Digitized by the Internet Archive in 2016 https://archive.org/details/exhibitionofarttOOartt EXHIBITION OF THE ART TREASURES OF THE UNITED KINGDOM. MANCHESTER, 1857. SUPPLEMENTAL CATALOGUE, DRAWINGS AND SKETCHES OF OLD MASTERS, ENGRAVINGS, PHOTOGRAPHS. PRICE SIXPENCE. BRADBURY AND EVANS, I : INTERS TO THE MANCHESTER ART TREASURES EXHIBITION, TVHITEFRIARS, LONDON. INTRODUCTORY NOTICE TO THE ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. Unattractive and frequently slight in the extreme, as they may at first sight appear, the original sketches of great artists have always been prized by judges of the first excellence, Owing to the nature of the material upon which they were executed, a large number have perished ; those of inferior artists, being regarded merely as means to an end, were destroyed as soon as done with ; but those of the greater masters, like Raphael and Michel Angelo, were eagerly collected by pupils, and frequently solicited by friends. In matters of ordinary life it is generally found expedient to make entries in memo- randum-books to guard against forgetfulness. The artist, beset with numerous thoughts, and requiring frequently to record them, is likewise obliged to have recourse to a sketch- book so to note down ideas best suited to his purpose. This he does slightly and rapidly ; for a thought never occurs with equal force a second time ; and it is for this reason that first thoughts so boldly expressed have always a peculiar value. The Sketch, done at a moment, shows both the temperament and the learning of the painter. The short time he has to work in compels him to put forth the amount of practice and knowledge ready at his command, whilst the temperament is seen by his mode of drawing, whether by large thick lines, coarse pen blotches, clear strokes, timid wavering lines, or by lines in which the timidity of the artist compels him to retrace one-half of each preceding stroke, and thus lose time very seriously. Between the momentary thought and the actual rough sketch nothing else exists ; but between the finished picture and the rough sketch there may have been innumerable sketches, studies, and changes, so that anything like a clear and simple impression derivable from the picture is done away with. The true temperament of the artist is often concealed in the finished picture, by the process of completion. Many a bold design has been worn away and lost by elaborate overworking ; and sometimes an effect of comparative boldness has been achieved by repeated touchings up. The works of Benjamin West are a strong case in point. His sketches are vigorous in the extreme, but all spirit and clearness of colour have been laboured away in his finished works. Any one who will look at one of the pen-and-ink sketches by Raphael, and bear in mind that it has been done off hand, at a moment, and without any preparation of pencil outline or other auxiliaries, must be impressed by the wonderful amount of previous labour and perseverance necessary to attain sxich facility. The materials mostly used, because most readily attainable, were red and black chalk. These, in Italy, are natural productions, sawn from blocks, and used as commonly as lead pencils are among us. Such were the materials for impromptu sketching in note-books ; but if the artist sat down deliberately to compose or study with reference to a picture, he generally used pen and ink, the latter being a solution of bistre or sepia in water, the former a common reed pen. Another and very refined material was the silver point. Raphael and his master, Perugino, very frequently used it. INTRODUCTORY NOTICE A sheet of paper was covered with a flat tint of tempera colour, that is, of distemper paint, such as is used in paperhanging, which gave not only whatever hue to the paper that might he required, but also afforded a sufficiently granulated surface for the silver pencil with a fine point to act upon. The beautiful sketch, No. 55, for Lord Cowper’s “ Madonna and Child” is a capital example of this process. At Oxford, in the Univer- sity Gallery, are some wonderful specimens of Raphael and Perugino’s mastery over the silver point. In illustration of the interest belonging to the record of first thoughts, I may mention that certain leaves of a small square sketchbook belonging to Michel Angelo are still preserved at Oxford, on which may be seen the very first thoughts for many of his finest figures connected with the Prophets and Sibyls on the ceiling of the Sistine Chapel. They are very small and slight; just as he “jotted” them down on the spur of the moment ; but although in only three or four lines, we see there all the elements of grandeur and dignity which characterise his fresco figures in their most finished condition. Ottley also possessed his first sketch for the “ Fall of the Angels,” and the grand central subject of “The Separation of Light from Darkness.” Having thus secured the first impression, the artist studies to amplify it, — or, technically speaking, “to work it out.” This he effects by repeated sketches, and by studies from the living model set as near as may be in the original attitude, whether in chalks, ink, or silver-point, but rarely indeed in colour. Thus for one figure alone a great artist frequently made experiments with fifty studies, selecting at last the one which approached the nearest to his original conception. Throughout the entire develop- ment of the picture he carefully preserved his first rude sketch untouched. Had he attempted to work upon that, its vigour would have been impaired ; and, once lost, all trace of the original feeling must be gone for ever. For that reason, both Raphael and Michel Angelo never lost sight of their original conception. It has secured a power even in their finished works which no artist of recent times has ever been able to attain. A few words on the chief collectors of original drawings must conclude this hurried, but not unnecessaiy notice. Timoteo della Yite, a pupil of Raphael, and Yasari, the follower of Michel Angelo and his devoted friend, both collected original drawings. Vasari’s were dispersed at an early period. Those of della Yite became afterwards the property of the family Antaldi at Pesaro. Part of them were sold to Crozat in 1714, the remainder by the Marchese Antaldo Antaldi, at a later period, to Woodburn the dealer for 11,000 scudi. Sir Thomas Lawrence became the great purchaser of works of this class. At his death his vast treasures were dispersed. Many of the finest Raphael drawings were purchased by the King of Holland, and the remainder passed to Oxford in the University galleries and the collections of Dr. Wellesley and Pi-ofessor Johnson of the same city. The galleries at Florence, Paris, and Vienna, are especially rich in such treasures. Many very fine specimens are in the British Museum and the Royal Collection at Windsor Castle, — the latter particularly celebrated for the sketch-books and engineering studies of Da Vinci, together with many fine original studies by Raphael himself. Admirable photographs from these sketches are to be seen in the same gallery, the contri- bution of H.R.PI. Prince Albert. Many of the principal collectors, Sir Peter Lely, Mariette, Richardson, Sir Joshua Reynolds, and Sir Thomas Lawrence, were in the habit of affixing their initials, or some distinctive mark, to the drawings by means of small stamps, which, when genuine, tend very materially to enhance their value. Many excellent works containing accurate fac-similes of the rarest drawings have been pub- lished, the best of which are by Ottley, Rogers, and Messrs. Woodburn. The governments of Paris and Vienna have also authorised very costly lithographic works from their respective collections ; but the art of photography now promises to supersede all other modes of copying, both from the accuracy and facility with which such transcripts can be rendered. A few of the choicest of the drawings in the British Museum have lately been taken by this process, under the authority of the trustees, and a very great general benefit may be afforded by a cheap issue of them to the public. GEORGE SCHARF, Jun. June , 1857. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. PIETRO CAVALLINI. A Crucified Saviour. Tinted paper, heightened . Rev. Dr. Wellesley. PAOLO UCCELLO. Man in a Tunic and Turban. Bistre . . .. Ditto. MASACCIO. Man seated, reading. Wash Ditto. FILIPPO LIPPI. Christ among the Doctors. On pink tint, heightened Ditto. FILIPPINO LIPPI. Angel, standing, the hands joined in prayer. Wash . Ditto. Angel playing on a Harp. Wash .... Ditto. GHIRLANDAIO. Birth of the Virgin. Pen sketch for the composition of the picture in Sta. Maria Novella. From the Collections of Richardson, Barnard, Sir Joshua Reynolds, and Esdaile . Ditto. The finished composition is engraved in the latest edition of Kugler’s Handbook of Italian painting, edited by Sir Charles Eastlake, P.R.A. BALDOVINETTI. Model for a St. John, standing. Tinted paper, heightened Ditto. LUCA SIGNORELLI. Study of Shepherds in adoration, for a Nativity. Black chalk. Ditto. DESIDERIO DA SETTIGNANO. Design for an Altar with Decorations. Pen, with Vasari’s mounting ........ Ditto. Ditto, also from Vasari’s Collection .... Ditto. LORENZO DI CREDI (SCIARPELLONI). Two draped Figures. Pen, on prepared paper . . Ditto. DONATELLO (DONATO BARDI). Madonna and Child, for the bas-relief, and of the samo size. Ditto. Pen and bistro. From Benjamin West’s Collection. State e of an Apostle, holding a book, in a niche. Pen. Ditto. Mother and Child, standing. Perhaps by M. Angelo. Pen. Ditto. From Hudson’s Collection. MICHEL ANGELO BUONAROTTI. Study for St. Bartholomew in tiie Last Judgment; and another of a Salamander. Black chalk .... Ditto. From the Rogers Collection. Draped Female, carrying a Mask before her. Pen . Ditto. From It. Cosway’s Collection. Portrait of the Marchioness of Pescara, in profile. Care- fully drawn in black chalk ..... Ditto. From the Buonarotti, Wicar, and Lawrence Collections. [ 5 ] ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 LEONARDO DA VINCI. Virgin and Child, in black chalk . . . Christ Church, Oxford. Study of a Beardless old Man in Black Cap. Black chalk. Ditto. Portrait of Ludovico Sforza, Detto il Moro, Duke of Milan. Front face, in a rich dress. Black chalk . Rev. Dr. Wellesley , From the Cosway Collection. Portrait of a Youth in a Ducal Cap, probably Giovan Galeazzo, nephew of Ludovico Sforza, who is said to have poisoned him. Black chalk ..... Ditto. From Lord Arundel’s and Sir Peter Lely’s Collections. Engraved by Hollar. GHIRLANDAIO. Profile head of a Youth. Pen .... Ditto. LTJINI. Female Head, or a Magdalen .... Christ Church , Oxford. Perhaps by L. da Vinci. On prepared blue ground, heightened with white. FRA BARTOLOMMEO DI S. MARCO, or IL FRATE (BACCIO DELLA PORTA). Study of the Virgin and Child and Simeon : for the Florence picture of the Presentation, now at Vienna. Black chalk Rev. Dr. Wellesley. The Ciborium, under a Canopy, with St. John and other Saints. Black chalk ....... Ditto. Female, walking towards the right. Black chalk . . . Ditto. Study of the Infant Saviour, for the Florentine picture of the Presentation, now at Vienna. Black chalk . . Ditto. ANDREA DEL SARTO (VANNUCCHI). Head of a Youth in a Cap ; supposed to be himself. Black chalk .......... Ditto. RAPHAEL. Young Man’s Head, three-quarters. Black chalk . . Ditto. From the Richardson and Roscoe Collections. Attributed by G. B. Cavalcaselle to Ridolfo Ghirlandajo. GATJDENZIO FERRARI. Cartoon of the Virgin enthroned. Bistre wash . . Ditto. RAPHAEL. Male Head, from Raphael's second series of Cartoons Christ Church , Oxford. w. vol. 3, p. 47. Male Head, from Raphael’s second series of Cartoons. W. vol. 3, p. 47. j . . . . . Ditto. Head of Female with Clasped Hands, from Raphael’s SECOND SERIES OF CARTOONS Ditto. W. vol. 3, p. 47. See Landon, pi. 126, vol. 3. Female Head, from Raphael’s second series of Cartoons Ditto. From the left-hand figure in the Tapestry of the Presentation in the Temple, now in the Gallery of the Vatican. W. vol. 3, p. 47. Engraved in Pistolesi’s II Vaticano, vol. 7, tav. 17. Fragment of a Cartoon Earl Spencer. The upper part of a woman in the Massacre of the Innocents, who is represented rushing up a flight of stairs. The tapestry from this is preserved in the Vatican, and forms one of the series known as the “ Arazzi della scuola nuova.” Landon, vol. 3, pi. 126. Passavant’s Kunstreise, p. 190. W. vol. 3, p. 455. Twelve Illuminations in one Frame. By a Flemish Artist. After Lucas Van Leyden, representing Scenes from the Passion of Our Saviour R. Napier, Esq. I ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 38 ( 39 40 41 42 43 44 45 * 46 47 48 49 50 51 52 ANDREA MANTEGNA. Four richly-coloured Initial Letters, containing the Entry into Jerusalem, the Cross-bearing, the Crucifixion, and the Entombment , Lord Ward. Attributed by Dr. Waagen to Francesco dai Libri. W. vol. 2, p. 238. Faun and Bacchantes near a statue. Pen, highly-finished. Rev. Dr. Wellesley. From the Collection of J ohn Peter Zoomes. PEKUGINO (PIETRO VANNUCCI). The three principal figures in the Sposalizio at Caen, on prepared paper Ditto. Two Soldiers on Guard : for a Resurrection. Prepared ground, heightened . ....... Ditto , See the picture in the Museum of the Vatican, and a predella picture by Perugino in Saloon A, No. 86. Head op a Youth in a Cap, with Long Hair . . Ditto. Perhaps an early Raffaelle. Chalk. Two Figures standing. Prepared ground . . . Ditto. PXNTURICCHIO. Four Cardinals seated Ditto. Those on the left-hand of Pope Eugenius IV., in the fourth of the frescoes in the Library at Siena. Pen. ERAMANTE. Architectural decoration, slightly coloured . Christ Church , Oxford. From the Lawrence and'Esdaile Collections. RAPHAEL. Head of the Madonna, looking downwards. Taken from his Sister. Silver point, von prepared ground . Rev. Dr. Wellesley. Engraved in Ottley’s Italian School of Design, p. 47. From the Ottley, Lawrence, and King of Holland’s Collections. Portrait of the Sister of Raphael. Black chalk . . Ditto. From the Ottley, Lawrence, and King of Holland’s Collections. Engraved in the Lawrence Gallery published by Messrs. Wood- bnrn, fol. 1S41, pi. 16. A Standing Figure of St. Apollonia. On tinted paper, heightened with white - Sir John Uippisley , Bart. Original Drawing of Madonna and Child . . T. Birch all, Esq. A study in red chalk for the Holy Family, at Vienna, called the “ Madonua.iu the green.” Described in Passavant’s Raphael, vol. 2, p. 49. It is dated 1506. No. 11 of the scries of Raphael’s Holy Families collected by G. Scharf, in Kugler’s Handbook of Italian Painting. Engraved in Landon, vol. 3, pi. 144, and in Pieart’s Impostures Inno- centos, No. 5. The Entombment. Upon vellum, two lines of Hebrew above it ....... The Rev. Isaac Spencer. Formerly tlic property of Etty, the painter. Attributed by Dr. Waagen to Giuuo Clovio. The Entombment ........ T. Birch all, Esq. This celebrated pen and ink drawing is from the Crozat Collection. Purchased by Mr. Rogers for £120. No. 951 of his Sale Catalogue, in 1856. W. vol. 2, p. 80. MASACCIO. Study of an Undraped Figure .... Christ Church, Oxford . Assigned by G. 13. Cavalcasello to the School of Raphael. W. vol. 3, p. 48. L 7 ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 53 54 55 56 57 58 59 60 61 61« 62 63 64 64 a 65 66 67 RAPHAEL. The Virgin, Child, and kneeling Angel. Slight pen outline Rev. Dr. Wellesley . From the Collections of Timoteo della Vito, M. Crozat, M. Mariette, Marquis Legoy, Mr. Dimsdale, Sir T. Lawrence, the King of Holland, and Mr. Coningham. Boys at Play. Pen and ink. w. vol. 3, p. 47. . Christ Church , Oxford. Head of the Madonna, and Study of the Infant, for the picture at Panshauger. Silver point on prepared ground . Rev. Dr. Wellesley. From the Camuccini and Vernon Collections. Compare the finished picture in Saloon A, No. 141. Virgin and Child, St. JonN, and St. Elizabeth. Black chalk and pen ......... Ditto. The Group known as the Capo di Monte Holy Family, and engi’aved in 1582 by Cherubino Alberti. Black chalk and pen. The ink has nearly all disappeared from damp and decay. From the Collection of A. Stewart, Esq. Sketch for Fresco of the Sibyls in S. M. della Pace, at Rome Christ Churchy Oxford. GIULIO ROMANO. Fragment of a Cartoon in colours, representing the Triumph of a Roman Commander, Avith Soldiers, Lictors, Fasces, &c. Rev. Dr. Wellesley. Circular Bacchanalian Piece .... Christ Church , Oxford. PERINO DEL VAGA. A Magnificent Vase, Supported by Amorini, and surmounted by the Farnese emblem of Purity. Pen and bistre Rev. Dr. Wellesley . TIMOTEO DELLA VITE. The Agony in the Carden . ... G. Cornwall Legh , Esq. A highly finished miniature, in colours, on vellum. RAPHAEL. Pen and Ink Sketch for the Massacre of the Innocents. Rrofessor Johnson. Engraved by Marc Antonio, from the Lawrence collection. Engraved among Woodburn’s fac-similes, No. 13. Compare the Marc Antonio Engraving near it, numbered 208. [ These are hung — together with a photograph from an original sketch in red chalk for the same composition, belonging to Her Majesty — on the end of the screen facing the stairs .] TITIAN. A Page carrying the Doge’s Cap and Train. Black chalk. Rev Dr. Wellesley. From A. Stewart’s Collection. Ganymede. Red chalk upon white paper .... Ditto. Concert of Four Figures seated before a carved Plinth Ditto. Bistre. From the Collection of Samuel Rogers, Esq. Sold at Rogers’s Sale as a Giorgione. A Mother and Boy. Black chalk on blue paper . . Ditto. One of the Fathers of the Church, looking upwards. Ditto. Black chalk, on blue paper. From the Lawrence and Esdaile Col- lections. Miracle of St. Antony, in the Senola del Santo at Padua . . Ditto. Pen and bistre. From the Collections of King Charles I., Cosway, and A. Stewart. St. Hubert kneeling to the Stag. Pen .... Ditto. From Baron Denon and Mr. Esdaile’s Collections. ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 68 69 70 71 72 73 74 75 76 77 78 79 V 80 81 82 83 84 85 86 87 88 89 90 91 92 93 TITIAN — continued. j Brow of a Hill, and Town in the Distance. Pen . Rev. Dr. Wellesley. From Sir T. Lawrence’s Collection. Horseman falling. From the Battle of Spoleto. Black chalk on blue paper Ditto. From the Arundel, Richardson, West, and Lawrence Collections. I Study of Three Saints for the lower part of the painting in the Vatican Museum. Pen Rev. Dr. Wellesley. From the Marietta, De Fries, Lawrence, and Esdaile Collections. Signed by himself. The picture is engraved in Pistolesi’s II Yaticano, vol. 6, tav. 74. Supposed House of Titian at Cadore. Bistre . . Ditto. Landscape with a recumbent Female with a Guitar. Pen. Ditto. From Sir T. Lawrence’s Collection. Portrait of Isabella Sforza. Red chalk . . . Ditto. From the Ottley and Lawrence Collections. I Portrait of Philip II. for a Medallion. Pen. . Ditto. From Sir T. Lawrence’s Collection. Abraham’s Sacrifice. Black chalk on blue paper. . Ditto. From Sir Peter Lely and Sir T. Lawrence’s Collections. For Soffit of Sacristy of the Carita,. Engraved by Lefevre. Signed “ di Titiano.” ! A Beech-tree with double Stem, engraved in the woodcut of St. Jerome ........ Ditto. Pen. From the Mariette, Lawrence, and Esdaile Collections. | First thought for the Peter Martyr. Pen . . Ditto. From the De Fries and Lawrence Collections. Oblong Landscape with Sheep. Pen . . . Ditto. From the Mariette, De Fries, and Lawrence Collections. Three Singers. Pen. From Sir T. Lawrence’s Collection. Ditto. Group of Trees, named in modern writing “ Giorgione.” Bistre Ditto. Six PEASANTS DANCING. Bistre. From the Hamal Collection, Ditto. Landscape with five Naked Boys. Pen . . . Ditto. A Bear, from Nature. Engraved in fac-simile by Rosaspina. Ditto. From the De Fries and Lawrence Collections. Study of Donkeys. Black chalk .... Ditto. From Sir Thomas Lawrence’s Collection. Rustic Hovel. Pen Ditto. I CLAUDE. ! Sketch of Buildings and Bridge on the Tiber. On blue I paper, wash and white ...... CANALETTO. ! Arch of Constantine, Rome. Pen and India ink . . Ditto. j The Rialto Bridge from the Canal. Pen outline . . Ditto. Buildings on the Biienta. Oblong, pen and red chalk . Ditto. Canal Scene. Pen outline ....... Ditto. Church and Piazza of the Rialto, Venice. Pen and Indian ink ........... Ditto. Church of St. Simeon Piccolo, and the Tolentini at Venice. Pen and Indian ink Ditto. , GUARDI. The Grand Canal, Venice, taken opposite the Palazzo, comer | della Ca Grande. Pen and bistre Ditto. [ 9 ] 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 DRAWINGS AND SKETCHES BY THE OLD MASTERS. CANALETTO. Srand Canal in front of the Fondaco de’ Tedeschi. Pen outline Rev. I)r. Wellesley . The Portico or the Ducal Palace, looking towards San Giorgio. Pen and Indian ink Ditto. The Whole Length of St. Mark’s Place, from the corner of the Church. Pen and Indian ink .... Rev. Dr. Wellesley. In the distance the old church which Napoleon removed in order to complete the Quadrangle of the Piazza. Part of the Palazzo Gradenzio. Pen .... Peasants at a Table, under a Yine-trellis. Oblong, pen, on blue paper View on the Lagunes, Venice. Pen and Indian ink . Front of the Jesuits’ ■ Church. Pen and wash From the Mariette and Esdaile Collections. Front of St. Mark’s Church. Pen outline Ditto. Ditto. Ditto. Ditto. Ditto. TITIAN. Hawking Party. Pen From the Lely, Thane, Lawrence, and Esdaile Collections. Ditto. CORREGGIO. Boy Scattering Flowers ; part of the Decoration of a Cupola. Red chalk .......... Ditto. The Companion Drawing Ditto. BAR0CCI0. Male Portrait, front face, life-size. Black and red chalk . Ditto. PARMEGIANINO. Man’s Head ; the hair draped. Pen, highly finished . . Ditto. Female Head, front face, life-size. Black chalk . . . Ditto. Venus, Cupid, and Vulcan . . . . . . R. Ford, Esq. Design for a Ceiling. Red wash .... Rev. Dr. W ellesley. Three Females Running ; for the Rape of the Sabines, in the Bonfiglioli Palace, Bologna. Red wash . Ditto. From Richardson’s Collection. Adam and Eye . . Ditto. Three Figures in oval niches, and two others. Pen and wash Ditto. From the Lely, West, and Lawrence Collections. Lucretia, standing. On prepared paper, heightened . . Ditto. From the Lawrence Collection. Two Boys. Pen, on a violet ground, and two other Studies . Ditto. From the Lawrence Collection. La Favorita R- Ford, Esq. Taken by Wicar from the Borghese Collection. CORREGGIO. Six Cartoons of Angels, on a Colossal Scale, for his Frescoes at Parma R- Hertz, Esq. ZTJCCARELLI. Grand Landscape with Figures. Body colour and wash ......... Rev. Dr. Wellesley . Peasants and Goats, a Town beyond. Chalk and brown wash Ditto. [ 10 ] 118 119 119 , 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 DRAWINGS AND SKETCHES BY THE OLD MASTERS- GUIDO RENI. Head of a Youth. Black and red chalks . Attributed by G. B. Cavalcasejle to Leo Leoni. CARLO DOLCI. Portrait of a Chorister. Red and black chalks Head of St. Cecilia, Crowned. Chalk GUERCINO. Recumbent Nymph. Red chalk .... , Rev. Dr. Wellesley. Ditto. Ditto. Ditto. GIORGIONE. Two Figures seated Sir John FLippisley , Dart. GUIDO RENI. Youthful Head, looking up. Black and red chalks . Rev. Dr. Wellesley. Study for on^e of the Mothers in “The Massacre of the Innocents,” Bologna. Chalk Ditto. Head of a Girl, carrying a Basket. For the fresco in the cloister of the Carthusian Convent, Bologna. Chalk, on blue paper .......... Ditto. From Mr. Udny’s Collection. SALVATOR ROSA. Trees by the water-side. Bistre Ditto. Group of Trees, fractured by a Storm. Pen . . . Ditto. From Sir Uvedale Price’s Collection. Inscribed “S. Rosa.” NICOLAS POUSSIN. Bacchus and his Company under a Canopy among Trees. Ditto. Bistre. Assigned by G. B. Cavalcaselle to Filippo Lauri. MURILLO. St. J ohn and Lamb. Pen and wash R. Ford, Esq. St. Joseph crowned in Paradise by the Infant Jesus, seated in his Mother's Lap. For a large picture. Black chalk. Probably Guido Bologna .... Rev. Dr. Wellesley. Christ on the Cross. Chalk, coloured . . . . R. Ford , Esq. See Waagon, vol. 2, p. 224. Heads of a Man and Boy. Chalk and wash . . Rev. Dr. Wellesley. Heads of a Female and Two Old Men. Chalk . . Ditto. ALONZO CANO. Virgin and Child appearing to St. Francis . . . R. Ford , Esq. Signed “Alonzo Cano.” ALBERT DURER. An armed Warrior holding an Infant, and a Youth wearing the Golden Fleece. Pen sketch, with monogram . . Ditto. A Rabbit. Pen, highly finished and coloured . . . Ditto. Head of an Apostle. Black chalk Ditto. A Lady followed by Death .... Sir John Hippislcy , Dart. “Albrecht Dtircr in Numberg” inscribed in German characters. BREUGHEL, SENIOR. Portrait of the Painter at his Easel. Pen . . Rev. Dr. Wellesley. From the Collections of Silvester and Richardson. Inscribed “P. Brogel, fecit.” ALBERT DURER. Portrait of Varnbuller. Black chalk, with monogram aud date, 1517 [ 11 ] Ditto. 139 j 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 /157 DRAWINGS AND SKETCHES BY THE OLD MASTERS, RUBENS. 5 ortrait of his "Wife, iu profile, full-length; and front view, sitting. Chalk Rev. Dr. Wellesley. From the Hudson, Mariette, De Fries, and Lawrence Collections. Che Soffits of a Ceiling Ditto. BREUGHEL, JUNIOR. Jlass Vase filled with Flowers, bistre . From Richardson’s Collection. Signed “Fas. Breugel. Ditto. RUBENS. Victory Crowning an armed Warrior. white Black chalk upon . . Sir John Hippisley , Bart. VAN DYCK. Horse’s Head. Black chalk Rev. Dr. Wellesley. From the Collections of Richardson the painter and Earl Spencer. Sketch for the full-length Portrait of the Abbe Scaglia. Ditto. Chalk. The finished picture is at Munich, in the Pinacotheca. Sketch of the two Infants in the Madonna’s Lap. Ditto. Free pen. From A. Stewart’s Collection. ELSHEIMER. Moonlight. Highly finished From the Hibbert and Esdaile Collections. On deep blue paper. Ditto. VAN DYCK. A Large Tree. Pen and wash. From Sir Uvedale Price’s Collection. Ditto. Woody Bank, with a reach of the Thames. Pen sketch. Ditto. From the Collections of Sir T. Lawrence and Mr. Pigou. Signed “A. Van Dyck.” The Duke of York, afterwards James II., when a child, holding a Peach with both ^hands. For the picture at Windsor of the children of Charles I. Cartoon in chalk. Ditto. From Sir Joshua Reynolds and Sir T. Lawrence’s Collections. See the finished picture in Saloon C., No. 683. Half-length Portrait of the Marquis de Mirabella. Chalk Ditto. Portrait of Margaret Lemon, sketched with a brush in Indian ink. From Sir Peter Lely and A. Stewart’s collections Ditto. ANNIBALE CARRACCI. Cartoon for one half of the central compartment of the Frescoes in the Farnese Palace . . . The late J. Smith Barry , Esq. (Hung on the Staircase to the Clock Gallery, South Side.) VAN DER HAGEN. The Skirts of a Wood. Chalk. Possibly by Wynants. Rev. Dr. Wellesley . REMBRANDT. Cottages and Windmill on the banks of a Canal. In colours Ditto. From Mr. Esdaile’s Collection. Ruins of the Hotel de Ville, Amsterdam, with, autograph memorandum that it was sketched after the Fire in 1652 Ditto. Inscription of four lines. Dated “1652, Rembrandt van Ryn.” CUYP. The Angler. Chalk and wash Ditto. Cattle crossing a Bridge. Chalk and wash . . . Ditto. [ 12 ] ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS, 158 15D 180 181 162 163 164 165 168 167 168 169 170 171 172 173 . 