Unknown engraver (presumably French, 17thcentury) Emmerick (from the series Grandes Conquêtes du roi) (1680s) Engraving, 65.5 x 50 cm (sheet); 43.8 x 32.8 cm (image) Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.148-1) = Levey gift, cat.no.139 The engraver’s name is not recorded, but it seems possible that it was also by Le
Tegazzo, Franciszek (1829-79; Polish), after Siemiradzki, Henryk (1843-1902; Polish) Les Torches vivantes de Neron 1878 Engraving, 63.5 x 91.5 cm Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.198-1) = Levey gift, cat.no.178 One of only a few 19th-century prints included in Levey’s 1879 donation, this large-scale engraving reproduced a popular religious image of the
Unknown engraver, after Nanteuil, Robert (1623-78; French) Pierre-Armand de Cambout, Cardinel de Coislin Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.178-1) = Levey gift, cat.no.177 This print, inscribed ‘Nanteuil’ in pencil, reproduces (in reverse) a 1658 engraving, altering some details. Nanteuil was famous for his portraits of the king and other contemporaries
Thomassin, Simon (1655-1733), after Raphael (1483-1520; Italian) Jesus ayant pris… [Transfiguration of Christ] 1680 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.20-1 & p.183.12-1) = Levey gift, cat.12-13 This 2-part engraving was the only print in the Tableaux du roi series to be based on a painting that was not in the
Simonneau, Charles (1645-1728; French), after Le Brun, Charles (1619-90; French) La Franche Comté conquise pour la seconde fois 1688 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.40-1) = Levey gift, cat.110 As the inscriptions indicate, this engraving reproduced Le Brun’s ceiling painting on the vault of the Grande Galerie at Versailles, dating
Scotin, Gérard (1671-1716; French), after Turchi, Alessandro (1578-1649; Italian) Jesus Christ espouse Ste Catherine [The Mystic Marriage of St Catherine] 1679 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.11-1) = Levey gift, cat.25 The source painting, in Cardinal Mazarin’s collection prior to its acquisition by Louis XIV, was transferred from the Louvre
Rousselet, Gilles (1610-86; French), after Valentin de Boulogne (1591-1632; French) The Four Evangelists (1671-2) 4 engravings, each c.28.5 x 31.5 cm (plate) Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.26-1 to p.183.29-1) = Levey gift, cat.21-24 [photo: St John (NGV p.183.29-1)] Valentin’s four canvases, painted in the mid 1620s, were acquired by Louis XIV
Rousselet, Gilles (1610-86; French), after Titian (1485/90-1576; Italian) Jesus Christ descendu de la Croix est porté au Sepulchre…[Entombment of Christ] c.1675 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.21-1) = Levey gift, cat.14 This large-scale engraving was folded in half in bound albums of the Cabinet du Roi series. It is listed
Rousselet, Gilles (1610-86; French), after Reni, Guido (1575-1642; Italian) Sainct François en meditation [Saint Francis in meditation] (1671) Engraving, 43.5 x 28 cm (plate) Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.22-1) = Levey gift, cat.28 Rousselet was paid 600 livres for this plate in February 1671 (as noted by Duplessis). Reni’s Louvre canvas, painted
Rousselet, Gilles (1610-86; French), after Reni, Guido (1575-1642; Italian) The Labours of Hercules (1669-70) 4 engravings Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.30-1 to 33-1) = Levey gift, cat.30-33 [photo: Abduction of Deianira (p.183.31-1)] Rousselet’s four engravings, for which he was paid in 1669, reproduced a series of canvases commissioned in 1617 by Duke
Rousselet, Gilles (1610-86; French), after Raphael (1483-1520; Italian) Sainct Michel victorieux du demon [St Michael defeating the Devil] Engraving & etching Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.24-1) = Levey gift, cat.1 Rousselet was paid 800 livres for this engraving in June 1676. The work reproduced was a gift from Pope Leo
Rousselet, Gilles (1610-86; French), after Poussin, Nicolas (1594-1665) Moise tire des eaux du Nil par la fille de Pharaon [The Finding of Moses] (1676) Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.39-1) = Levey gift, cat.3 Rousselet was paid 1,500 livres for this engraving in 1676. Poussin’s 1647 canvas is the second
Rousselet, Gilles (1610-86; French), after Poussin, Nicolas (1594-1665; French) Rebecca vient puiser de l’eau a la fontaine, elle y rencontre le serviteur d’Abraham… [Eliezer and Rebecca] 1677 Engraving and etching Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.18-1) = Levey gift, cat.2 Poussin’s canvas (Louvre, 1648), painted for the Parisian banker Jean Pointel,
Rousselet, Gilles (1610-86; French), after van Dyck, Anthony (1599-1641; Flemish) S.t Antoine de Padoüe adorant l’Enfant Jesus… [St Anthony of Padua adoring the infant Jesus] Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.23-1) = Levey gift, cat.29 [comparative photo: Harvard Art Museums impression] This was the only engraving of the 38
Rousselet, Gilles (1610-86; French), after Domenichino (1581-1641; Italian) David chantant les loüanges de Dieu [David singing the praises of God] (1677) Engraving and etching Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.25-1) = Levey gift, cat.6 Domenichino’s 1619 painting, still at Versailles, was installed in the Chambre of Louis XIV, opposite the same painter’s
