Montefiore, Eliezer Levi (1820-94; English/Australian) Melbourne from the Falls 1837 (c.1866) Etching on buff paper, 15.3 x 22.3 cm (plate), 18.1 x 23.7 cm (sheet) Gift of the artist, by 1870 State Library of Victoria (H3831) A group of Aboriginal Australians dominates the foreground, with tents on the far bank of the river Yarra. According to
Flameng, Léopold (1831-1911; Belgian/French) Charles Meryon 1858 Etching, size unknown Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.186.6-1) Purchased in 1891 together with Meryon 6 etchings {1891} NGV [ET], this print was listed in the early NGV catalogues as “Meryon mad” (referring to the artist’s unfortunate later circumstances). In both NGV
Meryon, Charles (1821-68; French) 6 etchings (1850-58) Various sizes Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.187.1-1 to 4-1 & p.187.7-1 to 8-1) [photo: Le Stryge 1853 (p.186.8-1)] Individual etchings are as follows (including NGV acc.nos.; for details and reproductions, refer the gallery’s online catalogue): Le petit pont 1850 [p.187.1-1] La Pompe, Notre Dame 1852
Legros, Alphonse (1837-1911; French/English) Jules Dalou 1877 Etching, c.22.5 x 15.2 cm (plate) Purchased, 1900 (advice of Bernard Hall) Present location unknown [photo: work as reproduced in NGV 1905] Charles Baudelaire, hailing the French revival of etching in 1862, singled out Manet and Legros, praising the latter’s prints for what he called their primitive, archaic air.
Works included in this catalogue Klinger Vom Tode I [Plates 1-10] 1889 {1891} NGV [ET] Klinger Dead Mother (Vom Tode II, plate 10) 1889 {1891} NGV [ET] Klinger To the Beautiful in Nature (Vom Tode II, plate 12) 1889 {1891} NGV [ET] Klinger’s Vom Tode I series, and two prints from Klinger’s second series on death, purchased
Klinger, Max (1857-1920; German) To the Beautiful in Nature (An die Schönheit) [Vom Tode II, plate 12] 1890 Engraving and etching, 37.5 × 27.8 cm (image), 41.4 × 32.1 cm (plate), 61.6 × 45.6 cm (sheet) Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.188.1-1) Here, Death is equated with mystical union with the
Klinger, Max (1857-1920; German) Dead Mother (Tote Mutter) [Vom Tode II, plate 10] 1889 Engraving and etching printed on chine applique, 38.4 × 29.6 cm (image), 45.4 × 34.7 cm (plate), 61.0 × 45.7 cm (sheet) Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.188.2-1) This moody print is one of two acquired for
Klinger, Max (1857-1920; German) Vom Tode I (“On Death I”) [Plates 1-10] 1889 Etching and aquatint, various sizes Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.187.5-1 to 14-1) [photo: Nacht (p.187.5-1)] The complete first series of Klinger’s etched variations on the Dance of Death opens with an image of the pervading mood of melancholy
Holroyd, Charles (1861-1917; English) The Man with the Sack (1903) Etching and drypoint, 35.4 x 22.7 cm (image and plate), 45.2 x 28.6 cm (sheet) Gift of the artist, 1903 National Gallery of Victoria (128-2) This Rembrandt-esque image, signed in pencil at lower right, was produced and donated to Melbourne in the year the artist was knighted
Works included in this catalogue (both donated by the artist) Holroyd The Grand Canal 1902 {1903} NGV [ET] Holroyd The Man with the Sack {1903} NGV [ET] After studying and working with Legros (see Legros Portrait of Jules Dalou 1877 {1900} Loc? [ET]), Holroyd became a well-regarded etcher in his own right. He became the first
