR] Raeburn, a noted portrait painter, was elected RA in 1815 and knighted in 1822. Several of his characterful portraits entered the NGV’s painting
Turner, Charles (1773-1857; English), after Raeburn, Henry (1756-1823; Scottish) The Honble David Hume (1823) Mezzotint, c.50.3 x 35.2 cm (plate) Acquired by 1865 Present location unknown The sitter, a Scottish jurist (1757-1838), was the nephew of the famous philosopher of the same name. Other impressions are held elsewhere, including the British Museum (as shown here). [photo:
Taylor, James (c.1785-1829; English) Part of the Harbour of Port Jackson and the country between Sydney and the Blue Mountains 1823 Lithograph, 39 x 57.5 cm Purchased 1901 State Library of Victoria (H5275) Taylor, a military officer based in Sydney between 1817 and 1821, produced a number of fine topographical views before returning to England. This was one
Strutt, William (1825-1915; English) View of the Golden Point – Ballarat Lithograph, 37 x 52.5 cm (mounted) Acquired by 1865 (?) State Library of Victoria (H5414) This is probably the print listed in both NGV 1865 and AR 1870-71 as an engraving of Golden Point, although the artist is not identified. NGV 1894 and 1905
Strange, Robert (1721-92; Scottish), after Berrettini, Pietro (known as Pietro da Cortona) (1596-1669; Italian) Romulus and Remus Engraving Acquired by 1868? National Gallery of Victoria (p.178.18-1) This print is from the same series as Strange after Cortona Caesar putting away Pompeia {by 1868?} NGV [PR]. The inscriptions identify painter, engraver and source. Cortona’s painting Romulus and Remus
Strange, Robert (1721-92; Scottish), after Berrettini, Pietro (known as Pietro da Cortona) (1596-1669; Italian) Caesar putting away Pompeia, receives Calpurnia as his wife Engraving Acquired by 1868 National Gallery of Victoria (p.178.13-1) The inscriptions name the engraver and painter, and identify the source image as a painting in the Hotel de Toulouse. See also Strange after
Smith, John Raphael (1752-1812; English), after Reynolds, Joshua (1723-92; English) Madona col bambino 1791 Mezzotint Presented by E.L.Grundy, 1868 National Gallery of Victoria (p.178.10-1) This print and Purcell after Reynolds (J.) David Garrick {by 1868} NGV [PR], also donated by Grundy, are both listed in the current NGV catalogue, with the suggestion that they may have
Pre-Felton works after Michelangelo * Béatrizet after Michelangelo: The Last Judgement {by 1894} Loc? [PR] Schoenfeld after Michelangelo The Crucifixion 1860 {1868} NGV [PR] * Unknown after Michelangelo Battle of Pisa {by 1905} Loc? [PR] Reproductive engravings after Michelangelo’s paintings and sculptures were already circulating well before his death, often providing a valuable record of
Schoenfeld, Frederick (1810-68; Swiss/Australian), after Michelangelo Buonarotti (1475-1564 Italian) The Crucifixion 1860 Colour lithograph Presented by Hamel & Co., c.1868 National Gallery of Victoria (p.178.1-1) The main inscription runs as follows: “The Crucifixion, // To the Right Reverend J.E.Goold D.D.Bishop of Melbourne // This Specimen of Colonial Art, is most Respectfully Dedicated // By His
Schiavonetti, Luigi (1765-1810; Italian), after Phillips, Thomas (1770-1845; English) William Blake (1808) Etching and engraving, c. 34.3 x 27.2 cm (image and sheet) Date of acquisition unknown (by 1894) Present location unknown This print, based on Phillips’ 1807 portrait of Blake, appeared as the frontispiece to the 1808 edition of Robert Blair’s poem The Grave, for