Vasi, Giuseppe (1710-82; Italian) Pius VI in procession in St Peter’s 1775 Etching, c.70.2 x 96.8 cm (plate) Acquired 1868 Location unknown A work noted in the NGV’s list of pre-Felton acquisitions, as “A Solemn Procession in Saint Peter’s, Rome, 1775” (artist not named), is almost certainly identifiable as the print detailed here. It was acquired
Preston, Walter (1777-after 1821; English), after Lycett, Joseph (c.1775-1828; English) (?) Corroboree or Dance of the Natives of New South Wales (1817-18) Etching and engraving Presented by J.L.Evans 1878 Location unknown The NGV’s Annual Report for 1878 records the donation of this print, which appeared in An Historical Account of the Colony of New South Wales and
Winstanley, Hamlet (c.1694-1756; English), after Giordano, Luca (1634-1705; Italian) The Flight into Egypt 1728 Etching, 48 x 63 (sheet) Acquired by 1868 National Gallery of Victoria (p.178.17-1) This work appears in the NGV’s online catalogue as an etching by an unknown artist after Giordano, the noted Italian Baroque painter, identified in the Latin inscription at lower left
Koepping, Charles (1848-1914; German), after Munkácsy, Mihály (1844-1900; Hungarian) Le Mont de Piété (1885) Etching, 48.6 x 61 cm (plate) Gift of H.Koekkoek, 1889 National Gallery of Victoria (p.184.3-1) Munkácsy, born in an area of the former Hungarian empire now in the Ukraine, achieved a substantial reputation for his genre and religious paintings, in Paris and
Whistler, James McNeill (1834-1903; United States) Sixteen Etchings of Scenes on the Thames (1859-71) Etchings on paper, various sizes Purchased, 1892 (advice of Hubert von Herkomer) National Gallery of Victoria (p.188.1-1 to p.188.16-1) [photo: Plate 1: Black Lion Wharf 1859] Individual etchings are as follows (NGV acc.nos. in brackets): Plate 1: Black Lion Wharf 1859 (p.188.1-1)
Victoria, Queen (1819-1901; German/English) Prince Alfred 1848 Etching and drypoint on chine collé, 20.4 x 12.2 cm (image and plate), 54.3 x 38.1 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.4-1) The inscriptions on the plate read: ‘VR del 29/12 1848’ (lower left) and ‘Alfred 1847’ (lower centre). This image of Victoria
Victoria [Queen] (1819-1901; German/ English) Victoria on Jan.1 1844, in the Costume of the late princess Royal, after West 1844 Etching on chine collé, 14.6 x 18.7 cm (image and plate), 37.9 x 54.0 cm (sheet) Gift of Queen Victoria, 1893 National Gallery of Victoria (p.192.2-1) This etching and Victoria [Queen] Two Studies of the Princess
Victoria, Queen (1819-1901; German/English) [Two Studies of the Princess Royal] 1843 Etching on chine collé, 16.3 x 21.3 cm (plate), 30.0 x 43.4 cm (sheet) Donated by Queen Victoria, 1893 National Gallery of Victoria (p.192.3-1) NGV 1894 and 1905 list both the present print and Victoria [Queen] Victoria on Jan.1 1844 {1893} NGV [ET] as showing ‘the
Victoria, Queen (1819-1901; German/ English) Victoria, the Princess Royal, seated 1841 Etching on chine collé, 11.4 x 18.1 cm (image and plate), 38.0 x 54.2 cm (sheet) Donated by Queen Victoria, 1893 National Gallery of Victoria (p.191.1-1) This image of Queen Victoria’s first child, inscribed ‘VR del. 22/8 1841’, dates from 6 months after the first
Victoria, Queen (1819-1901; German/English) Victoria, Princess, with her nurse 1841 Etching on chine collé, 15.2 x 11.4 cm (image and plate), 54.0 x 38.0 cm (sheet) Donated by Queen Victoria, 1893 National Gallery of Victoria (p.191.6-1) Queen Victoria’s first child was born on 21 November 1840, baptized Victoria on 10 February 1841, and named Princess Royal
Victoria, Queen (1819-1901; German/English) Princess Adelheid of Hohenlohe-Langenburg 1840 Etching on chine collé on brown paper, 15.2 x 10.9 cm (image and plate), 31.8 x 25.6 cm (sheet) Donated by Queen Victoria, 1893 National Gallery of Victoria (p.191.4-1) This is the earliest of six etchings by the British monarch, donated by her in 1893, together with
Strang, William (1859-1921; Scottish) Rudyard Kipling (1898) Etching with engraving, 35.2 x 25.2 (image and plate), 45.0 x 28.6 cm (sheet) Purchased, 1900 (advice of Bernard Hall) National Gallery of Victoria (68-2) This impression is signed in pencil by the artist at the lower right. In 1901, Strang published A Series of Thirty Etchings… Treating
Strang, William (1859-1921; Scottish) The Hangman’s Daughter 1894 Etching on paper, 15.2 x 17.6 cm (image and plate) Purchased, 1899 (advice of Bernard Hall) National Gallery of Victoria (54-2) Strang, one of the original members of the Royal Society of Painter-Etchers (see artist entry for further details), was sometimes described as exhibiting a taste for the
Rembrandt van Rijn (1606-69; Dutch) 11 etchings (1628-54) Various sizes Purchased, 1891 (advice of Hubert von Herkomer) National Gallery of Victoria (p.185.4-1 to 9.1 & p.186.1-1 to 5-1) [photo: “The Hundred Guilder Print” (p.186.1-1)] The individual prints acquired in 1891 are as follows: Rembrandt’s Mother 1628 [p.185.4-1] Young Man in a Velvet Cap 1637 [p.185.5-1]
Piranesi, Giovanni Battista (1720-78; Italian) The Column of Marcus Aurelius 1758 [H.52 IV] Etching Acquired, 1868 Present location unknown NGV 1894 and 1905 both list this print as an engraving of the Colonna Antonina, the title reflecting the mistaken older view that the late 2nd-century monument, in Palazzo Colonna, Rome, was erected by Marcus Aurelius’s predecessor
Piranesi, Giovanni Battista (1720-78; Italian) Veduta del Castello dell’Acqua Felice (c.1751) Etching, c.40.8 x 68 cm (plate) Acquired, 1868 Present location unknown A number of Piranesi’s prints are held in the NGV, but the present example, from the Vedute di Roma series, does not appear to be among them. The fountain of Acqua Felice was
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.
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
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
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
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,