Holroyd, Charles (1861-1917; English) The Grand Canal with the Salute (Venice) 1902 Etching, size unknown Gift of the artist 1903 National Gallery of Victoria (129-2) Relatively conventional views like this were apparently more amenable to Melbourne taste around the turn of the century than Whistler’s experimental 1880s etchings of Venice, only acquired for the NGV many
Helleu, Paul-César (1859-1927; French) Study of a Young Girl Drypoint on paper Purchased, 1899 (advice of Bernard Hall) National Gallery of Victoria (53-2) Helleu, known for his glamorous Belle Epoque portraits, counted Whistler, Proust and Coco Chanel among his many friends. This print is signed at lower left. Several other examples by the artist were acquired later
Work by Herkomer in the pre-Felton collection Herkomer Queen Victoria {1892} NGV [PA] Engravings and etchings acquired on Herkomer’s advice, 1891-92: Dürer Knight, Death and the Devil 1513 {1891} NGV [PR] Dürer Melencolia I 1514 {1891} NGV [PR] Dürer St Jerome in his Study 1514 {1891} NGV [PR] Dyck [van] 3 etchings from the Iconography {1891} NGV [ET] Flameng Charles
Haden, Seymour Francis (1818-1910; English) 12 etchings (1859-77) Various sizes Purchased, 1892 (advice of Hubert von Herkomer) National Gallery of Victoria (p.190.1-1 to 9-1 and p.191.1-1 to 3-1) [photo: Windmill Hill No.1 1877 (p.190.2-1)] Haden, who had led a successful earlier career as a surgeon, took up etching seriously in his early 40s, at the suggestion
Dyck, Anthony van (1599-1641; Flemish) 3 etchings from the Iconography (c.1626-32) Each approx.24.3 x 15.5 cm (plate size) Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.185.1-1 to 3-1) [photo: Self-Portrait (c.1626-32) (p.185.1-1)] Van Dyck’s Iconography, published after his death by Gilles Hendricx (Antwerp, 1645), depicted 100 contemporary artists, including himself. Many of the
Pre-Felton works donated by Clarke or bought on his advice Baxter Rose of England 1861 {1864} NGV [PA] * Baxter Rosebud of England 1861 {1864} Loc? [PA] Imitation Greek vases donated 1862: see Decorative Arts – Introduction Clarke, who spent his career largely in the British army, held significant administrative posts in Victoria during the 1850s,
Works included in this catalogue Cruikshank 29 etchings {1899} NGV [ET] * Cruikshank & Mottram The Worship of Bacchus 1864 {by 1865} Loc? [PR] and Cruikshank & Mottram The Worship of Bacchus… 1864 (c.2) {1868} NGV [PR] In the first half of his career, Cruikshank produced numerous caricatures of the foibles of early 19th-century politics
Cruikshank, George (1792-1878; English) 29 etchings Presented by B.Moore, 1899 National Gallery of Victoria (acc.nos.4203.1-3 to 4203.29-3) [reproduction: Monstrosities of 1822 (NGV 4203.3-3)] These etchings provide a good sample of Cruikshank’s caricatures of the foibles of contemporary politics and fashion, in the tradition of Gillray, Rowlandson, and his father Isaac (1746-1811). While not listed in the
Duveneck, Frank (1848-1919; American) Riva degli Schiavoni, no.1 1880 Etching on paper, c.21.7 x 33.2 cm (plate) Purchased 1899 (advice of Bernard Hall) National Gallery of Victoria (55-2) Duveneck, who grew up in Ohio, studied art in Munich, and later worked and taught there. By 1875 he had established a reputation as an outstanding young painter,
Barry, James (1741-1806; Irish) 29 prints on various subjects (see details below) Etching and engraving, various sizes Presented by the Society for the Encouragement of Arts, &c., London, 1881 National Gallery of Victoria (p.183.200-1 to p.183.221-1 and p.183.224-1 to p.183.228-1) and Unidentified; location unknown (p.183.222-1 & p.183.223-1) [photo: Satan and his legions (c.1792-95) (p.183.226-1)] Barry,
