Campi, Giacomo (1846-1921; Italian) Emily Watercolour, c. 35.56 x 22.86 cm Purchased, 1876 (advice of Archibald Michie) Unidentified; present location unknown This work and Campi Japanese {1876} Loc? [WT] were acquired in London at the same time as two watercolours by Provaggi (described in NGV 1905 as bought on the advice of Michie, Victorian Agent-General). See artist entry
Buvelot, Louis (1814-88; Swiss/Australian) Yarra Flats 1871 Watercolour, 29.2 x 44.7 cm (image), 30.6 x 46.6 cm (sheet) Bequest of Alfred Felton, 1904 National Gallery of Victoria (152-2) Compare Buvelot Victorian scene {1904} NGV [WT], also from Felton’s collection, but almost certainly earlier in date. Refs. AR 1904, p.26; NGV 1905, p.47 (II.Stawell Gallery, no.37;
Buvelot, Louis (1814-88; Swiss/Australian) Victorian scene (c.1868) Watercolour, 17.5 x 25.8 cm (image) Bequest of Alfred Felton, 1904 National Gallery of Victoria (151-2) Daryl Lindsay observed in 1963 that the two Buvelot watercolours are among the few significant works selected from Felton’s personal collection in 1904. However, the conventions of Buvelot’s earlier European experience and
Burn, Henry (c.1807-84; English/Australian), attributed to Melbourne from the Old Sandridge Road in 1850 (c.1867?) Watercolour on paper, 38 x 58 cm Purchased, 1901 State Library of Victoria (H5201) The SLV lists the work detailed here as by Burn, c.1867, and indicates that it was accessioned in 1934. However, it seems likely that it is
Bundy, Edgar (1862-1922; English) To Sedgmoor 1901 Watercolour on paper, 41.4 x 16.8 cm (sheet) Purchased, 1901 National Gallery of Victoria (108-2) Bundy specialized in historical painting. His 1905 painting The Morning of Sedgmoor (Tate Gallery) depicts the prelude to the 1685 battle at which James II’s forces defeated the rebellious Duke of Monmouth, subsequently beheaded
Bromley, John Mallord (1858-1939; English) The Road that Skirts the Common (c.1885-90) Watercolour over traces of pencil with scratching out, on paper, 74.1 x 127.5 cm (sheet) Purchased, 1892 National Gallery of Victoria (p.432.4-1) This large, moody watercolour was bought from the Anglo-Australian exhibition held in Melbourne in 1892. In 2011-12, it was included in the
Brockbank, Albert Ernest (1862-1958; English) In the Cornfield Watercolour on paper, 49 x 74.5 cm (sight) Purchased, 1901 National Gallery of Victoria (101-2) Selected for Melbourne by the RA in 1901 (with Bell A Flight of Fairies 1901 {1901} NGV [WT] etc.). The artist worked in his native Liverpool as a portraitist and landscape-painter. This work is mounted
Brierly, Oswald (1817-94; English) Admiral Blake, with a squadron of five ships, blockading the royalist fleet, under command of Prince Rupert, in the Targus, 1650 Watercolour, 55.8 x 99 cm (sight) Purchased 1881 National Gallery of Victoria (p.168.5-1) This work was bought after being shown at the Melbourne International Exhibition in 1881. Sir Oswald Brierly,
Blyth, Eliza (1820-94; English/Australian) [attrib.] Wildflowers [4?] Watercolours Purchased, 1872 Unidentified; present location unknown The NGV’s annual report for 1872 records the purchase of a watercolour of “Australian Flowers” by “Miss Blythe”, and four works ascribed to the same artist are listed under 1872 in the NGV’s unpublished record of early acquisitions (PF), identified as
Bell, Robert Anning (1863-1933; English) A Flight of Fairies 1901 Watercolour and gouache on paper, 49.6 x 62.4 cm (sheet) Purchased, 1901 (advice of the Royal Academy) National Gallery of Victoria (104-2) This typical Victorian/Edwardian fairy image, comparable for instance with the well-known illustrations of his contemporary Arthur Rackham (1867-1939), somehow escaped the attentions of
Austin, William (active 1850-84; Australian?) Arrival of the First Gold Escort, William Street, Melbourne, June 1852 Watercolour, 23.9 x 44.7 cm Purchased, 1884 State Library of Victoria (H26108) This scene is inscribed on the mount with the title shown above, followed by the words “by an eye-witness.” Austin, evidently the witness involved (although Downer & Phipps emphasise
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
Listed below are all the individual artists represented in the pre-Felton collection, most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904). Links are provided for individual artist entries, in the case of those responsible for several works: see e.g. A’Beckett. For all others (e.g. Abbey), the linked entry contains
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
Works included in this catalogue * Piranesi Veduta del Castello dell’Acqua Felice {1868} Loc? [ET] * Piranesi The column of Marcus Aurelius 1758 {1868} Loc? [ET] Recent fascination with Piranesi’s extraordinary late etchings of “Imaginary Prisons” (Carceri) has tended to overshadow his career as a topographical printmaker, especially of Roman buildings past and present. The NGV
Pre-Felton works donated by Montefiore: * Bartolozzi [attrib] Study of Figures {1869} Loc? [DR] * Castello [attrib.] Study of Male Figure {1869} Loc? [DR] * Kauffmann Cupid and the Three Graces {1869} Loc? [DR] * Laer, van (Bamboccio) Study of a Male Figure {1869} Loc? [DR] Montefiore Melbourne from the Falls 1837 {by 1870} SLV [ET]
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
Works included in this catalogue Strang The Hangman’s Daughter 1894 {1899} NGV [ET] Strang Rudyard Kipling {1900} NGV [ET] Strong, a prolific print-maker, was one of the original members of the Royal Society of Painter-Etchers, and showed in their first exhibition in 1881. For other prints and drawings by Strang, acquired later, see the NGV’s online
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