Who painted Untitled?

Untitled was painted by Victor David Brenner.

Where can I see Untitled?

Untitled is held by Victoria and Albert Museum.

Artwork

Untitled

Untitled is a photographic photography by Victor David Brenner. It is held in the collection of the Victoria and Albert Museum. The work is a photographic print mounted on a green card, forming part of a collection donated by William Kineton Parkes in 1938.

About this work

The name "JVLIA W OETTINGER" and the year "XII-1 MCMIII" (1913) are etched below, along with the artist’s initials "VD BRENNER.

This is a raised-relief portrait carved into a flat surface. The oval shape frames a woman’s face and shoulders, dressed in a high-necked collar with lace details. Her hair is pulled back, and the texture of her skin and fabric is carved with fine lines.

The name "JVLIA W OETTINGER" and the year "XII-1 MCMIII" (1913) are etched below, along with the artist’s initials "VD BRENNER." The bottom right corner shows a small carved wreath and the years 1876–1938.

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Overview

The work is a photographic print mounted on a green card, forming part of a collection donated by William Kineton Parkes in 1938. It is catalogued within the Archive of Art and Design and records a sculptural relief that was originally carved in a flat oval format, depicting a woman’s head and shoulders.

Subject & Meaning

The relief portrays a female figure wearing a high‑necked, lace‑trimmed collar; her hair is gathered back, and the carving emphasizes the delicate texture of skin and fabric. Inscribed beneath the image are the name JVLIA W OETTINGER, the date 1913, and the artist’s initials VD BRENNER, suggesting a personal commemoration.

Technique & Style

Carved in raised relief, the piece employs fine linear incisions to render subtle tonal variations across the portrait’s surface. The oval framing and inclusion of a small wreath with the dates 1876–1938 reflect typical early‑20th‑century commemorative sculpture conventions.

History & Provenance

The photograph documents the relief as part of Parkes’s extensive survey of contemporary sculptors, conducted through questionnaires in the 1920s. Parkes, noted for his writings on sculpture, collected these visual responses, and this particular image entered the museum’s holdings through his 1938 bequest.

Context

During the early 1900s, artists often combined portraiture with decorative motifs such as wreaths to mark anniversaries or memorials. The inclusion of precise dates and initials aligns the work with the period’s practice of recording personal and professional identities within sculptural commissions.