174 175 176 177 178 •\ 179 TERBDRG, Lady seated and Playing the Guitar, a Man behind. Rev. Dr. Wellesley. Free sketch, Indian ink. , VAN DEE VELDE. The Stern of a Man of War. Pencil. . . . Ditto. From the Collection of Sir Uvedale Price. A Sea-Piece, with Shipping. Wash and grey colour Sir John Hippisley. SIE P. LELY. Nell Gwynn, leaning on her Elbow. Chalk . . Rev. Dr. Wellesley. From Mr. Esdaile’s Collection. Bust of Mrs. Middleton. Chalk .... Ditto. Female Portrait in Profile. Chalks . . . Ditto. From the collections of Earl Spencer and Mr. Esdaile. Signed. Portrait of a Lady with her Hair braided with Pearls Ditto. Chalk. Portrait of a Lady. Dated L. y. 1658. Chalks . Ditto. Portrait of a Lady with a Veil tied in front. Chalk. Ditto. Signed. Portrait of a Lady with a Veil. Chalk . . Ditto. SIE GODFREY KNELLER. Louis XIV. A chalk ^drawing. Inscribed “ Louis the XIIII., drawn by the life, at Versailles, in the year 1684, by G. Kneller” . . Her Majesty, from Hampton Court. JANET. Portrait of Isabella of Austria, Wife of Charles IX. Rev. Dr. Wellesley. E,ed and black chalks. Portrait of Francis II., King of France, First Husband of Mary, Queen of Scots. Red and black chalks. . . . Ditto. DUMONSTIER. Portrait of Madame de Lenclor. “Fait ce Jeudy...De Mara, par et pour D. Dumonstier, 1634.” .... Ditto. Black and red chalks. CLAUDE MELLAN. Portrait of Louise Marie de Gonzague, Queen of Poland. Ditto. Black chalk, highly finished. CLAUDE. Tops of Trees. Elaborate pen study Ditto. Study of Grasses and Vegetation Chalk, heightened. From the Wicar, Lawrence, and Esdaile Collections. Interior of a Wood, with Figures Pen and Indian Ink. Inscribed “ Clavdio I. V.” The Magdalen on her knees in her Grotto . . Rev. Dr. Wellesley. On blue paper, highly finished. From Mr. Ottley’s and Mr. Esdaile’s Collections. The Tiber, near the Temple of Vesta .... Ditto. On blue paper, pen. From Sir Thomas Lawrence and Mr. Esdaile’s Collections. Four Studies of Oxen. Black chalk Ditto. A Riposo. Highly finished, in pastel Ditto. [ 13 ] ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 CLAUDE — continued. The Walls op Grottaferrata ..... Rev. Dr. Wellesley. On blue paper, pen. From Sir Thomas Lawrence and Mr. Esdaile’s Collections. Boat on a River, with woody banks .... Ditto. Chalk -and wash. From the Collections of Lely and Richardson. Pastoral Landscape, with Temple and Bridge . . Ditto. From the Lawrence and Esdaile Collections. Study op Mariners. Pen Ditto. “Vista del Sasso, faict l’an 1649, Claude Gile I. V.” . Ditto. Pen and wash. From Sir T. Lawrence and Mr. Esdaile’s Collections. A Riposo, Landscape with bridge Pen and Indian ink. Inscribed “Claudio fecit Roma, 1670.” Square Embattled Tower. Pen .... Rev. Dr. Wellesley. Three Travellers walking towards the Sea-Coast. 1661. Bistre Ditto. From the Collections of Richardson, Nath. Hone, Sir T. Lawrence, and Mr. Esdaile. Wide Prospect : the Artist drawing. Long slip. Pen and wash ........... Ditto. Civita Vecchia, on two slips. Pen and tint From the De Fries, Lawrence, and Esdaile Collections, Peter, James, and John in a boat, Fishing . . Rev. Dr. Wellesley. Free pen and bistre'wash, great effect. From the Collections of the Marquis Legoy, Sir T. Lawrence, and Mr. Esdaile. Dido showing HSneas the Port op Carthage . . . Ditto. See Liber Veritatis, 186. Pen and bistre. From the Lawrence and Esdaile Collections. Inscribed “CLAVDIO INF ROMA 1676.” Study op Four Men. Pen Ditto. “Edifices Romains.” ....... Ditto. Oblong composition, 1660, India ink, inscribed “ Claudio F. 1666.” Sea Port. Pen and red tint Distant Tower and Water in the Campagna. Bistre Sea-port Porch, with Caryatides on the left, sunset beyond. Pen, bistre, and India ink. From the Hudson "Willett, and Esdaile Collections. Arches op the Colosseum. Bistre Sunset, with Herdsmen Rev. Dr. Wellesley. Pen and bistre wash, from Sir Thomas Lawrence’s Collection. Engraved in Ottley’s Italian School of Design, page 71. Sunset, Sportsmen returning home, Round Tower in the DISTANCE. From Sir T. Lawrence and Mr. Esdaile’s Collections. Ditto. A Palm Tree near Terracina. chalk and wash. . . Ditto. Ships after a Storm, one foundering .... Ditto. Composition Landscape ; dome and colonnade on a terrace. Pen. Inscribed “Claudio I. V. F. Roma.” “Claudio fecit sopra il lac di bracciano.” Pen and Indian ink. Ships in Full Sail . . . . . . . Rev. Dr. Wellesley. Pen and bistre. From Lord Hampden’s Collection. Inscribed, “ Claudio fecit.” The Triumph of David. Bistre Inscribed with three lines of description. Distant View of Lake and Mountains . . . Rev. Dr. Wellesley , [ 14 ] ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 CLAUDE — continued. The Pilgrims to Emmaus. Bistre and white chalk From the Collections of Richardson and Lord Hampden. Small highly-finished Scene .... Itev. Dr. Wellesley. Extensive River Scene and Ferry. Bistre . . . Ditto. From Earl Spencer’s Collection. Engraved in the “ Liber Veritatis,” vol. iii.. No. 51. Hilly Scene near Rome. Chalk and bistre Sacrifice at the Fane of Apollo. Chalk and wash Rev. Dr. Wellesley. From the Collections of Lord Hampden and Mr. Esdaile. A Group of Peasants, with a Contadina dancing “A Monsieur Courtois a Paris, Claude Gillie dit le Lorrain, 1663.” Chalk. From Lord Spencer’s Collection. Study of the Figures for the*‘ £ Embarcation of St. Ursula,” in the National Gallery Pen and bistre. From B. West and R. Ford’s Collections. Grand Twilight Composition: the story of Battus, 1662. Black chalk. Inscribed “Claude Roma 1662.” Rev. Dr. Wellesley. Goats, with Peasant Boys, Rocks, and Trees . The Ponte Molle, near Rome, a Herdsman watering his Cows. Pen and chalk, heightened with white . . Rev. Dr. Wellesley. From the Collections of M. Revil of Paris, and Sir T. Lawrence. Large richly-coloured Landscape, with four Classic Figures in foreground . . . . . . . . Ditto. Single Figures of Goats. .Pen Groups of Trees by a Turn of the Road Powerful sketch in bistre or sepia. Evening, woody scene, with a round tower in the distance Powerful effect, bistre. Inscribed “Claudio F. Rome.” Goats Reposing, one on the bank above. Pen Scene, by a piece of water, Flight of Birds. Bistre Extensive Sunset View, with Leaning Tree Pen and bistre. Inscribed “ CLaVDE F. ROME, 1660.” Group of Oxen standing. Pen Group of Alders, &c., Shepherd and Flock, 1645. Bistre HEneas and the Sibyl Pen. From the Vinde, Lawrence, and Esdaile Collections. A Pig and Three Oxen. Pen A Piece of Water with the Mill, backed by Woods; a goatherd reclining in the foreground . . . Rev. Dr. Wellesley. From the Marictte, D’Argcnville, and Lawrence collections. JEneas shooting Deer Pen. From the Vindif, Lawrence, and Esdaile Collections. In- scribed “Claude .... fecit, Roma, 1669.” Small Church near Rome, Goatherd in front From J. Mac Gowan’s Collection. Distant View of Tivoli. Chalk and bistre Large Trees, with the Story of Narcissus. Black chalk, washed ......... Rer. Dr. Wellesley. Grand Landscape, with a Group of Trees in the centre, AND DISTANT CLIFFS TO THE RIGHT .... Ditto . Chalk and wash, heightened. Inscribed “ Claude fct. Rom. 10G3.” [ 15 ] 234 235 236 237 237 u 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 DRAWINGS AND SKETCHES BY THE OLD MASTERS. Rustic Bridge Pen, on blue paper. CLAUDE — continued. Inscribed “Ponte e molle faict a foro di Tivoli.” WATTEAU. Head of a Girl, Looking Downwards. Chalks . Rev. Dr. Wellesley. W. DYCE, R.A. Portions of a Cartoon for a Window . The Duke of Northumberland. GAINSBOROUGH. Peasant and Child Riding. Slight pen sketch . Rev. Dr. Wellesley. View of a Country House. Chalk and wash. . Ditto. From the Collections of Dr. Munro and Mr. Esdaile. Rocky Scene. Black chalk, on blue paper . . . Ditto . Two River Scenes, with Boats. His early manner. Penc Ditto. From the Baker and Esdaile Collections. Study for the Picture of the a Market Cart ” . . Ditto. Black chalk, on blue paper. From Mr. Esdaile’s Collection. JOHN GIBSON, R.A. A Cartoon. The Fall of the Angels . . Liverpool Royal Institution. ROMNEY. The Birth of Shakspeare Ditto. The Infancy of Shakspeare .... Ditto. Psyche, with the Vase, standing on the banks of Ditto. GAINSBOROUGH. Two Rural Scenes. Pencil. Rev. Dr. Wellesley. From the Frost and Esdaile Collections. A Cartoon. A Cartoon. A Cartoon. the Styx A. WATTS. A Cartoon. Caractacus WILSON. Tall Pines near S. Stefan o Rotondo, Rome. Chalk. Rev. Dr. Wellesley. From Paul Sandby’s Collection. GAINSBOROUGH. A Road through a Wood. Black chalk .... Ditto. Rustic Hovel. Black chalk Ditto. Wooded Slope, with a Shepherd and Dog . . . Ditto. Black chalk, heightened with white. From Mr. Constable’s Collection. HOGARTH. Portrait of John Wilkes. Pen. Ditto. The Farmer's Return. Pen Ditto. Portrait of Dr. Morell, author of the “ Greek Thesaurus ” Ditto. Fen. EUSELI. A Drawing. The Death of Cardinal Beaufort Liverpool Royal Institution. [ 16 ] ORIGINAL DRAWINGS AND SKETCHES BY THE OLD MASTERS. 257 258 259 260 GAINSBOROUGH. Entrance to a Country Residence . Woodman and Dog. Slight pen sketch. Illuminated Frontispiece in water colours . Probably Venetian. W. BAUR. Celadon and Astrea From the Strawberry Hill Collection, No. 34, p. 134, . Rev. Dr. Wellesley _ . . Ditto. T. Wentworth Dilke, JEsq. the Catalogue. THE GALLERIES OF ENGRAVINGS IN THE TRANSEPT GALLERIES, SOUTH SIDE OF BUILDING. INTRODUCTION. Among those arts which contribute largely as well to the use as to the gratification of mankind, the practice of taking upon some material impressions from surfaces prepared by being cut into or engraved, has for many ages attained considerable importance, and in the galleries of this Exhibition, which have been appropriated for the purpose, the visitor will find himself surrounded with specimens illustrative of the progress of that art from its earliest invention to the present time. In speculating upon the origin of this practice, we may well imagine that the form of even a fallen leaf left casually in the soft ground, the markings there of the feet of animals or of man, would at first naturally only present to the mind the notion of the contact with the passing individual. A few lines, however thoughtlessly perhaps, traced with the finger in the sand, may have given rise to the idea of copying these impressions, and their originals, as well as of ornamenting surfaces of stone or of metal, or of wood, or of clay, as in the instance of the most primitive pottery, with tracery, by means of cutting instruments, and thus we are pre- pared for the very early appearance of engraving upon those substances ; and some such mark from the hand of man, or even the indentation of a tooth, soon became associated with the idea of the use or property of $he marked thing being in a person, whence came the invention of the engraved sign or stamp, and the cutting of gems in intaglio — the striking of coined money bearing designs or characters — the cutting in relief or in cameo, and other processes of kindred natures. Reference to these productions is made in the earliest books of the Sacred Writings ; and we have in other departments of this Exhibition specimens of very early date of the ornamentation of metal plates, or bowls, with engraving by the Assyrians, and of its adaptation to other materials. After the employment of characters to express language, and the carving of those characters upon slabs or tablets, a method was soon discovered of filling in the hollowed forms with molten metal or with some composition which would acquire hardness, and thus the obliteration of the character was prevented ; but it seems a strange thing to us at the present day that it was not discovered in ancient time, that an impression could be obtained at pleasure from the engraved surface by means of a stain communicated from it, even when only in a dirty or moist state, to a material brought into contact with it : damp garments laid down casually, or the soiled hands of the carvers or polishers, must often have received such impressions, but these accidents passed unnoticed, as many others have remained unimproved until in due time some observant individual has turned them to general utility. The cognate ait of letter-press printing is almost a contempo- raneous example of the like circumstances, and many instances of the same apparently fortuitous discovery will occur to our remembrance. We have said that for the purpose mentioned above, incised characters were sometimes filled up with metal or other hardening substances : this process in the course of time was improved and adapted to the production of pictorial effects on gold, silver, and steel, from the contrast obtained by the introduction of a metallic composition, called by the Italians (from its colour), Niello, into incisions in plates of those materials. It will be seen that a very high degree of delicacy in the engraving could be rendered available, and would therefore be required in this process, and the Italian and German goldsmiths were at the beginning of the [ 19 ] C 2 ENGRAVINGS.