Schoenfeld, Frederick (1810-68; Swiss/Australian), after Michelangelo Buonarotti (1475-1564 Italian) The Crucifixion 1860 Colour lithograph Presented by Hamel & Co., c.1868 National Gallery of Victoria (p.178.1-1) The main inscription runs as follows: “The Crucifixion, // To the Right Reverend J.E.Goold D.D.Bishop of Melbourne // This Specimen of Colonial Art, is most Respectfully Dedicated // By His
Schiavonetti, Luigi (1765-1810; Italian), after Phillips, Thomas (1770-1845; English) William Blake (1808) Etching and engraving, c. 34.3 x 27.2 cm (image and sheet) Date of acquisition unknown (by 1894) Present location unknown This print, based on Phillips’ 1807 portrait of Blake, appeared as the frontispiece to the 1808 edition of Robert Blair’s poem The Grave, for
Schäffer, Eugen (1802-71; Germany), and Belloli, Romualdo (1813-90; Italian), after Giotto di Bondone (c.1266/7-1337; Italian) The Pietà from the Arena Chapel at Padua (c.1851-52) Engraving, 32.8 x 37.0 (platemark), 50.2 x 67.3 (sheet) Purchased, 1860 National Gallery of Victoria (p.12.35-1) This print, engraved for the Arundel Society (as noted in the inscription), demonstrates Melbourne’s relatively up-to-date interest
Sadeler, Aegidius (1570-1629; Flemish), after Heintz, Joseph, The Elder (1564-1609; Swiss) Diana surprised in the Bath by Actaeon Engraving, c.36.4 x 50.8 cm Purchased, 1899 (advice of Bernard Hall) Present location unknown This print typifies the late Mannerist style favoured at the Prague court of Emperor Rudolf II around 1600. Sadeler is documented as active at
Sadd, Henry Samuel (c.1811-93; English/Australian) The Catholic hierarchy in Australia 1869 Collotype, 44 x 34 cm Acquired, 1870 State Library of Victoria (H141655) Sadd migrated from England to New York in 1840, according to Bénézit (where he is described as American). He may also have worked in partnership with a Canadian photographer named Andrew Halsey (documented in
Ryder, Thomas (1746-1810; English), after Durno, James (c.1745-95; English) Scene from The Merry Wives of Windsor 1801 Engraving Acquired by 1868 National Gallery of Victoria (p.179.6-1) The inscriptions identify the scene (Act IV, scene II, showing Falstaff in women’s clothes), the artists, the date and the publishers, “J. & J.Boydell, at the Shakspeare Gallery, Pall Mall.”
Ryall, Henry Thomas (1811-67; English), after Paton, Joseph Noel (1821-1901; Scottish) The Pursuit of Pleasure: A Vision of Human Life 1864 Engraving and stipple-engraving, 63.2 x 98.2 cm Presented by Thomas Russell, by 1865 National Gallery of Victoria This large-scale admonition against excessive enjoyment was included in early NGV catalogues and is still in the
Russell, Robert (1808-1900; English/Australian), attributed to Melbourne from the Old Falls 1837 Lithograph Purchased, 1891 Unidentified; present location unknown This print is attributed to Russell in NGV 1894, but NGV 1905 lists it as anonymous. the SLV holds several of his watercolours and pencil drawings of the rocky falls on the river Yarra, where he had
Robinson, John Henry (1796-1871; English), after Stewart, Malcolm (1829-1916; British) Daniel O’Connell, Esq., M.P. Engraving Gift of John Pascoe Fawkner 1868 National Gallery of Victoria (p.180.21-1) The inscriptions identify the sitter and the artists involved. O’Connell (1775-1847), known as the “Irish Liberator,” famously campaigned for Catholic emancipation; there was also a plaster bust of him