Picart, Étienne (1632-1721), after Poussin, Nicolas (1594-1665) L’Arche du Seigneur…[The Plague of Ashdod] 1677 Engraving, 39.2 x 52.2 cm (image), 43.2 x 53.6 cm (plate), 50.0 x 59.2 cm (sheet) Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.9-1) = Levey gift, cat.5 This was the only print after Poussin in the Tableaux
Picart, Étienne (1632-1721; French), after Spada, Leonello (1576-1622; Italian) Concert de Musique [The Concert] (1677) Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.8-1) = Levey gift, cat.38 Picart’s engraving, one of the original group of 22 Tableaux du roi published in 1677, includes an inscription identifying the source as a painting by
Picart, Étienne (1632-1721), after Lanfranco, Giovanni (1582-1647; Italian) Séparation de St Peter and St Paul [The Separation of Saints Peter and Paul] 1679 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.3-1) = Levey gift, cat.18 Lanfranco’s canvas, in Cardinal Mazarin’s collection by 1653, was acquired by Louis XIV in 1671. Transferred from Versailles
Picart, Étienne (1632-1721; French), after Domenichino (1581-1641; Italian) Ste Cecile chantant les loüanges de Dieu [St Cecilia singing the praises of God] Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.10-1) = Levey gift, cat.27 Domenichino’s canvas, painted in about 1617-18, was acquired by Louis XIV in 1662, together with the Concert by
Picart, Étienne (1632-1721; French), after Domenichino (1581-1641; Italian) (1560-1609; Italian) Jesus Christ dormant entre les bras de la Vierge, vulgairement appellée le Silence du Carrache [Madonna and Sleeping Christ Child with St John the Baptist] 1681 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.2-1) = Levey gift, cat.9 This engraving reproduces a
Picart, Étienne (1632-1721), after Correggio (1489-1534; Italian) La Vertue Heroique victorieuse des vices… [Virtue triumphant over Vice] 1672 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.5-1) = Levey gift, cat.36 The source canvas, painted for Isabella d’Este’s Mantua studiolo in about 1530, was one of several given to Cardinal Richelieu in about 1627,
Picart, Étienne (1632-1721), after Correggio (1489-1534; Italian) Jesus Christ espouse Ste Catherine [The Mystic Marriage of St Catherine] Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.6-1) = Levey gift, cat.26 Correggio’s panel was painted c.1526-7 for a friend of the painter, a doctor in Modena. Later, it was owned by Cardinal
Picart, Étienne (1632-1721), after Correggio (1489-1534; Italian) Image de l’homme sensuel… [Allegory of Vice] 1676 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.7-1) = Levey gift, cat.37 Correggio’s Allegory of Vice, painted for Isabella d’Este’s Mantua studiolo in about 1530, was later owned by Charles I of England and then Cardinal Mazarin,
Picart, Étienne (1632-1721), after Bonifazio Veronese (1487-1553; Italian) Sainte Famille de Jesus Christ [Holy Family] 1682 Engraving Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.4-1) = Levey gift, cat.8 This print reproduces, in reverse, a sacra conversazione in the Louvre, now regarded as the work of Bonifazio Veronese, but formerly believed to be
Nolin, Jean-Baptiste (1657-1725; French), after Hardouin-Mansart, Jules (1646-1708) Elevation de la Façe de l’Orangerie de Versailles…1688 2 engravings Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.71-1 and p.183.70-1) = Levey gift, cat.101-2 The inscriptions identify both Nolin, and the architect. The Orangerie was built to the latter’s designs between 1681 and 1685. See
Masson, Antoine (1636-1700), after Titian (1487/90-1576; Italian) Jesus Christ a table avec deux de ses disciples dans le chasteau d’Emaus [Christ at Emmaus] (1672) Engraving and etching Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.14-1) = Levey gift, cat.15 [photo: Harvard impression] “Known as the ‘tablecloth print,’ his [Masson’s] masterpiece” (according to the NGV’s
Marot, Jean (1619-79; French) Plans and elevations of the Louvre 1676/78 3 engravings Gift of George Collins Levey National Gallery of Victoria (p.183.95-1, p.183.96-1, p.183.103-1) [see note below] = Levey gift, cat.42-44 [photo: Face principale (p.183.96-1)] These engravings form part of the documentation of the new work on the Louvre and Tuileries Palaces carried out in the
Marot, Daniel (1661-1752; French/Dutch) 4 engravings from Les Grandes Conquêtes du Roi (c.1686-87) Etching and engraving, various sizes Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.154-1 to 157-1) = Levey gift, cat.146, 149-50 & 172 [photo: Ypres (p.183.157-1)] Daniel Marot was a Huguenot who settled in the Netherlands after French Protestants were proscribed under the edict
Le Pautre, Pierre (1652?-1716; French), after Hardouin-Mansart, Jules (1646-1708; French) Elevation d’une des faces des costés des Ecuries du Roy sur les Avenues a Versailles 1689 2 engravings (with etching) Gift of George Collins Levey 1879 National Gallery of Victoria (p.183.67-1 and p.183.68-1) [Levey gift, cat.99-100] Hardouin-Mansart, formally appointed Louis XIV’s chief architect in 1681, was in charge
Le Pautre, Jean (1618-82; French) & Chauveau, François (1613-76; French) Les Divertissements de Versailles donnez par le Roy… en l’année 1674 (1675-76) 6 engravings Gift of George Collins Levey, 1879 National Gallery of Victoria (p.183.78-1 etc and p.183.80-1) = Levey gift, cat.nos.128-33 [reproduction: Premiere Journée – Alceste (p.183.78-1)] These festivities were held to mark Louis XIV’s return