— INTRODUCTION. loth century worthy rivals, the one of the other, in this practice. Several examples of the decoration of weapons, of suits ox mail, and of articles for the service of the ftoman Catholic Church, will be found in other departments of this Exhibition, in which we may observe the then existing distinction of the naturalistic and romantic feelings of the German School, from the Eclectic and grotesque motives of the Italian, the latter framing its rules of practice and canons of taste upon the examples of ancient art, the former seeking from every-day life its models and its combinations. With the workers in Niello there existed a general custom of testing the details of their design by frequently during its progress taking a cast in soft earth of the tracery executed ; molten sulphur was then run into this cast, and on withdrawing the sulphur cast from the earth a counterpart of the engraved plate was obtained ; then, by filling in the spaces of the sulphur cast with a pulpy mass, darkened with soot or lamp-black, an idea was procured by the artist of the probable effect of his work in the Niello. We had hoped to commence the series of engravings with some specimens of this the first mode of obtaining repetitions from metal plates by this use of the melted sulphur, but for the present we have been unsuccessful. We have, however, good reason for believing that in a short time we may be favoured with a loan of the only specimens of that kind in England, except those contained in the British Museum. It happened then that Maso or Tomaso Finiguerra, a worker in Niello, at Florence, about the year 1460, observed, while cleaning the lamp-black compound from a sulphur cast, that a trace of the cast was left upon the linen which he used ; hence he was led to attempt to obtain a copy upon paper in darkened oil of the sulphur cast, in which he succeeded. He next was led to attempt to take a copy by means of a black pigment or ink upon paper from the engraved plate itself, and we exhibit some of these, the earliest prints, properly so called ; and as we might expect, among the other engraved work which was thus copied by him and others, the initials or other distinguishing mark of the artist when occurring in the work was also printed. How nearly the Egyptians were to the discovery of the production of prints may be estimated by an inspection of the impression, shown by us, from an engraved plate taken from a mummy by Dr. Mead, and now in the British Museum. And we must remember that the Egyptians had the papyrus paper, and were habitually using paints or inks of all colours. And a still more curious fact is, that the ancient Assyrians used to take impressions in clay from incised tablets. Some of these impres- sions, in which the characters are to be seen raised above the rest of the surface, have been recently added to the collection of Assyrian antiquities in the British Museum. Little value was at first set upon the prints from metal plates, and consequently the number of the early ones is very limited ; but the importance of the process speedily became l’ecognised, and the art of engi’aving on metal for the express purpose of obtaining prints was very extensively practised. For this purpose it was soon found that, of all the metals, copper was at once the most economical and the most serviceable. In engraving upon copper the instrument, or burin, does not make a downward incision as would a knife or cutting tool, but being pushed forward, as it were, ploughs up before it a furrow in the copper plate, turning over on one side the removed metal (this which is called the bur must be noticed, the peculiar effects, however, in prints which could be gained from it were not at first fully appreciated). The ink being applied to the surface of the plate fills all the engraved lines, and is also spread upon the remainder of that surface ; and as for distinctness and brilliancy in copper-plate printing only the ink from the engraved lines is required, all the rest is removed by the hand of the workman, and if any bur exists upon the plate, some slight portion of the superfluous ink remains upon the bur, and in the printing gives a full richness to the line, which is much admired. It will, however, be readily seen that the continual cleansing of the plate must speedily net only wear away the bur, but must also at the same time break down the edge of the engraved line, and therefore that the number of prints of excellent quality from one plate must, from the necessity of the case, be really few in number, while the plate itself must require very frequent re-touching, and perhaps re-engraving. Hence arose the engraving subjects in duplicate and counterfeit, and professed copies more or less accurate, to be distinguished from the genuine print sometimes only by very minute differences in the work, in the artist’s mark or signature, in the quality or colour of the ink, or in the [ 20 ] ENGRAVINGS -INTRODUCTION. fabric, water-marks, and quality of the paper. It is sufficient for our purposes to have here indicated these several points, on which careful observation is requisite in estimating the genuineness or otherwise of any print which may come before us. At the precise period when the new art was discovered, Venice was the great centre of commerce as between the East and the West ; and not only did the Italian artists seek there purchasers for their productions, but the German masters also frequented the market of that city, and the earliest examples of the engraver, which either bear the date of the year 1466 or which are undated, were apparently the work, the former of Italians and the latter of Germans. About this time the art was applied to the production of the Tarocchi, a description of playing-cards, at Venice, but the name of the artist is not now accurately known. It is a matter of considerable doubt whether there was not in existence at that time and place some carvers in wood, who, copying Chinese examples, cut from the surface of wood blocks all but sufficient of the material to indicate the outlines of figures ; and then, having obtained from these cut blocks, by means of ink on paper, a print in such outline, they filled it up by applying colour to the rest of the figure through a cut-out pattern. This method is called stencilling, and the preparation of the wooden block was the origin of the engraving on wood. It is well known that the earliest attempts at printing books were made from wooden blocks, on which the letters were thus cut in relief ; and some of the earliest figure-subjects in wood-engraving in Europe, of which also we give specimens, were designed and used as pages in these so-called block-books. It will be observed that the print from the wood is obtained from lines left in relief upon the block, the rest of the substance being cut away ; while from copper the print is obtained from lines cut into the plate, and the two processes are therefore of diametrically opposite natures. We exhibit several of these playing-cards printed from the wood blocks, and stencilled in colours ; these are from the Collection of William Russell, Esq., and are peculiarly interesting, as showing the origination of the practice of wood- engraving, and its co-existence with thqt on copper. The same gentleman has kindly placed at our disposal a selection of some Japanese woodcuts executed, probably, prior to the time of which we are speaking. These specimens are very remarkable for the power of drawing shown in the outline, and on account of their being printed in colours — not stencilling. They are presumed to be illustrations of a poem, but the language, of which the characters appear, is so ancient, that it is not known to any one in this country. From Venice, as the centre of luxury, these prints from the engraved copper and from the wood were widely diffused : and a very interesting proof of this fact is shown in the reproduction of many of their subjects upon the old pottery ware of Italy, in some cases the dates even of the prints being copied ; and however rudely the copies are executed on the pottery ware, still the fact remains of the acquaintance of the class of workmen with the print. From what we have said as to the mode by which the black line as printed is produced in the several cases of the engraving in copper and on wood, it will readily be perceived that where, for the sake of any particular effect, broad spaces of black are desired, the advantage lies with the wood engraving, inasmuch as the necessary breadth of surface only has to be left uncut ; and by particular methods of lightening or increasing the pressure in the act of printing, any desired amount of force can be communicated to the shadow represented : in some of the very early woodcuts, however, an attempt was made to lighten the shadows by punching dots in the block, which of course printed white, and produced a very disagreeable effect ; this work is called cribble. To obtain depth of shading in engraving on copper, the number of engraved lines has to be gi'eatly increased, and the system of crossing the lines or cross-hatching was soon adopted ; and by a judicious variety in their directions in fineness, and the introduction of dots and points of different forms, the texture and surface of any object is imitated in great perfection. Cross-hatching in wood-engraving is found not to succeed so well as in the case of copper, as the intervening spaces between the crossing lines have to be picked out, and therefore there is great risk of the very delicate line itself being broken. Among the workers on metals, from the earliest time, aqua fortis has been used for corroding or biting designs into those substances, which might be afterwards deepened bv the cutting-tool — the utmost possible degree of delicacy being secured [ 21 ] ENGRAVINGS -INTRODUCTION. "by this mode of operation, inasmuch as the metal is first covered with a varnish, on which the artist first draws his design with a fine needle, taking care to penetrate through this coating, which allows the greatest freedom to the draftsman’s hand ; the aqua fortis then being poured on, corrodes only the exposed parts where the design has been traced ; by re-covering any part with the coating, and repeating the same process, any particular portions of the work can be more fully acted on, and the resulting lines deepened. After the first discovery of taking impressions from the Nielli, it was soon seen that plates which had been treated in this way might also be printed from. And it will readily be seen that great rapidity and delicacy results from this method of eDgraving, though the work itself is not likely to endure as much printing as the more deeply-cut engraved plate. It is supposed that Leonardo da Vinci and Correggio have left to us examples of attempts by themselves in etching, as this mode is called ; but however this may be, we certainly have by Bonasoni, Albert Durer, and others of the earliest masters, some very beautiful specimens of tills process on copper, iron, and silver plates, which will be seen to have been carried to the highest point of perfection by Rembrandt, Ostade, Vandyck, and others of the Dutch and Flemish schools. Still there always existed a great desire to procure from copper or metal plates the great breadth and pictorial effect peculiar to the masses obtained, as we have noticed, by the wood-cutters ; and it is said that the desired hint was obtained by a Colonel Fursten- llj burgh, who happened to observe that a soldier, while scraping and cleaning a rusty military weapon, received on the cloth from the corroded surface a broad stain of great « intensity. He was thus led to scrape with varied degrees of force a design upon metal, in which by a particular process the ink should be left adhering to the projecting surfaces, and not be applied to the portions when the scraping had removed what were intended to be the lightest parts of the subject. We show several of the earliest known specimens of this kind of work, which was practised by Colonel Furstenburgh, and more exten- sively by Count von Siegen, Prince Rupert, and other contemporaries of the discoverer ; and in subsequent years the method was extensively followed in the Low Countries, and has always been a favourite style in this country. Other modifications of this and the before -mentioned processes are known and practised under the names of the dot, stipple, and aquatint methods. Many attempts have been from time to time made to print in colours from plates engraved in all of these various styles : of these attempts we show several examples, and more particularly one highly curious old print in colours of the family of Chai'les I., from the collection of Edward Cheney, Esq,, but in general the results have not equalled the expectations of the engravers. Several motives, combined with the desire of attaining greater economy than the use of metal plates will allow, led to trial being made of stone, as a surface from which to obtain impressions ; and about the beginning of this century the object was obtained by a German, who adopted the method of drawing with a certain greasy compound upon a stone of an absorbent nature. Upon pouring an acid upon the surface of the stone, the parts undrawn upon are slightly eaten away, and the design left in relief, the stone is then j inked and printed from in the same manner as ordinary type, and this process has now attained a very high degree of excellence. We are enabled to show a selection of the first essays in this style, but as it is of comparatively very recent date, and as productions in lithography are very generally diffused, we have given but a very limited number of examples of this work. In examining the series of ancient wood-engravings there will be seen several prints of the same subjects, executed in different tints, and evidently in various stages of progress ; these are specimens of a method called chiaroscuro, by which was then attempted to be conveyed the effect of original coloured drawings, by printing from a consecutive series of blocks, or from a combined series of metal plates and wood blocks, on each of which the same or different parts of the same subject were engraved, each of the series being tinted with some one colour which it was designed to communicate to the print, and hopes were entertained that the result would have a sufficiently, striking pictorial effect ; but there always was a lack of brilliancy and detail, s6 that neither the artist nor the amateur were satisfied. These early prints, however, are worthy of our attention as being the first hints for a [ 22 ] ENG RAVINGS.