Robinson, John Henry (1796-1871; English), after Selous, Henry Courtney (1803-90; English) The Surrender of Calais Engraving Gift of John Pascoe Fawkner 1868 National Gallery of Victoria (p.180.10-1) The inscription identifies the artists involved, and adds a sub-title: “Queen Philippa pleading for the Burgesses.” Philippa (c.1310/15-69) was a French princess who married Edward III of England
Risdon, Charles (19th century; English), after Peacock, George Edwards (1806-1875?; English) View of Sydney Harbour 1860 Chromo-lithograph, c.55 x 76 cm Purchased, 1869 Unidentified; current location unknown This print, described in NGV 1894 as produced by Day and son, and in NGV 1905 as showing the view from Vaucluse, no longer seems to be in the
Ransome, Richard (active in Melbourne 1850s-60s) Great Bourke Street, Melbourne (c.1860) Engraving, 9 x 14 cm (plate mark), 13 x 19 cm (sheet) Purchased, 1891 State Library of Victoria (H4312) This view (evidently based on an older image) apparently shows Melbourne in about 1840. An inscription below the image identifies the central lamp-post as at the corner of
Purcell, Richard (known as Charles Corbutt; active from c.1746; d.1766; Irish), after Reynolds, Joshua (1723-92; English) David Garrick between Tragedy and Comedy (1760-61) Mezzotint, c. 35.3 x 40.6 cm (plate size) Presented by E.L.Grundy, 1868 National Gallery of Victoria (p.178.11-1) Reynolds’s witty portrait of the noted 18th-century actor and playwright (1717-79) is in the Waddesdon
Prout, John Skinner (1805-76; English) 6 Views of Melbourne and Geelong 1847 Lithographs, each c.24.4 x 37.2 cm Acquired 1868 (donated by John Pascoe Fawkner?) State Library of Victoria (30328102131652/1) etc. [photo: Geelong 1847] Prout, the nephew of Samuel Prout (1783-1852), worked in Australia from 1840-48, mostly in Sydney and Hobart. The prints in this set, made during
Pontius, Paulus (1603-58; Flemish), after van Dyck, Anthony (1599-1641; Flemish) Dead Christ, supported by the Virgin Engraving Purchased, 1900 (advice of Bernard Hall) Present location unknown Prints by Hollar and Muller bought with this work (see separate entries), are still in the NGV, as are other prints by Pontius, bought after 1905. [comparative photo: impression
Pauwels, Ferdinand (1830-1904; Belgian) Exiles of the Duke of Alva Wood engraving (?), 20.2 x 35.3 cm Presented by Belgian Government 1868 National Gallery of Victoria (p.179.16-1) One of several works recorded as donated by the Belgian government in 1868, this work records the impact of the repressive governorship of the Northern Netherlands by Duke
Nuttall, Charles (1872-1934; Australian), after His Royal Highness the Duke of Cornwall and York opening the First Commonwealth Parliament of Australia, May 9th, 1901, 1902 Photo-engraving, c.46.5 x 94 cm Purchased, 1903 State Library of Victoria (H26162) (?) The SLV holds several impressions of this work, a photogravure print produced by the Paris firm of
Visscher, Claes Jansz. (1587-1652; Dutch), after Muller, Jan Harmensz. (1571-1628; Dutch) Virgin & Child (1593 & later) Engraving Purchased 1900 (advice of Bernard Hall) National Gallery of Victoria (73-2) Muller, who studied with Goltzius, and was related by marriage to the Dutch Mannerist sculptor Adrian de Vries, worked in an Italianate style. Several other engravings by him, acquired
Morghen, Raffaello (1758-1833; Italian), after Leonardo da Vinci (1452-1519; Italian) The Last Supper 1800 Engraving Acquired 1872 Present location unknown This engraving provided many in the 19th century – Goethe, for one – with their first and sometimes only idea of Leonardo’s famous fresco (extant, in ruined form, in the refectory of S.Maria delle Grazie, Milan).