Works by/donated by Queen Victoria included in this catalogue Albert [Prince] after Victoria [Queen] Islay 1840 {1893} NGV [ET] Albert [Prince] Head of a Dachshund 1840 {1893} NGV [ET] Albert [Prince] after Cranach Frederick III 1840 {1893} NGV [ET] Albert [Prince] after Voordecker Pigeons 1841 {1893} NGV [ET] Albert [Prince] after Carracci (Annibale) (?) Eagles 1841 {1893}
Works by Albert included in this catalogue Albert [Prince] after Victoria [Queen] Islay 1840 {1893} NGV [ET] Albert [Prince] Head of a Dachshund 1840 {1893} NGV [ET] Albert [Prince] after Cranach Frederick III 1840 {1893} NGV [ET] Albert [Prince] after Voordecker Pigeons 1841 {1893} NGV [ET] Albert [Prince] after Carracci (Agostino) [attrib.] Eagles 1841 {1893} NGV
Albert, Prince (1819-61; German/English), after Landseer, Edwin (1802-73; English) (?) Two Peasant Women 1842 Etching on chine collé, 20.3 x 15.3 cm (image and plate), 43.5 x 29.7 cm irreg. (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.7-1) This skilful print, somewhat reminiscent of the etchings of the young Rembrandt and his Dutch
Albert, Prince (1819-61; German/English), after a follower of Agostino Carracci (1557-1602; Italian) Eagles 1841 Etching on chine collé, 22.8 x 15.2 cm (image and plate), 43.4 x 29.9 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.6-1) This print, which demonstrates considerable technical skill, is inscribed (on the plate) “Albert 28/8 41” and “after H. Carracci.”
Albert, Prince (1819-61; German/English), after Voordecker, Hendrik (1779-1861; Belgian) Pigeons 1841 Etching on card, 16.7 x 11 cm (image and plate), 43.4 x 30 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.193.1-1) Both NGV 1894 and 1905 suggest that the original design was by the Belgian artist Eugène Joseph Verboeckhoven (1798-1881), known for
Albert, Prince (1819-61; German/English), after Cranach, Lucas the Elder (1472-1553; German) Frederick III, Elector of Saxony 1840 Etching on chine collé, 19.4 x 13.8 cm (image), 25 x 20.1 cm (plate), 53.8 x 37.8 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.8-1) The plate is inscribed at the lower margin “Albert after the Original
Albert, Prince (1819-61; German/English) Head of a Dachshund 1840 Etching on chine collé, 6.5 x 9 cm irreg. (image), 10.2 x 15.3 cm (plate), 33.7 x 49.6 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.5-1) The inscription indicates that this print, dated 4 October 1840, was drawn and etched by Albert alone.
Albert, Prince (1819-61; German/English), after Victoria, Queen (1819-1901; German/English) Islay, the Queen’s Skye Terrier 1840 Etching on chine collé, 10.6 x 9.8 cm irreg. (image), 15.6 x 10.3 cm (plate), 50 x 33.9 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.191.5-1) The inscribed date (11 Sept.1840) indicates that this was the earliest of
Pre-Felton works donated after Purves’ death * Giambologna [after] Rape of the Sabines {1878} Loc? [SC] * Unknown (Italian 19C?) Venus de’Medici {1878} Loc? [SC] According to his obituary, Purves migrated to Tasmania in 1834 and then moved to Victoria three years later, raising sheep near Hanging Rock. Later, he owned the Tootgarook station near
Pre-Felton works certainly or probably donated by Fawkner Edelinck after Turchi The Deluge {1868} NGV [PR] Gill Ballaarat from Mount Buninyong 1855 {1868} SLV [PR] Gill Melbourne Exhibition Buildings 1854 {1868?} SLV [PR] * Gill Post Office, Melbourne 1856 (?) {1868} Loc? [PR] Gill Terminus of the M.& H.B.Railway 1854 {1868} SLV [PR] Gill Toorak. The Residence