—! INTRODUCTION. style — namely, surface-printing — which has very recently acquired considerable importance, and which promises to attain very remarkable results ; of this kind of work in its various forms of lithotint and chromo-lithography, the visitor will find many very interesting examples on the screens in the galleries, though they are not included in this Catalogue or in the general series of engravings. In order, however, to explain these varied processes more readily, we are enabled, by the kindness of Messrs. Graves of London, to show an original etched plate by Rembrandt, the fine plate of George IV., engraved in line by Finden, and a plate engraved in mezzotinto by Samuel Cousens ; and by the kindness of Messrs. Day, Messrs. Hahnart, and Messrs. Baxter, some stones prepared for ordinary lithography, lithotint, and chromo-lithography ; and by the courtesy of W. Russell, Esq., a very curious wood-block executed in Spain many years ago ; the cutting of this block is but coarse, but is sufficient to show the particular method of engraving. We had hoped to have displayed also several of the most important wood-blocks cut by Bewick, such as those of the woodcock, partridge, landrail, and others, the manipulation of which has been never surpassed, but in this hope we regret to say that we have been disappointed. In concluding this introductory notice of the art of engraving, and of this department of the Exhibition generally, we beg to state that the course which we have adopted, as likely to be the most instructive, is to display as nearly as possible in one combined series, according to order of time, the productions of the art, in whatever country they were executed, and to do this, in each of the divisions of Line Engraving — Etching — Mezzotinto, and Wood -engraving. We can thus at once compare the coeval artists of every country with one another, and see from what source they drew their instruction ; in other words, we shall thus be better able to trace the various Schools, their points of origin and comparative contemporaneous position, rather than by forming for each a dis- tinct series only historical, as far as each separate School or country is concerned. The division which is generally made is the, Italian — the German — the Dutch — the French, and the English Schools ; and we propose by no means to give specimens of all the engravers of every country, nor of all the works, even of the best masters in any School, but to lay before the visitor the most excellent examples of the most eminent engravers in every method ; and it will be supposed that the visitor will take for granted that where high superiority has been attained in the art, there have been also many weak works, many failures, and many prints not worthy of the title of artistic : with these we have not thought it worth wliile to encumber the walls nor to tax his patience, and he will therefore find here displayed before him (with the exception of some few merely antiquarian curiosities) only such works as are of the greatest interest or of the most acknowledged excellence. This is the first time in the history of the art of Engraving at which an attempt has been made to show to the public generally, at one view, a complete chronological series of prints from the commencement of the art up to the present time. Fine specimens of various epochs are from time to time shown in glazed frames in the French Museum, and the officers in charge of the print department at the British Museum have long desired to adopt some such course, but the requisite facilities not being at their disposal, such a display has not as yet been accomplished there. We feel, therefore, that, independently of the excessive rarity and excellence of the engravings themselves, these galleries will be viewed with the utmost interest. For the completeness and excellence of the collection, I must here be allowed to express my great obligations to Dominic Colnaghi, Esq. (of the firm of Colnaghi and Co., London), and to William Smith, Esq., F.S.A., who have in the most unreserved manner given me the benefit of their long experience, extensive knowledge, and great personal influence. It only remains that we should point out to the visitor that the collection of Line Engravings will be found in the North-east Gallery of the Exhibition building, and that beyond this will be found the gallery of Wood -engravings. The collection of Etchings is placed in the South-east Gallery, and beyond it the Mezzotintos are arranged. The names of the artists are given as nearly as is possible in chronological order. EDWARD HOLMES, M.A. ENGRAVINGS— LINE. 6 7 ,8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Part I.— LINE ENGRAVINGS. Specimen of Egyptian Engraving, at a period of about three thousand years previous to the present era E. Holmes , Esq. The plate from which this was impressed was taken from the breast of a mummy, by Dr. Mead, and is now preserved in the Cabinet of Egyptian Antiquities in the British Museum. NIELLI. TOMASO FmiGXJERRA, Florence, 1418. Hercules and Serpent. (Attributed to Finiguerra.) . . J. H HawJcins, j Esq. Adoration of the Virgin, d.* Coronation of the Virgin 5 , d. Adoration of the Magi. In a border, 30 Nielli of Animals Crucifixion . O.P T).C. Four of Ornaments Mutius Sc^jvola Two Labours of Hercules . Birth of Our Saviour . Allegorical Figure of Rome Orion on a Dolphin A Sheet of Ornaments Peace and Abundance The Standard-Bearer The Tournament . St. Sebastian ... Diomed holding the Palladium. Judith Standing Warrior in a Helmet . The Resurrection, marked DE OPUS PELLEGRINI Man in a Ducal Bonnet, with the words SPES ME Two Lovers under a Gothic Treillage Mercury with Caducei and Cornucopia Cover of a Book with Motto altered from Petrarch MORTE EL FIN EL DI LODA LA SERA. . Woman and Boy A Lady and Cavalier, Oval Mercury Seated A Fountain with Cupids in which R. S. Holford, Esq. . Ditto. are inserted . Ditto. E. Cheney, Esq. False Niello, unfinished and finished, executed at Venice about thirty years since BACCIO or BARTHOLOMEW BALDINI, Florence, 1436—1480. A Vignette R. S. Holford, Esq. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. . Ditto. Rev. Dr. Wellesley. . Ditto. . Ditto. Ditto. Ditto. Ditto. Ditto. CES. LA Ditto. Ditto. Ditto. Ditto. Ditto. E. Cheney, Esq. Rev. Dr. Wellesley. For the Edition of Dante printed at Florence in 1481. B. 13, p. 176, No. 7.| References to Duchesne. t The References are to Bartsch. [ 24 ] 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 51 * 52 53 54 55 56 57 58 59 LINE. BAGGIO or BARTHOLOMEW B ALBINI— continued. The Saviour E. Cheney, Esq. From the work called II Monte Saneto di Dio, printed at Florence in 1477. B. 13, p. 1S9, No. 58. Hell 1 Ditto. From the work called II Monte Saneto di Dio, printed at Florence in 1477. B. 13, p. 1S9, No. 59. A Curious Allegorical Subject. Undescrihed . . . Ditto. The Preaching of Marco de Monte Santa Maria in Gallo. B. 13, P . 88, No. 7. Rev. Dr. Wellesley. The Triumphs 6f Petrarch, viz. : (B. 13, p. no, No. l The Triumph of Love .... -17.) The Triumph of Chastity The Triumph of Death. The Triumph of Fame .... The Triumph of Time The Triumph of Divinity The Tarocchi. b. 13, p. 120, No. is— 27. . Coronation of the Virgin, with many Saints Theseus and Ariadne Cupids in a Vineyard. Not described . The Libyan Sibyl, b. is, p. 172, No. 26 . The Cimmerian Sibyl, b. is, p. 174, No. 31 The Samian Sibyl, b. 13, p. m, No. 32 . An Architectural Composition, inscribed ARCHITECT! OPUS .... F. T. Palgrave, Esq. Err. Dr. Wellesley. Ditto. . Ditto. Ditto. . Messrs. Evans. St. John Dent, Esq. Rev. Dr. Wellesley. Felix Slade, Esq. R. S. Uolford , Esq. Rev. Dr. Wellesley. Ditto . Ditto. BRAMANTE Ditto. The Assumption of the Virgin, on Two Sheets . St. John Dent, Esq. Style of N. de Modena. B. T3, p. 87, No. 4. EARLY FLORENTINE. Profile of a Man with a fanciful Helmet, formed of Fish and a Cupid ...... Rev. Dr. Wellesley. Triumph of Bacchus and Ariadne in a Car drawn bv two Centaurs. The Car with the harness is formed by an im- mense vine, the branches of which extend the whole breadth of the print at top, engraved in the manner of Baldini Ditto. ANTONIO POLLAJUOLO, Florence, 1426— Rome, 1498. Pupil of Ghiberti. Hercules combating the Giants, b. 13, p. 203, No. 3. . Rev. J. Griffiths. ANDREA MANTEGNA, Padua. 1431— Mantua, 1506. Pupil of Squarcione. The Descent into Limbo, b. 13, p. 228, No. 2. R. Fisher , Esq. The Entombment, b. is, p. 229, No. 3. . . . St. John Dent, Esq. The Saviour with St. Longinus, b. 13, p. 231, No. c. The Baron Marochetti. The Virgin in a Grotto, b. 13, p. 233, No. 9. . . R. S. Uolford, Esq. The Soldiers carrying Trophies, b. is, p. 230, No. is • Felix Slade, Esq. The Scourging of Christ, b. 13, p. 227, No. . • . J. U. Hawkins, Esq. Head of an Old Man. b. 13, p. 242, No. 23. . . • F. T. Talyruvc, Esq. JEROME MOCETTO, Verona, 1454. Pupil of Bellini. The Virgin and Two Saints Rev. Dr. Wellesley. B. 13, p. 218, No. 3. Before tbo additional work. [ 25 ] E NGRAVINGS.— L i N E. 60 61 62 63 64 65 65 * 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 JEROME MOCETTO -continued Christ after his Resurrection . . . . Rev. J. Gri\ Judith, r 13, p. 216, No. 1. . . . . . J F. T. Ralgrave , Esq. A very curious Print. — The Baptism of the Saviour. St. John Rent , Esq. Designed with great taste. B. 13, p. 217, No. 2. Judith. Undescribed Richard Fisher , Esq. Virtue led Blindfold by Folly and Pleasure to the Pitfall, whence Mercury conducts the Souls to Immortality ........ Rev. Dr. Wellesley . In two pieces. Ascribed by Bartsch (xiii. p. 304, 17), to Zoan Andrea. Design for a Fountain. Undescribed .... Felix Slade, Esq . The Madonna, with the Infant Jesus on her Lap, Enthroned, John the Baptist standing on the left, and another saint on the right. Not in Bartsch. Proof before the introduction of other figures THE MASTER OF 1466. St. George and the Dragon, b. 6, p. 29, No. 78. A Patera, b. 6, p. 47. The Nativity, b. 6, p. 8 The Pentecost, b. 6, p. 27 THE MASTER, W.f Design for a Chapel, b. 6, p. 61, No. is. MARTIN SCHONGATTER, Colmar, 1445- The Annunciation, b. 6, p. 120, No. 3. . The Nativity, b. 6, p. 120, No. 5 The Virgin and Child in a Stable, b. 6, p. 120, No. 4 Flight into Egypt, b. 6, p. 123, No. 7. • The Baptism of Jesus, b. 6, p. 123, No. 8. • Christ bearing his Cross, b. 6, p. 128, No. 21. The Death of the Virgin b. 6, p. 134, No. 33. St. Anthony, b. 6, p. 140, No. 47. St. James the Greater, b. 6, p. 143, No. 53. . The Almighty on the Throne, b. 6, p. 151, No. 70. The Virgin on the Throne by the side of the Almighty. B. 6, p. 152, No. 71. The Almighty Crowning the Virgin, b. 6, p. 152, No. 72. Jesus Christ accompanied by Six Angels. B. 6, p. 169, No. 6. Rev. Er. Wellesley . Rev. J. Griffiths. . Ditto. . R. Fisher, Esq . St. John Dent , Esq . . . Messrs. Evans. -1499. R. Fisher , Esq. St. John Dent , Esq . R. Fisher , Esq. St. John Dent , Esq . R. Fisher , Esq. Rev. J. Griffiths. R. Fisher , Esq . . Ditto. Rev. J. Griffiths. R. Fisher , Esq. Ditto. Ditto. Ditto. The Crucifixion, b. 6, p. 129, No. 22 • • • John Dent , Esq. The Crucifixion. B. 6, p. 129, No. 23 .... R. Fisher, Esq. The Saviour and the Magdalen Ditto. Baptism of our Saviour . . . • St. John Dent, Esq . Six of the Wise and Foolish Virgins . • . R. S. JEolford, Esq . B. 6, p. 153, No. 77— SI. Jesus Christ Presented to the People, b. 6, p. 126, No. 15. The Crucifixion, b. 6, p 126, No. 17 Virgin and Child in a Court- yard. b. 6, p. 134, No. 32 [26] Ditto. Ditto. R. Fisher, Esq. sIGR/ 92 92 * 93 94 95 96 96 * 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 i.~L!NE. Z WOLL, The Master of the ‘Navette,’ 1500. Betrayal of Christ, b. 6, p. 92, No. 4 . . . St. John Dent , j Esq. Dead Christ It. Fisher , Fsq. THE MASTER, The Virgin and Child with a rose .... Rev. J. Griffiths. ISRAEL VON MECKEN, the Father, Mecheln, 1424— Bocholt, 1503. The son died 1523. Death of the Virgin, b. 6, p. , No St. John Dent , Fsq. Portrait of Israel von Mecken. B. V. 6, p. 203, No. 2 It. S. Holford, Fsq. Virgin in Glory, b. 6, p. 21S, No. 42.. . . . . . It. Fisher , Fsq. The Saviour on the Altar, adored by Saints, b. 6, p. G. Smith , Fsq. The Virgin. A Pope, &c., adoring, b. 6, p. 221, No. 48. . It- Fisher, Fsq. The Virgin in Glory, b. 6 , p. 222, No. 49 Ditto. The Singer and the Guitar-player, b. 6, p. 268, No. 174. . Ditto. The Organ-player, b. 6, p. 269, No. 175. .... Ditto. The Card-players . . Ditto. Judgment of Solomon . St. John Dent, Fsq. The Crucifixion, b. 6, p. 214, No. 29. It. Fisher, Fsq. Joachim’s Offering Felix Slade , Fsq. Two Horsemen Jousting in Fancy Armour . . Rev. J. Griffiths. B. 6, p. 280, No. 200. Tracery, b. 6, p. 282, No. 206. * B. 6, p. 2S2, No. 205. . . . . Tracery. The Ball Lucretia. B. 6, p. 265, No. 16S. ALBERT BXTRER, Nuremberg, 1471 — 1528. Scholar of Michael Wohlgemuth. Adam and Eve. b. 7, p. 30, No. 1 The Nativity, b. 7, p. 31, No. 2 The Passion of Christ, b. 7, p. 33, No. 3 — is. Jesus Expiring on the Cross, b. 7, p. 46, No. 24. The Prodigal Son. b. 7, p, 40, No. 28. . The Virgin, with Long Hair. b. 7, p. 50, No. 30. The Virgin, with a Crown of Stars, a 7, p. 52, No. 31. The Virgin, with a Crown of Stars and Sceptre . B. 7, p. 53, No. 32. The Virgin, with Short Hair b. 7, p. 53, No. 33. St. Simon, b. 7, p. 06, No. 49. . St. Paul. b. 7, p. 67, No. 50. . St. Hubert, b. 7, p. 73, No. 57. St. Jerome in his Cell. b. 7, p. 70, No. 60. St. Jerome in Penance, b. 7, p. 77, No. 61. Melancholy, b. 7, p. 87, No. 74. The Offerings of Love. b. Ditto. C. S. Bale, Fsq. St. John Dent, Fsq . . Ditto. . Richard Fisher, Fsq. Ditto. . Ditto. C. S. Bale, Fsq. . Richard Fisher, Fsq. Ditto. Ditto. Ditto. p. 103, No. 93. Knight and Lady in a Landscape, and Deat Tree. b. 7, p. 104, No. 94. . The Knight of Death, b. 7, p. 104, No. 98 [ 27 ] Ditto. Felix Slade, Fsq. Ditto. Ditto. Ditto. . R. Fisher, Fsq Henry Brodhurst, Fsq. . Felix Slade, Fsq. behind a Ditto. . . R. Fisher, Fsq. ENGRAVINGS— LINE. 128 129 130 131 132 133 134 135 133 137 138 139 140 141 142 143 143 * 144 145 146 147 148 149 150 151 152 153 152 * 153 * 154 155 156 157 158 159 ALBERT DURER — continued. . It. Fisher , Esq. The Meeting of Warrioks. jb. 7, p. 99, No. 88. The Arms with the Cock. b. 7, p. 10S, No. 100. . . Felix Slade, Esq. The Arms with the Death's Head. b. 7, p. 109, No. 101. Eitto. Erasmus, b. 7, p. m, No. io7. Ditto. The Cook and his Wife. b. 7, p. , No. . • • • • F. Fisher, Esq. Emblematical Subject, with Children, b. 7, p. 81, No. 66. . Ditto. The Witch, b. 7, p. 82, No. Ditto. Virgin with the Butterfly, b. 7, p. 62, No. 44. . • Felix Slade, Esq. Apollo and Diana, b. 7, p. 82, No. 68. F. Fisher, Esq. ALBERT GLOCKENTHON, Nuremburg, 1432. Crucifixion, b. 6, p. 349, No. 14. Ditto. MAIR, Landschat, 1505. Samson, b. 6, p. 363, No. Messrs. Evans. St. Anne with the Virgin and Child, b. 6, p. 366, No. 8. Fev. J. Griffiths. The Balcony, b. 6, p. 370, No. 12. ... . St. John Dent, Esq. 0, No. 12. . MARTIN ZAGEL, 1500. The Beheading of St. Catherine, b. 6, p. 374, No. 8. Lovers Embracing, b. 6, p. 37s, No. 15. Old Man and Young Female, b. 6, p. 379, No. 16. The Tournament ALART DU HAMEEL, Bois le Due, 1480 The Cavaliers near a Town. b. 6, p. 357, No. 2. A Battle Piece. Undescribed E. VON BGCHOLT. Judgment of Solomon, b. 6, p. 81, No. 2. LUCAS CRANACH, 1500. The Penitence of St. Chrysostom, b. 7, p. 276, No, l. ROEETTA, Florence, 1480. The Adoration by the Kings of the East B. 13, p. 396, No. 6. Jesus taking leave of his Mother. — First State B. 13, p. 398, No. 9. The Virgin, b. 13, p. 399, No. 