Montefiore, Eliezer Levi (1820-94; English/Australian), after Chevalier, Nicholas (1828-1902; Swiss/Australian) Pigeon Point, Banks’ Peninsula, N.Z. Engraving (?) Presented by Montefiore, by 1894 Unidentified; present location unknown No.4 in the set of 4 “etchings” by Montefiore listed in NGV 1894 as donated by the artist: see e.g. * Montefiore after Chevalier Crossing a Creek, N.Z. {by
Montefiore, Eliezer Levi (1820-94; English/Australian), after Chevalier, Nicholas (1828-1902; Swiss/Australian) Crossing a Creek, N.Z. Engraving (?) Presented by Montefiore, by 1894 Unidentified; present location unknown This was no.2 in the set of 4 “etchings” by Montefiore listed in NGV 1894 as donated by the artist: see now Montefiore The Rip – Port Phillip Heads 1868 {by
Montefiore, Eliezer Levi (1820-94; English/Australian) Environs of Sydney Engraving (?) Presented by the artist, by 1894 Unidentified; present location unknown This was no.1 in the set of 4 “etchings” by Montefiore listed in NGV 1894 as donated by the artist. The only one of the four apparently still in the collection is Montefiore The Rip
Montefiore, Eliezer Levi (1820-94; English/Australian) The Rip – Port Phillip Heads 1868 Engraving, 10 x 18 cm (image), on sheet 19 x 28 cm Presented by the artist, by 1894 State Library of Victoria (H1514 or H6698) This was one of a set of four “etchings” by Montefiore listed together in NGV 1894 (see linked artist
Moffitt, William (1802-74; English/Australian) Billy Blue’s Cottage and the Harbour (1830s) Engraving Purchased, 1891 Present location unknown This was one of several engravings of Sydney bought together for the NGV in 1891, none of them, apparently, still in the collection: see e.g. * Carmichael Sydney Cove, from Fort Philip 1838 {1891} Loc? [PR]. The 1894
Martini, Pietro Antonio (1739-97; Italian), after Ramberg, Johann Heinrich (1763-1840; German) The Royal Academy 1787 Hand-coloured engraving Purchased, 1900 (advice of Bernard Hall) National Gallery of Victoria (94-2) As the 1905 NGV catalogue explains, this print documents the arrangement of pictures at the 19th Royal Academy exhibition at Somerset House, during a visit by the Prince
Maile, George (active first half 19thcentury; British) Napoleon I Engraving Presented by the executors of the late Dr Augustus Greeves, 1875 National Gallery of Victoria (p.182.3-1) This print was donated together with Unknown, after Dawe Duke of Wellington 1842 {1875} NGV [PR]. See also * Unknown artist Portrait of Napoleon I {1875} Loc? [DR]: possibly the same work,
Maguire, Thomas-Herbert (1821-95; English), after Negelen, Joseph Mathias (1792-1870; Swiss) Sir John Franklin (1837) Lithograph Presented by J.Shillinglaw, 1875 Present location unknown This was the second pre-Felton impression of this print of the Arctic explorer, the first having been incorporated in the “Oval Portrait” series (no.44): see now Maguire after Negelen Sir John Franklin {by 1865}
Lowry, Joseph Wilson (1803-79; English), after Liardet, W.F.E. (1799-1878; Swiss/Australian) View of Melbourne Port Phillip 1845 Engraving Donated by Charles La Trobe, 1859 (?) State Library of Victoria (H18113) The impression listed in NGV 1865 and subsequent early catalogues is presumably identical with the print in the SLV, described as donated by La Trobe, Superintendent of
Linnell, John (1792-1882; English), after his own painting Sir Robert Peel 1838 Mezzotint, c.51 x 40 cm (plate size) Presented by E.L.Grundy, by 1870 Present location unknown Linnell’s 1838 oil portrait of Peel (1788-1850), British Prime Minister 1834-5 and 1841-6, is in the National Portrait Gallery in London, which also holds an impression of this print,
Lewis, Frederick Christian (1779-1856; English), after Lawrence, Thomas (1769-1830; English) Untitled (A Lady) (1835) Stipple engraving, 32.2 x 25 cm (plate) Donated by E.L.Grundy 1868 National Gallery of Victoria (p.178.8-1) This impression, which includes several annotations, is identified by the NGV as a trial proof, and described as a “stipple engraving in the crayon manner.”