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