'll. The Virgin and Child. — First and Second States B. 13, p. 400, No. 12. Mutius ScAivoLA — (before the clouds and background) B. 6, p. 407, No. 26. CAIN AND Abel. Described by Ottley, p. 462. • • BENEDETTO MONTAGNA, Vicenza, 1500. St. Benedict instructing his Monks, b. 13, p. 339, *No. li. St. Anthony. Uudescribed. ...... The Birth of Adonis, b. 13, p. 343, No. 20. The Shepherd, b. 13, p. 347, No. 27. Man Seated by a Palm Tree. b. 13, p. 347, No. 28. The Wounded Stag Man with an Arrow in his Hand. b. 13, p. 350, No. 33 Garden of Olives. b - 13, p. 335, No. 4. [ 28 ] . E. Fisher , Esq. Felix Slade, Esq. Ditto. G. Vaughan, Esq. ■1490. St. John Dent, Esq. Eev. J. Griffiths. St. John Dent, Esq. . F. Slade, Esq. St. John Dent, Esq. F. T. Falgrave, Esq. Eev, J. Grit Ditto. . Messrs. Evans. . Ditto. Rev. J. Griffiths. Ditto. Eev. Dr. Wellesley. Ditto. Ditto. Ditto. J. H. Hawkins, Esq. St. John Dent, Esq. :ngf 160 161 162 163 164 165 166 167 168 169 169 ^ 170 171 172 172" 173 174 175 176 177 178 178* 179 180 181 182 183 184 185 186 187 188 189 '1NGS— LINE. The Crucifixion HANS BROSAMER, Fulda, 1506. • • • . . Rev. J. Griffiths. ALTOBELLO, Cremona, 1530. Scholar of Bramante. Four Amorini playing Musical Instruments. After Andrea Mantegna, from a design in the Louvre . . . Ditto. The only specimen known in England. J. B. DEL PORTO, 1503. Roma. Not described Ditto. Leda and her Four Children, b. 13, p. 246, No. 3. . Rev. Dr. Wellesley. NICOLETTO DA MODENA, Modena, 1460. St. Sebastian Rev. J. Griffiths . St. Sebastian, b. 13, p. 275, No. 35. .... Rev. Dr. Wellesley . The Punishment of the Evil Tongue, b. 13, p. 276, No. 37. Ditto. St. George, ottley, p. 541. St. Catherine, ottley, p. 542. Venus The Sibyl of Cuma J. A. DA BRESCIA, Brescia, 1460. Virgin, Child, and Saints, b. 13, p. 320, No. 5. Hercules, b. 13, p. 323. The Saviour. After Mantegna. Not described. Hercules and Antaius ’..... ZOAN ANDREA, Venice, 1516. Judith, b. 13, p. 295, No. Dance of Four Females, b, is, p. 305, No. is. JACOB DA BARBARY, or The Master of the Caducees, 1500. E. Cheney , Esq Ditto. Ditto. Ditto. Ditto. J. H. Dawkins , Esq . St. John Dent, Esq . E. Palgrave , Esq. . J. H. Hawkins, Esq. . St. John Dent, Esq. . . Ditto. Judith, b. 7, p. 517, No. l. .... St. Catherine, b. 7, p. 520, No. 8. ... TnE Man carrying a Cradle, b. 7, p. 521, No. li. Mars and Venus, b. 7, p. 525, No. 20. . Virgin and Child reposing, b. 7, p. 519, No. 6. GIULIO CAMPAGNOLA, Ferrara, 1481. Jesus and the Woman of Samaria, b. 13, p. 370, No. St. John the Baptist, b. 13, p. 371, No. 3. Landscape, with Shepherd, b. 13, p. 373, No. 6. . Recumbent Undressed Female. Undescribod The Astrologer, b. 13, p. 375, No. 8. A Naked Child Seated Playing. Undoscribod Unique (Vide Wilson’s Catalogue). DOMINIC CAMPAGNOLA, Padua, 1507 Son of the preceding ; scholar of Titian. Pentecost, b. 13, p. 380, No. 3 The Virgin and Child, b. 13, p. 381, No. 5. . TnE Shepherd and Old Warrior, b. 13, p. 3S2, No. 8 The Presentation in the Temple. Undescribed . A Battle Piece, b. 13, p. 384, No. 19. [29] . Ditto. . Messrs. Evans. . R. Fisher, Esq. St. John Dent, Esq. E. Cheney, Esq. . R. Fisher, Esq. St. John Dent, Esq. Rev. Dr. Wellesley. F. Palgrave, Esq. G. Smith, Esq. Rev. J. Griffiths. E. Cheney , Esq. Rev. Dr. Wellesley. Ditto. Messrs. Evans. ENGRAVINGS.— LINE. 190 191 192 193 194 195 198 197 198 199 201 202 293 204 205 206 297 208 209 210 211 212 214 215 216 217 218 219 220 221 222 224 225 228 NA DAT, or The Master of the Mouse-trap, Ravenna, 1512. The Virgin and St. Anne. b. 13, p. 364, No. l - . Rev. J. Griffiths. A Battle Piece, b. 13, p. 365, No. 2 St. John Dent, Esq. FRANCESCO RAIB01INX, or FRANCESCO FRANCIA, Bologna, 1450. The Female Saint and the Four Saints . B. 15, p. 456, No. 1. Virgin Enthroned Holy Family, b. 15, p. 457, No. 2 . Christian Charity, b. 15, p. 457, No. 3. . Lucretia (after Parmegiano) b. 15, p. 458, No. 4. Proof D. A. FEAN CIA. Virgin and Child, from Sir M. M. Sykes’s Collection MASTER OF THE ANCHOE. The Woman taken in Adultery The same Subject WENCESLAXJS D’OLMUTZ. The Man of Sorrow, b. 6, p. 325, No. 17. J. H. Hawkins, Esq. Ditto. St. John Dent, Esq. Rev. Dr. Wellesley. Ditto. . Rev. J. Griffiths. , St. John Dent, Esq. . G. Smith, Esq , St. John Dent. Esq. MARC ANTONIO EAIMONDI, Bologna, 1475—1589. Adam and Eye. b. 14, p. 3, No. l. . . • • Sir J. S. Hippisley, Bart. The Almighty ordering Noah to build the Ark B. 14, p. 4, No. 3. Joseph and Potiphar’s Wife. b. 14, p. 10, No. 9 . David, b. 14, p. 13, No. 12 . • • The Nativity, b. 14, p. 17, No. The Massacre of the Innocents, with the Chicot . Proof. B. 14, p. 19, No. 18. The Massacre of the Innocents, with the Chicot . The Massacre of the Innocents, without the Chicot . B. 14, p. 21, No. 20. Original Drawing by Raphael for the preceding J. II. Hawkins, Esq. George Vaughan , Esq. . Felix Slade, Esq. , E. Cheney , Esq. J. H. Hawkins , Esq. , M. J. Johnson, Esq. Sir J. S . Hippisley. M. J. Johnson, Esq. print . ... • • The Baptism of Jesus Christ, b. 14, p. 28, No. 22 . • J - H. Hawkins, Esq. Jesus Christ at Table with Simon, b. 14, p. 29, No. 23. R- Fisher , Esq. The Last Supper Ditto. The Virgin with the Naked Arm. b. 14, p. 40, No. 34 . Rev. Dr. Wellesley. The Virgin with the Draped Arm. b. 14, p. 40, No. 35. J ■ H. Hawkins , Esq. St. Paul preaching at Athens, b. 14, p. 50, No. 44. - Rev. Dr. Wellesley , The Virgin at the Steps of the Temple, b. 14, p. 51, No. 45. Felix Slade, Esq. The Virgin seated on Clouds b. 14, p. 58, No. 52 . . J. H. Hawkins, Esq. The Virgin seated on Clouds. Unfinished . • Sir J. S. Hippisley , Bart The Virgin with the Fish R- S. Holford, Esq B. 14, p. 61, No. 54. Holy Family, b. 14, p. 67, No. 60 The Virgin near a Palm-Tree. b. 14, p. 69, No. 62 The Virgin at the Cradle, b. 14, p. 70, No. 63 Martyrdom of St. Lawrence, (with the two forks) B. 15, p. 89, No. 104. J. H. Hawkins, Esq. Ditto. Ditto. Ditto. [ 30 ] 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 25(P 251 252 253 254 254 ; O X X i.-LINE. MAEC ANTONIO RAIMONDI — continued. Martyrdom op St. Lawrence, (in the usual state) J. H. Hawkins , Esq. The Five Saints, b. 14, p. 100, p. 113. Unfinished proof. . R. S. Holford, Esq. The Five Saints. Finished Sir J. S. Hippislcy, Bart. St. Cecilia, b. 14, p. 101, No. 116 ■ . J. H. Hawkins , Esq. The Martyrdom op St. Felicita. b. 14, p. 104, No. 117. . Rev. Dr. Wellesley. St. Catherine and St. Lucia, b. 14, p. 108, No. 121. . J- H. Hawkins , Esq. Dido. b. 14, p. 153, No. 187. . LUCRETIA. B. 14, p. 155, No. 192. Cleopatra, b. 14, p. 162, No. 199. Alexander and the Books of Homer B. 14, p. 168, No. 207. The Triumph, b. 14, p. 173, No. 213. Dance op Cupids, b. 14, p. 177, No. 217. Two Fauns carrying the Infant Bacchus, (from a Sarco- phagus found in Crete.) B. 14, p. 186, No. 230. Parnassus, b. 14, p. 200, No. 247. . Parnassus, b. 14, p. 200, No. 247. Venus appearing to ^Eneas. b. 14, p. 220, No. 288 The Old and Young Bacchant . B. 14, p. 222, No. 294. Orpheus and Eurydice. b. 14, p. 223, No. 295. The Vintage, b. 14, p. 231, No. 306. Venus and Cupid in a Niche, b. 14, p. 234, No. 311. Love and the Three Children, b. 14, p. 240, No. 320. Apollo, b. 14, p. 248, No. 328. v The Judgment op Paris, b. 14, p. 254, No. 339. Mars, Venus, and Love. b. 14, p. 257, No. 345. Proof. Mars, Venus, and Love. b. 14, p. 257, No. 345 Galatea, b. 14, p. 262, No. 350. Philosophy, b. 14, p. 289, No. 381. . Poetry, b. 14, p. 291, No. 382. .... Peace. B. 14, p. 296, No. 393 The same Print, as left unfinished by Marc Antonio, showing the method pursued by that great engraver in commencing his plates, and laying on the principal shadows . . Ditto. This specimen is quite unknown and undescribed, and serves to explain the unsatisfactory way in which portions of this plate were finished by another hand. The Three Doctors, b. 14, p. 305, No. 404. Book plate. Sir J. S. Hippislcy, Bart . Ditto. . Rev. Dr. Wellesley. . Ditto. Rev. J. Griffiths. George Vaughan , Esq Sir J. S. Hippisley , Bart. . E. Cheney , Esq. Rev. J. Griffiths. M. J. Johnson , Esq. . Felix Slade , Esq. J. H. Haickins, Esq. . Rev. Dr. Wellesley. J. H. Hawkins , Esq. . Rev. Dr. Wellesley. . Rev. J. Griffiths. . Ditto. . M. J. Johnson , Esq. . J. H. Hawkins , Esq. . R. Fisher , Esq. . Rev. Dr. Wellesley. . E. Cheney , Esq. . R. Fisher , Esq. . Rev. Dr. Wellesley. The Pest. B. 14, p. 314, No. 417. Proof • The Pest. b. 14, p. 314, No. 417. The Woman in Meditation, b. 14, p. 342, No The Guitar-player, b. 14, p. 349, No. 469. The Bathers, b. 14, p. 861, No. 4S7. The Bather, b. 14, p. 363, No. 488. . The Cassolette, b. 14, p. 363, No. 489. . Female with Casket .... . . R. S. Holford , Esq. . Sir J. S. Hippislcy, Bart. 460. . C. S. Bale, Esq. . . Rev. J. Griffiths. . Sir J. S. Hippislcy, Bart. , . Felix Slade, Esq. . . Rev. Dr. Wellesley. G. Smith, Esq. [ 31 ] NGR/ 263 264 265 265 * 266 267 268 269 270 271 * 271 272 272 * 273 274 275 276 277 278 279 280 281 282 282 * 283 284 285 286 287 288 289 290 291 292 293 294 iVINGS- -LiNE. MARC ANTONIO RAIMONDI — continued. Portrait of Aretin. b, 14, p. 374, No. 513. Four Females in Niches, b. 14, p. , No. B. 14, p. No. No. No. 30. B. 15, p. 65, No. 57. . E. Cheney , Esq. Sir J. S. Ilippisley, Bart. Ditto. It. Fisher , Esq. Sir J. S. Ilippisley , Bart. Ditto. . Eev. Dr. Wellesley. . Ditto. Ditto. . — Robinson , Esq. R. Fisher, Esq . G. Vaughan, Esq. Rev. J. Griffiths. R. Fisher, Esq. Ditto. Ditto. Female with a Vase. Female with a Vase . Man with Naked Female, b. 14, p. Amadeus, b. 14, p. 270, No. 354. A Mother with her Child . The Entombment, b. 14, p. 36, Vierge a la Longue Cuisse. The StREGQZZI. B. 14, p. 321, No. 426. COPIES BY MARC ANTONIO, AFTER A. DURER. Virgin with a Butterfly, b. 14, p. 408, No. 640. . St. John Dent, Esq. Jesus Christ taking Leave of his Mother B. 14, p. 403, No. 589. Last Supper. Not described. ..... LUCAS V. LEYDEN, Leyden, 1494—1533. Dalilah Cutting the Hair of Samson, b. 7, p. 351, No. 25. The Adoration by the Wise Men. b. 7, p. 357, No. 37. • Repose in Egypt, b. 7, p. 35S, No. 38 Baptism of Jesus Christ, b. 7, p. 360, No. 40. Jesus Christ Presented to the People, b. 7, p. 378, No.7i. Felix Slade, Esq. The Return of the Prodigal Son. b. 7, p. 383, No. 78. R. S. Dolford, Esq. The Milkwoman, b. 7, p. 422, No. R- Fisher, Esq. The Uylespeigel IMce of'Buccleueh. Of the utmost rarity. B. 7, p. 423, No. 159. Portrait of Maximilian, b. 7, p. 432, No. 172. • • Felix Slade, Esq. Virgil suspended in a basket, b. 7, p. 409, No. 136. . Rev. J. Griffiths. David before Saul G. Vaughan, Esq. A Man Taming a Horse Rev. J. Griffiths. BxM The Holy Family surrounded by Angels . . . Ditto. JEAN DUVET, called The Master of the Unicorn, Langres, 1485. A Subject from the Apocalypse, b. 7, p. 503, No. . . F. Slade, Esq. An Allegory relating to Henry II. of France . . C. B. 7, p. 516, No. 45. AUGUSTIN VENEZIANO, Venice, 1490— Rome, 1536. Scholar of Marc Autonio Raimondi. The Manna, b. 14, p. 10, No. 9. Christ bearing the Cross, b. 14, p. 34, No. 28. Ananias Struck Dead. b. 14, p. 47, No. 42. • Elymas Struck Blind, b. 14, p. 48, No. 43. The Battle of the Cutlass, b. 14, p. 172, No. 212 The Group, from the School of Athens B. 14, p. 366, No. 492. Portrait of Solyman II. B. 14, p. 377, No. 518. Bacchus and Ariadne [32] R. Fisher, Esq. Ditto. Rev. Dr. Wellesley. Ditto. R. Fisher, Esq. Rev. Dr. Wellesley. Ditto. F. Slade, Esq. 295 296 297 298 299 300 30(P 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 -LINE. MAH CO DI RAVENNA, Ravenna, 1496. Scholar of Marc Antonio Raimondi. St. Michael, b. 14, p. 94, No. 106 E. Fisher , Esq. Entellus and Dares, b. 14, p. 159, No. 195. ... E. Cheney , Esq. Trajan with the Dacians, b. 14, p. 167, No. 206. . . Felix Slade , Esq. Eight of the Apostles (After Raffaelle) . . . . J2. Fisher , Esq. Yenus and Cupid. B. 14, p. 244, No. 324. . ' . . Ditto. Venus Rising from the Sea. b. 14, p. 243, No. 323. . . Ditto. The Graces Ditto. NICC0LETT0 BEATRICETT0, Thionville in Lorrain, 1500. Studied in Rome. The Boat of Giotto, b. 15, p. 246, No. 16. . . . Eev. D. Wellesley. Jesus Christ holding his Cross — (after tlxe Statue by Michael Angelo), b. 15, p. 250, No. 22. E. Fisher , Esq . Roman Soldiers fighting against the Dacians . . Eev. Dr. Wellesley. B. 15, p. 266, No. 94. Henry II., King of France (Profile), b. 15, p. 241, No. 4. Ditto. Hippolyta Gonzaga. b. 15, p. 241, No, 4. ... Ditto. St. Michael, b. 15, p. 254, No. 30 E. Fisher , Esq. Phaeton, b. 15, p. 258, No. 38. St. John Dent, Esq. Henry II. (Front Face). B. 15, p. 241, No. 3. . . C. JULIO B0NAS0NE, Bologna, 1498—1580. God Creating Eve. b. 