Lemon after Le Jeune Pity 1867 {1868} NGV [PR]

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

Willmore, James Tibbits (1800-1863; English)

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 (J.) after Turner (J.M.W.) Italian Landscape {1868} Loc? [PR]

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 (J.) after Leitch Villa of Lucullus at Misenum 1851 {1868} NGV [PR]

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 after Lee River scene in Devonshire {1868} NGV [PR]

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 after Landseer Deer stalkers returning {1868} NGV [PR]

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 after Dyckmans The Blind man {1868} NGV [PR]

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 after Dawe Duke of Wellington 1842 {1875} NGV [PR]

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 after Carew The Death of Nelson {1871} Loc? [PR]

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 after Alma-Tadema Frédégonde et Prétextat {1868} NGV [PR]

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 after van Dyck Rubens {by 1894} Loc? [PR]

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

Willmore, Arthur (1814-88; English)

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

Walton (C.) & Co. J.Cashel Hoey {1892} SLV [PR]

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

Guérard Australian Landscapes [Nos.1-24] {1868} SLV [PR]

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

Volpato, Giovanni (1735-1803; Italian)

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

Vintner after Pearce Admiral John Lort Stokes {1881} SLV [PR]

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

Raeburn, Henry (1756-1823; Scottish)

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

Strange after Cortona Romulus and Remus {by 1868?} NGV [PR]

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

Michelangelo Buonarotti (1475-1564; Italian)

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