Lemon, Henry (1822-1902; English), after Le Jeune, Henry (1819-1904; English) Pity 1867 Engraving, 49.2 x 60.7 cm (image); 62.6 x 78.3 cm (sheet) Gift of John Pascoe Fawkner 1868 National Gallery of Victoria (p.180.15-1) This typically Victorian image shows three girls discovering a sick bird in the snow. The engraved inscriptions identify the title, the artists
Works included in this catalogue Willmore (J.) after Leitch Villa of Lucullus at Misenum 1851 {1868} NGV [PR] Willmore (J.) after Turner (J.M.W.) Italian Landscape {1868} Loc? [PR] Willmore worked mainly as a landscape engraver, reproducing paintings by various contemporaries, amongst them Creswick and Ansdell (see Creswick & Ansdell England 1850 {1878} NGV [PA]), Landseer,
Willmore, James Tibbits (1800-1863; English), after Turner, J.M.W. (1775-1851; English) Italian Landscape (River Scene in Italy) Engraving Gift of John Pascoe Fawkner, 1868 Unidentified; present location unknown Willmore was known particularly for his engravings of the landscape paintings of Turner, with whom he worked closely between 1828 and 1842. Unfortunately, this impression no longer appears to
Willmore, James Tibbits (1800-1863; English), after Leitch, William Leighton (1804-83; Scottish) The Villa of Lucullus at Misenum 1851 Engraving Gift of John Pascoe Fawkner, 1868 National Gallery of Victoria (p.180.20-1) The artists are identified in the inscriptions below the image, which also indicate that the original painting was “in the possession of John Purser Esq.,” and that
Lucas, David (1802-81; English), after Lee, Frederick (1798-1879; English) A River scene in Devonshire (1839) Mezzotint Gift of John Pascoe Fawkner, 1868 National Gallery of Victoria (p.180.13-1) The artists responsible are identified in the inscriptions below the image. Lucas is best known for his mezzotints after John Constable, of which the NGV holds a considerable collection,
Ryall, Henry Thomas (1811-67; English), after Landseer, Edwin (1802-73; English) Deer stalkers returning (1864) Engraving and mezzotint, 58 x 71.3 cm (sheet; trimmed) Gift of John Pascoe Fawkner 1868 National Gallery of Victoria (p.180.12-1) Landseer’s 1827 painting (Coll.Duke of Northumberland, Alnwick Castle) typifies his popular highland subject-matter. Another impression of this print, auctioned by Bonhams
Michiels, Jan Baptist (1821-90; Belgian) after Dyckmans, Joseph (1811-88; Belgian) The Blind man (L’Aveugle) Engraving, 32.5 x 25.5 cm (image) Presented by the Belgian Government 1868 National Gallery of Victoria (p.179.8-1) The inscriptions indicate the French title, and the names of the painter and print-maker. Dyckmans painted domestic images indebted to Dou and other 17th-century Dutch
Unknown printmaker after Dawe, George (1781-1829; English) Duke of Wellington 1842 Mezzotint Presented by the executors of the late Dr Augustus Greeves, 1875 National Gallery of Victoria (p.182.4-1) This print was bequeathed to the Melbourne collection together with Maile Napoleon I {1875} NGV [PR]. The inscription identifies the printers/publishers as Welch & Gwynne, 24 St James’s
Unknown lithographer after Carew, John Edward (c.1785-1868; Irish) The Death of Nelson Lithograph Presented by A.H.Christy, 1871 Unidentified; present location unknown [photo: Carew’s bronze relief (photo: Jacqueline Bannerjee)] Carew’s panel, showing Nelson’s death at the Battle of Trafalgar in 1805, was the most famous of the four large bas-reliefs at the foot of Nelson’s Column
Van Loo, Florimond (1823-1901; Belgian), after Alma-Tadema, Lawrence (1836-1912; Dutch/English) Frédégonde et Prétextat (1865) Lithograph Presented by the Belgian Government 1868 National Gallery of Victoria (p.179.9-1) This print reproduces a painting of 1864 (now in the Pushkin Museum, Moscow), depicting Praetextatus, Bishop of Rouen from 549 to 586, on his death-bed, accusing the Merovingian Queen Fredegund of ordering
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