15, p. 112, No. 1. Noah Coming from the Ark. B. 15, p. 113, No. 4. The Shepherds Adoring the Infant Saviour . B. 15, p. 118, No. 38. George Smith , Esq. Eev. Dr. Wellesley. Ditto. The Crucifixion (after Michael Angelo) — Three States Ditto. B. 15, p. 120, No. 43. The Resurrection . Ditto. B. 15, p. 121, No. 45. Unfinished and finished. The Virgin at the Foot of the Cross. After M. Angelo. B. 15, p. 124, No. 53. C. S. Dale, Esq. The Virgin and Dead Christ, b. 15, p. 126, No. 60. . Ditto. The Virgin in Heaven E. Fisher, Esq. From the picture of Parmegiano, now in the National Gallery, London. B. 15, p. 127, No. 62. The Virgin, St. John, and St. Joseph, b. 15, p. 28, No. 66. Ditto. St. Paul Putting to Flight the Demon . . J. If. Hawkins, Esq. B. 15, p. 130, No. 71. St. Peter and St. John Healing the Lame Man at the Gate of the Temple, b. 15, p. 130, No. 73. . Ditto. The Birth of St. John the Baptist — First State B. 15, p. 131, No. 76. The Last Judgment. After M. Angelo B. 15, p. 132, No. 80. Proof before all letters. EUROPA. B. 15, p. 142, No. 109 Judgment of Paris (Etching and Finished) . B. 15, p. 143, No. 112. Portrait of Michael Angelo (Proof and print) B. 15, p. 170, No. 345. with a Nymph, b. 15, p. 154, No. 170. [ 33 ] Eev. Dr. Wellesley. . Ditto. . Ditto. Ditto. . Ditto. . Ditto. D ENGRAVINGS —LINE. 326 327 327 * 328 329 330 331 333 334 335 336 337 338 339 340 341 342 343 344 345 346 346 347 JULIO EONASONE — continued. The Nursing of Jupiter, b. 15, p. 142, No. 107. Pan with a Nymph, b. 25, p. 154, No. 170 St. John Preaching Rev. Dr. Wellesley . J. H. Hawkins, Esq. Ditto. J. J. CARAGLIO, Verona, 1512— Warsaw, 1573. Rev. Dr. Wellesley. E. Cheney, Esq. Rev. Dr. Wellesley. R. Fisher , Esq. 348 349 350 351 352 Holy Family. After Raffaelle. First State . B. 15, p. 69, No. 5. Pentecost, b. 15, p. 70, No. 6. - Alexander and Roxana, or Mars and Venus . B. 15, p. 87, No. 51. The Battle of the Buckler and Lance . B. 15, p. 93, No. 59. THE MASTER OF THE CRAW-FISH. The Nativity St. John Dent, Esq. Holy Family G. Smith, Esq. THE MASTER OF THE DIE, or BA VIERA, Venice, 1512. Pupil of Marc Antonio Baimondi. Virgin and Child on Clouds, b. 15, p. 188, No. 8. • . R . Fisher, Esq. The Virgin Crowned by Jesus Christ, b. 15, p. 189, No. 9. Ditto. Venus Wounded by a Thorn, b. 15, p. 194, No. 16. . . Ditto. Two Friezes of Cupids Rev. Dr. Wellesley. Proofs before address of Lafreri. B. 15, p. 209, Nos. 36 & 37. The Single Subject from the History of Psyche . R. Fisher, Esq. B. 15, p. 224, No. 71. Scipio and Syphax. b. 15, p. 225, No. 73. ... Rev. Dr. Wellesley. LOUIS KRUG, Nuremberg, 1500—1535. The Nativity. Not described. E. Fisher, Esq. The Man of Sorrows, b. 7, p. 538, No. 6 Ditto. DIRK VAN STAREN, Holland, 1522—1544. Christ Calling St. Peter and St. Andrew, b. 8, p. 27, No. 3. Ditto. St. Bernard, b. 8, p. 29, No. 8. Felix Slade, Esq. ALBERT ALTDORFFER, Altdorff, Bavaria, 1488— Ratisbon, 1538. Scholar of Albert Durer. Holy Family, and Six other Subjects C , BARTH. BEHAM, Nuremberg, 1496— Italy, 1540. Studied under Marc Antonio Raimondi. Charles V. B. 8, p. 109, No. 60 Felix Slade, Esq. Ferdinand I. b. 8, p. 109, No. 61. • . - . • • • Ditto. Apollo and Daphne — First State, b. 8, p. 93, No. 25. . R- Fisher , Esq. VIRGIL SOLIS, Nuremburg, 1514—1562. The Liberal Sciences . . JENEAS VICO, Parma, 1520— Ferrara, 1570. Pupil of Marc Antonio Raimondi. The Annunciation, b. 15, p. 282, No. 3. • The Academy of Bandinelli. b. 15, p. 305, No. 49. The Emperor Charles V. b. 15, p. 337, No. 251. . The Entombment, b. 15, p. 284, No. 7.. [34] Felix Slade, Esq. Rev. Dr. Wellesley. Ditto. Rev. J. Griffiths. . R. Fisher , Esq. 353 354 355 356 357 358 359 360 361 362 363 364 385 366 367 368 369, 370 371 372 373 374 375 376 377 378 379 380 381 382 k— LINE. iENEAS VICO —continued. The Same Subject differently treated ... R. Fisher , Esq. An Ornamented Border intended for the Portrait of Philip II. Left unfinished at the engraver’s death. Rev. Dr. Wellesley. GEORGE GHISX, Mantua, 1520—1578. The Nativity. After Bronzino. B. 15, p. 385, No. 3. . . Ditto. The Virgin Lifting the Veil. b. 15, p. 386, No. 5. . R • Fisher , Esq. The Angles op the Sistine Chapel — Proofs . . R. S. FLolford, Esq. B. 15, p. 393, Nos. 17—22. The Set of Six. The Dispute on the Sacrament, b. 15, p. 394, No. 23. . Rev. Dr. Wellesley. Venus and Adonis, b. 15, p. 402, No. 42 R- Fisher , Esq. Cupid and Psyche, b. 15, p. 403, No. 45 . Ditto. Cybele placing in the hands of Genii Memnon newly born — Proof and finished impression. B. 15, p. 406, No. 57. Rev. Dr. Wellesley. . R. Fisher , Esq. . Rev. Dr. Wellesley. . . Ditto. . St. John Dent , Esq. . Ditto. Angelica and Medoro. b. 15, p. 410, No. 62. . The School of Athens. A fragment unfinished B. 15, p. 394, No. 24. The School of Athens. Finished Hercules, b. 15, p. 401, No. 41. Cupid and Psyche, b. 15, p. 403, No. 45. J. B. GHISI, Mantua, 1515—1540. Pupil of Julio Romano and of Marc Antonio Raimondi. David Cutting off the Head of Goliath . . . Rev. Dr. Wellesley . B. 15, p. 379, No. 6. ADAM GHISI, Mantua, 1520—1573. Cupids on Dolphins, b. 15, p. 421, Nos. 13. 14, and 23. The Slave, b. 15, p. 428, No. The Fishermen, b. 15, p. 429, No. Ditto. Ditto. Ditto . DIANA GHISI, Mantua, 1540—1588. Christ’s Charge to Peter, b. 15, p. 424, No. 5. Birth of Apollo and Latona. b. 15, p. 449, No. 39. Infant Saviour surrounded by Saints B. 15, p. 438, No. 15. Ditto. Ditto. E. Cheney , Esq. H. S. BEHAM, Nuremberg, 1500 Christ in the Clouds, b. s, p. 129, No. 30. Virgin and Child, with Paroquet, b. 8, p. 124, No. 19. Christ on a Globe, surrounded by Angels Frankfort, 1550. . . R. Fisher, Esq. Ditto. Ditto. B. 8, p. 129, No. — Lot and Daughters, b. 8, p. H9, No. 9. .... Prodigal Son. b. 8, p. 132, No. Prodigal Son — Set of Four. b. 8, p. 130, Nos. 31—34. Labours of Hercules — Twelve Prints. B. 8, p. 156, Nos. 96 — 107. Ditto. Ditto. Ditto. Ditto. J. BINK, Cologne, 1490— Koenigsberg, 1560. Children at a Vintage, b. 8, p. 311, No. 35. • • Felix Slade, Esq. HENRY ALDEGREVER, Zoust, Westphalia, 1502—1563. Scholar of Albert Purer. Titus Manlius. B. 8, p. 388, No. 72 .... R Fisher, Esq [ 35 ] d 2 ENGRAVINGS.— LINE. 383 HENRY ALDEGREVER— continued. The Four Evangelists, b. 8, p. 382, Nos. 57—60. E. Fisher , Esq. 384 Titus Manlius. (The Guillotine.) B. 8, p. 388, No. 72 . Ditto. 385 The Power of Death, b. 8, p. 405, Nos. 135—142. . . Ditto. 385* History of Adam and Eve. B. 8, p. 363, Nos. 1—6. . Ditto. 386 The Alphabet, b. 8, p. 424, No. 206. . . . . Felix Slade, Esq. 387 A Sheet of various Subjects . Ditto. 388 W. C, I. E. F. (Monogram), B. 9. The Virgin and Child, b. 9, p. , No, 578. . E. Fisher, Esq • 389 G. PENCZ, Nuremberg, 1500 — Breslau, 1550. Crucifixion, b. 8, p. 335, No. 57. . Ditto. 390 The Good Samaritan, b. 8, p. 339, No. 68. . Ditto. 391 The Conversion of St. Paul. b. 8, p. 339, No. 68. . Ditto. 392 393 John Frederic, Duke oe Saxony. Dido. b. 8, p. 344, No. 85 B. 8, p. 360, No. 126. St. John Dent , Esq. . E. Fisher , Esq . 395 396 B. FRANCO, Venice, 1498—1561. The Ark Placed in the Temple oe Dagon . . Eev. Dr. Wellesley . B. 16, p. 120, No. 6. MARTIN ROTA, Sebenico, Dalmatia, 1550 — Venice, 1586. The Martyrdom of St. Peter, b. 16, p. 256, No. 20. . C. S. Dale, Esq. The Last Judgment, b. 16, p. 260, No. 28. St. John Dent, Esq. 397 399 400 401 402 403 404 405 406 407 409 410 411 F. H0GENBERG, Germany, 1573. Philip II. Felix Slade, Esq. WOUTNELIUS. Elizabeth between the Pillars ... . . Ditto. C. DE PASS, Utrecht, 1560 — Amsterdam, 1643. Pupil of Theodore Coemhert. Queen Elizabeth, sumptuously attired, with the Crown, Sceptre, and Globe. After Oliver. Unique .... G. S. Dale, Esq. Elizabeth, in the dress she went to St. Paul’s . . Felix Slade, Esq. Charles, Prince of Wales C. S. Dale, Esq. Vansomer. Proof Felix Slade, Esq. Thomas, Earl of Southampton Ditto. Lady Mary Sydney Ditto. Earl of St. Albans C. S. Dale, Esq. Princess Mary of Spain Ditto. Countess of Bedford Ditto. W. DE PASS, Utrecht, 1572— 1660. Son of C. de Passe. James I. and Henry Prince of Wales . . . Felix Slade , Esq. After the death of Henry, the head of Charles was substituted. Sir Henry Rich Ditto. Charles I. W. L. on his throne . . . . St. John Dent, Esq. George, Duke of Buckingham Ditto. SIMON DE PASS, Utrecht, 1581— Denmark, 1644. Son of C. de Passe the Elder. 413 Ann of Denmark [ 36 ] St. John Dent, Esq. ENGRAVINGS.— LINE. 414 415 418 417 418 419 420 421 422 423 424 425 426 427 428 429 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 JEROME COOK, Antwerp, 1498 — 1570. Six Portraits op Poets, on one sheet — viz., Cavalcante, Dante, Boccaccio, Petrarch, Politian, and Ficinus . . Felix Slade , Esq . JOHN WIERIX, Amsterdam, 1550. Title-Page. Proof, containing nine Sacred Subjects . . Ditto . JEROME WIERIX, Amsterdam, 1552. The Scourging op Christ R . Fislier , Esq . St. Lydtwina'and an Angel, in the centre of 13 small sub- jects Ditto . Virgin and Child Ditto . Virgin and Child with Pear Ditto . Virgin and Child with Grapes Ditto . Christ between the Virgin and St. John . . . Ditto . Christ between St. Peter and St. Paul .... Ditto . Christ on the Cross, with Mart and St. John . . Ditto . Christ on the Cross, with Mart and St. John. Smaller . Ditto . St. Catherine Ditto . The Virgin Bewailing Christ. After Raffaelle . . Ditto . Copy from M. Antonio. Christ on the Cross, and Four Saints .... Ditto . Mart de Medicis St . John Dent , Esq . Countess de Verneuil Ditto . P. SERIOUS, Flanders, 1568. Holt Familt. After M. Angelo E . Fisher , Esq . Holt Familt ... Ditto . The Crucifixion. After M. Angelo Ditto . The Crucifixion. After M. Angelo Ditto . BAPTIST FONTANA. Christ bearing his Cross Rev . Dr . Wellesley , j J. B. CAVALLERIIS, Brescia, 1530— Rome, 1590. The Miracle of the Loaves and Fishes. After Raffaelle R. Fisher, Esc. LUDOVICO CARACCI, Bologna, 1555—1619. The Virgin and St. Joseph, b. 18, p. 26, No. 4 . J. H. Hawkins, Esq AUGUSTINO CARACCI, Bologna, 1557— Parma, 1602. Jesus Christ shown to the People. After Correggio St. John Dent, Esq. B. 18, p. 49, No. 20. Temptation of St. Anthont. b. 18, p. 69, No. 63 . . . R- Fisher, Esq. St. Jerome. After Tintoret. B. 18, p. 76, No. 75 • . St. John Dent, Esq. St. Jerome, unfinished Ditto. The Virgin, St. Jerome, and the Magdalen. After Cor- reggio. B. 18, p. 87, No. 95 R • Fisher , Esq. The Virgin and Dead Christ. After M. Angelo . . Ditto . B. 18, p. 94, No. 104. tEneas saving Anchises. B. 18, p. 99, No. no- • • • Ditto . Portrait of Titian, b. 18, p. 121 , No. 154 . . . J. H. Hawkins , Esq. [ 37 ] ENGRAVINGS.— LINE. 446 447 449 450 451 452 453 454 455 456 457 458 459 462 463 464 465 466 467 468 469 470 471 472 473 474 AUGUSTINO CARACCI —continued. The Virgin Enthroned, surrounded by Saints . E. Fisher , Esq. Peace and War F. Slade , Esq. ANNIBAL CARACCI, Bologna, 1560— Rome, 1609. J. H. Hawkins, Esq • Eev. j Dr. Wellesley. Ditto. St. John Dent, Esq • J. U. Hawkins, Esq. The Christ op Caprarol.®. b. 18, p. 182, No. 4 The Virgin with the Shell .... Proof before letters. B. 18, p. 186, No. 9. The Holy Family, b. 18, p. 187, No. ll. Susannah and the Elders .... Holy Family — St. Joseph Reading . F. BRXZIO, Bologna, 1575—1623. The Virgin returning prom Egypt, b. 18, p. 254, No. 2. • Eev. Dr. Wellesley. Unfinished Proof. N. DESON. Rheims Cathedral POINSSART. Entry op Charles VII. into Rheims Gaspard de Coligny , Henry IV. on Horseback JOST AMMON. FORNAZERIES. G. S. Bale, Esq. . F. Slade, Esq. . St. John Dent, Esq. . . Ditto . . . F. Slade, Esq. P. FIRENS. The Dauphin, afterwards Louis XIII. H. GOLTZIUS, Mulbrecht, 1558— Haarlem, 1617. Pupil of Coornhert. The Masterpieces op Goltzius. (Six plates) . . E. Fisher, Esq , B. 3, p. 15, Nos. 15—20. The Holy Family. Unfinished. B. 3, p. 16, No. 21. . . Ditto. Venus regarding Loye. b. 3, p. 48, No. 160. . . . Felix Slade, Esq , Repose in Egypt. (The Silver Plate.) B. 3, p. 19, No. 25. . Ditto. Henry IV. B. 3, p. 53, No. 173. John Dent, Esq Theodoric Frisius — Boy and Dog. b. 3, p. 59, No. 190. . Felix Slade, Esq, J. MULLER, Holland, 1589—1625. The Duke de Sully T. DE LEU, Paris, 1570—1620. St. John Dent, Esq. Felix Slade, Esq. Marie de Medicis Henry IV. W. L. in Armour under an Archway, with Alle- gorical Figures, (Proof) Ditto. L. GAULTIER. Henry IV. Destroying the Hydra Ditto. JAMES CALLOT, Nancy, 1593—1635. Temptation of St. Anthony Ditto. The Great Tree Ditto. Eleven small Sacred Subjects Ditto. [ 38 ] ENGRAVINGS. — LINE. 478 J. MULLER, Holland, 1589—1625. Albert, Archduke of Austria St. John Dent , Esq. 477 Isabella, Archduchess of Austria . Ditto. 479 LUCAS VQRSTERMAN, Antwerp, 1580. Thomas Howard, Duke of Norfolk Felix Slade , Esq. 480 Lot and his Daughters leaving Sodom M. J. Johnson , Esq. 481 The Descent from the Cross — F irst State . Ditto. S. B0LSWERT, Bolswert, in Friesland, 1586. 482 The Crucifixion. After Yandyek — First State . . E. Fisher , Esq. 483 The Presentation of the Reed. After Yandyek— First State Ditto. 484 Four Landscapes. After Rubens (Proofs) O. S. Dale , Esq. 485 Larger Landscape. Rubens (Proof) .... Ditto. 486 Two of the Small Landscapes. Rubens (Proof) St. John Dent , Esq. 487 The Lion-Hunt. Rubens Felix Slade, Esq. 488 Conversion of Saul Ditto. 489 Doctors of the Church Eev. J. Griffiths . 493 PAUL PONTIUS, Antwerp, 1596. Pupil of Vorsterman. Emanuel Pinera. (Proof in an unique state) C. S. Dale, Esq. j 494 ?. S0UTMAN, Haarlem, 1590. Lion-Hunt. After Rubens M. J. Johnson, Esq. 495 J. SUYDERH0EF, Leyden, 1600. Descartes . Felix Slade, Esq. 496 Treaty of Munster Ditto. 497 The Burgomasters of Amsterdam. After de Keyser. (Proof) . ' 498 The Ball. After Ostade . Eev. J. Griffiths. P. DE JOBE, THE YOUNGER, Antwerp 1606. 499 The Countess of Carlisle Felix Slade, Esq. 500 C. VISSCHER, Haarlem, 1610—1670 Pupil ofSoutxnan. Winius (the Man with Pistols) .... Eev. J. Griffiths. 501 Gellius de Bouma . Ditto. 502 Vondel. (Proof) Felix Slade, Esq. 503 The Pancake Woman— First State Eev. J. Griffiths. 504 The Cat Felix Slade , Esq. 505 The Old Courtship — First Stato .... St. John Dent, Esq. 506 The Gipsy Family . Ditto. 507 Portrait of C. Yissciier G. Smith, Esq. 508 The Mouse-Trap Felix Slade, Esq. 509 Gellius de Bouma Lewis Loyd ', Esq. 510 JOHN VISSCHER, 1650. Backgammon-Player St. John Dent, Esq. 511 The Companion . Ditto. 512 The Camp. After Wouvermann . . Ditto. [ 39 ] ENGRAVINGS -LINE. 513 514 515 517 518 519 520 521* 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 P. CLOUET, Antwerp, 1606— 1678. The Duke of Newcastle and Family . . . Felix Slade , Esq. K. YANKEE, VOERST, Arnheim, 1596— 1669. Earl of Pembrroke. (Proof.) Ditto. CLAUDE MELLAN, Abbeville, 1610— Paris, 1664. The Face of Christ. Executed in one spiral line . . Rev. Dr. Bliss . DROESHOUT, England, 1615. George, Duke of Buckingham Felix Slade, Esq. R. ELSTRACKE, England, 1620. Mary Queen of Scots, and Lord Darnley, W. L. St. John Dent, Esq. A Print of great interest and rarity. Elizabeth of Bohemia, W. L Ditto. Sir Julius Caesar Felix Slade, Esq. Sir Thomas Gresham C. S. Bale, Esq. W. HOLE, England, 1613. Prince Henry, Son of James I. .... Felix Slade, Esq. F. DELARAM, England, 1615. John Williams, Bishop of Lincoln Ditto. Queen Elizabeth Ditto. Queen Mary. The Square Plate. . . . .St. John Dent, Esq. James I. on Horseback Ditto. THOMAS CECIL. Edward the Black Prince, W. L. . . - . Felix Slade, Esq. WM. MARSHALL, England, 1625. Dr. Donne Ditto. ROBERT VAUGHAN, England, 1635. Robert, Earl of Oxford Ditto. WILLIAM DELFT. Elizabeth of Bohemia. Large head after Mirevelt (Proof) Felix Slade, Esq. C. VAN DALEN, Antwerp, 1620. Charles II. — First state Messrs. Evans. Percy, Earl of Northumberland .... Ditto. Henry, Duke of Gloucester. Proof . . . Felix Slade, Esq. Aretino. After Titian. R. Fisher, Esq . W. FAITKORNE, London, 1620— 1691. Pupil of Peake. Charles II. in Armour St. John Dent, Esq. Queen Catherine in her Portuguese Dress . . . Ditto. Lady Paston Ditto. Marquis of Worcester Ditto. James, Duke of York C. S. Bale, Esq. Elias Ashmole Felix Slade, Esq. Thomas Killigrew Ditto. Sir Thomas Fairfax Ditto. Margaret Smith Messrs. Evans. Glanville. Proof. ' Ditto. Plan of London Ditto. [ 40 ] 545 546 547 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 i.— LINE. P. LOMBART, Paris, 1612. Walker the Painter Felix Slade , Esq. The Countess op Castlehaven ... . . Ditto. J. L. ROULLET, Arles, 1645— Paris, 1669. The Marys Lamenting. After An. Caracci. Proof before border ....... M. J. Johnson , Esq. Ditto . . . . . . . . G. Vaughan, Esq . RT. GAYW00D, English, 1600. Pupil of Hollar. James Shirley (poet) . . .... Felix Slade , Esq. RT. NANTEUIL, Rheims, 1630— Paris, 1678. Pupil of Nicholas Regnesson. John Loret de Carentan Ditto. Pomponne de Bellievre Ditto. John Evelyn. Proof C. S. Bale , Esq. F. DE P0ILLY, Abbeville, 1622— Paris, 1693. The Adoration. After Guido, before the border. . Rev. J. Griffiths. The Silence. After Raffaelle C. St. John. After Le Brun ... ... Lewis Loyd , Esq . GERARD EDELINCK, Antwerp, 1627 — Paris, 1707. Pupil of C. Galle. Holy Family. After Raffaelle. First State . . . Felix Slade , Esq. Battle of the Standard. After Leonardo da Vinci. First state, before all letters C. S. Bale , Esq. Madame La Valliere. Proof St. John Dent, Esq. Ditto Lewis Loyd , Esq. M. Dujardin. Proof Ditto. ANT. MASSON, Orleans, 1636— Paris, 1700. Count d’Harcourt St. John Dent , Esq. M. de Brisacier. Proof Felix Slade , Esq. ABRAHAM BLOOTELING, Amsterdam, M. de Bidloo. Proof James, Duke op Monmouth The Marquis de Mirabelle .... Henry, Duke of Norfolk. Proof The Duchess of Norfolk. Proof The Cavalier. After Wouvermann Bishop Stillingfleet. Proof .... Cocceius. Proof Admiral Van Tromp Duchess of Mazarin Nell Gwynn G. VALCK, Amsterdam. 1634. Rev. J. Griffiths. . Felix Slade , Esq. Ditto. . St. John Dent , Esq. Ditto. Ditto. . Messrs. Evans. Ditto. . Lewis Loyd , Esq. . Felix Slade, Esq. , . Ditto. D. LOGGAN, Dantzic, 1630—1693. Thomas Isham de Lamport Ditto. Earl of Argyle. Proof Rev. J . Griffiths. [ 41 ] ENGRAVINGS.— LINE- 577 573 580 581 582 583 583 * 584 1 585 588 587 538 589 590 592 593 594 594 * 595 596 597 598 599 600 601 602 603 604 605 606 607 R. WHITE, London, 1645—1704. Archbishop Cranmer Felix Slade, Esq. George, Earl op Cumberland .... Ditto. Sir Patrick Lyon . . . . . . Messrs. Evans. Nisbet op Dirleton Ditto. Rev. J. Owen Ditto. Earl op Seaporth Ditto. Lady Jollippe Messrs. Evans . NIC. DE LARMESSIN, Paris, 1640— 1684. Louisa Frances, Duchess de la Valliere . . Felix Slade, Esq. 8PIERRE. Virgin, Child, and St. John. After Correggio . . C. JOHN BOULANGER, Troyes, 1613— Paris, 1685. Madame Arnauld. Proof ' Felix Slade, Esq. VAN SCHUPPEN. Mademoiselle D’Orleans Ditto. Cardinal Mazarin Ditto. G. AUDRAN, Lyons, 1640— Paris, 1703. God appearing to Moses E. Fisher, Esq. Christ Preaching Ditto. P. BREVET, Lyons, 1664— Paris, 1739. Pupil of G. Andran. Hyacinth Rigaud (proof) ...... Felix Slade, Esq. P. J. DREVET, Paris, 1697— Paris, 1768. J. B. Bossuet. First state Ditto. Adrienne le Couvreur. Proof. . . . . M. J. Johnson, Esq. A Lady. After Rigaud. Proof. . . . . . Lewis Loyd , Esq. NICHOLAS DORXGNY, Paris, 1657—1746. The Cartoons. After Raffaelle. 7 proofs. . . . . E. Fisher, Esq. The Transfiguration. After Raffaelle. First state. . . Ditto. CORNELIUS VERMEULIN— Antwerp, 1644. The Portrait of Roettiers Surrounded by Flowers. From Van Huy sum’s Designs. Unique Proof. . G. S. Bale, Esq. The Same. Proof without the Flowers . . . Ditto. CHEREAU. Cardinal Polignac. Proof . Lewis Loyd, Esq. S. BAUDET, 1620. Christ and the Woman op Samaria. After Villegenen . G. Smith, Esq. G. VERTUE, London, 1654— London, 1756. Pupil of Vandergucht. Thomas, Lord Arundel, and Family .... Felix Bishop Warham Marquis op Newcastle Earl op Dorset Earl op Bedford JAC. HOUBRAKEN, Dort, 1698— Amsterdam, 1780. Oliver Cromwell Earl op Strafford . . . . Slade, Esq. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. [ 42 ] 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 633 634 635 636 636 1 637 638 639 640 641 642 643 i— LINE. JAC. H0T7BRAXEN — continued. Marquis of Montrose ..... Shakespeare Milton Dryden . Pope Earl of Arundel Dr. Harvey Felix Slade , Esq. . Ditto. . Ditto. Ditto. . Ditto. . Ditto. Lewis Loyd, Esq. WM. HOGARTH, London, 1698 — Chiswick, 1764. Marriage a la Mode. (Engraved by Scotin Ravenet, and Baron) E. Glieney , Esq. The Four Times of the Day Ditto . Henry YIII. and Anne Boleyne .... Ditto . March to Finchley (Engraved by Sullivan) . . Ditto . The Four Election Pieces Felix Slade, Esq. Hogarth with a Dog Ditto . Hogarth in his Study Ditto . The Bruiser Churchill (in three different States) . Ditto . Sancho’s Feast . . Ditto . Paul before Felix Ditto . The Sleeping Congregation Ditto . “Datur vacuum” — the Choristers .... Ditto . The Enraged Musician *, C . The Distressed Poet . . C. BARON. The Pembroke Family. After Yandyck . . . Duke of Richmond. F. VIVARES, Montpellier, 1712— London, 1782. Pupil of Chatelain. Jonas. After Poussin. Inscription by Tomkins. Proof. C. S. Dale, Esq. | Landscape. After Claude Lewis Loyd, Esq. J. G. WILLE, Konigsberg, 1717 — Paris, 1807. The Knitter Lewis Loyd, The Reader. First State Ditto. An Old Woman of Normandy ? Ditto. The Old Woman of Normandy holding a Tulip (with etched landscape in the margin) . . . . . . Ditto. The Young Philosopher. First State Ditto. The Knitter. First state, before names and arms . . Ditto. The Young Player on the Instrument .... Ditto. Monsieur J. B. Masse Ditto. John de Boulogne, before the arms Ditto. Cardinal de Tencin, before the arms Ditto. The Family Concert, after Schalken, before the arms and dots on the music ........ Ditto. Paternal Instruction, or the Satin Gown. Proof before Elfift. plat., and before the arms ..... [43] Esq. Ditto. ENG RAVI NGS.-LINE. 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 669 * 670 671 672 673 674 675 676 677 678 J. G. WILLE — continued. The Wandering Musicians. After Dietricij. First State Lewis Loyd, Esq. The Wandering Musicians. After Dietricij. Before arms, border, &c George Vaughan , Esq. The Reciprocal Offer. Before cross lines on the chair, and with etched landscape in margin .... Lewis Loyd , Esq. The Death of Cleopatra. Unfinished : before the border and arms undescribed ........ Ditto. The Death of Cleopatra. With arms ; proof . . . Ditto. The Dutch Housewife (small). Proof before arms George Vaughan, Esq. The Repose of the Virgin, before arms and border . Ditto . , The Peasant’s Family, Small rare Plate . . Ditto. The Dutch Cook Felix Slade , Esq. The Careless Observer Ditto. The Little Musician Ditto. The Knitter Ditto. Paternal Instruction Ditto. Wandering Musician . . * Ditto. The Family Concert Ditto. JOHN GOUHARD VAN MULLER, Bernhausen, 1747— Stuttgard, 1783. Portrait of Wllle. Proof Ditto. Portrait of Wille ....... Lewis Loyd , Esq. Madame Le Brun M.J. Johnson, Esq. J. J. EALECHOU, Arles, 1715— Avignon, 1764. The Storm. Proof before letters. After Vernet . The Bathers. Proof before letters. After Vernet Sunset on Sea-Shore. After Vernet . . . . The Virgin and other Females Sewing. After Guido St. Genevieve Ditto. Ditto. Ditto. Rev. J. Griffiths. Lewis Loyd , Esq. C. A. P0RP0RATE, Turin, 1740—1816. Venus and Cupid. Proof Felix Slade, Esq. La Zingara Leans Loyd, Esq. SIR ROBERT STRANGE, Orkney, 1721—1792. Queen Henrietta Maria and Children. Proof before jewel and altered crown Johnson, Esq. Charles I. Full-length Felix Slade, Esq. Charles I. (full length). Proof before all letters . . Lewis Loyd, Esq. Henrietta Maria Ditto. Virgin and Child and St. Jerome. After Correggio . . Ditto. Cleopatra. Proof before the border Ditto. Fortune. After Guido. Before the cross lines on the globe Ditto. Parce Somnum Rumpere Ditto. Abraham dismissing Agar Ditto. St. Cecilia Felix Slade, Esq. The Hornrook, Schedone • Ditto. [44] 679 680 681 682 683 684 685 688 687 688 689 689 ’ 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 7ir 712 ;-line. SIR ROBERT STRANGE — continued. Correggio’s Holt Family Felix Slade , Esq. The Magdalen . . . Ditto. Fortune Ditto. Two Portraits oe Sir R. Strange Ditto. Cleopatra Ditto. Cupid Sleeping Ditto. Esther and Ahasuerus Ditto. Abraham and Hagar Ditto. Offspring of Love Ditto. Magdalen Ditto. Cleopatra Ditto. Charles I. in his Robes G. Smith , Esq. W. W00LLETT, Maidstone, 1735— London, 1785. The Pointer. After Stubbs Sir C. Price, Dart- Niobe. Unfinished proof. After Wilson .... Mrs. Garle. The Fishery. After Wright. Proof, on India paper . M. J. Johnson , Esq. Roman Edifices in Ruins. After Claude. Before change of number?. ........ Felix Slade, Esq. Battle of La Hogue, and Boyne. After W est. A pair . G. Smith , Esq. The Merry Cottagers. After Dusart .... Felix Slade , Esq , The Jocund Peasants. After Dusart ..... Ditto. The Enchanted Castle. After Claude .... Ditto. Meleager and Atalanta Ditto. The Death of General Wolfe. After West. Proof before the face of Wolfe was injured by the hammer . George Smith, Esq. The First Premium Landscape. After Smith. . . Lewis Loyd , Esq. Portrait of Rubens. Proof .... George Vaughan, Esq. The Fishery Lewis Loyd, Esq. The Niobe. After Wilson Ditto. BROWN. The Watering Place. After Rubens .... Sir Charles Price. F. BART0L0ZZI, Florence, 1730— Lisbon, 1813. Clytie Felix Slade, Esq. Diploma for the Royal Academy Ditto. The Marriage of Cupid and Psyche, and two other Camei from the Marlborough Gems G. Nicholson, Esq. WILLIAM SHARP, London, 1749— Chiswick, 1824. Pupil of Longmate. Holy Family. After Sir J. Reynolds .... Lewis Loyd, Esq. Doctors of the Church. Proof before all letters . M. J. Johnson, Esq. Portrait of John Hunter Lewis Loyd , Esq. St. Cecilia. Domenichino Ditto. St. Cecilia. Domenichino G. Smith, Esq. C. C. BERVIC, Paris, 1756— Paris, 1822. Pupil of J. G. Willo. Laocoon. First state, before all letters .... Lewis Loyd, Esq. [45 1 ENG RAVINGS “LINE. 713 714 715 716 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 738* 739 740 741 742 743 C. C. BEE, VIC — continued . Dejanira. First state, before all letters, before alteration of beel G. Smith, Esq. Louts XVI. After Callet. Proof before all letters . Lewis Loyd, Esq. Mr. Senac DE Meilhan W. J. Johnson , Esq. Dejanira. After Guido Lewis Loyd, Esq. LUIGI SCHIAVONETTX, Bassano, 1765— London, 1810. The Canterbury Pilgrimage. After Stothard . George Vaughan, Esq. RAPHAEL MORGHEN, Florence, 1758— Florence, 1833. Pupil of Filippo Morghen and Volpato. Aurora. After Guido, engraver’s proof before all letters, before the space near the centre figure was worked upon, and before the clouds were finished. Probably unique . H. W. Capes , Esq . The Last Supper. After L. da Vinci, proof with the white plate M. J. Johnson, Esq. The Transfiguration. After Raffaelle, proof with white book J. Langton, Esq. The Transfiguration. After Raffaelle, second plate, as far as worked by R. Morghen M. J, Johnson , Esq. The Marquis of Monqada. After Vandyck . . Lewis Loyd, Esq. The Forn arina. After Raffaelle. . . . . M. J. Johnson, Esq. The Virgin and Child. Called the Madonna della Seggiola The Virgin and Child. Titian Lewis Loyd, Esq. Magdalen in Prayer in a Cell. After Murillo, engraver’s rare proof ........ Ditto. The Magdalen. After Murillo. Finished Proof, with- out letters ......... G, Vaughan, Esq. Small head of Virgin and Child. Engraver’s proof before names .......... G. Cooke, Esq. Small head of Virgin and Child. Engraver’s proof before names M. J. Johnson, Esq. Napoleon. Before the motto Ditto. Head of Salvator Mundi. Unfinished . - . Ditto. The Set of Four Circles. Theology, Poetry, &c., after Raffaelle . Ditto. Portrait of Raffaelle Ditto. The Transfiguration. First Proof, with the white book Duke of Portland. The Last Supper. After L. da Vinci, with the white plate Ditto. The Aurora. After Guido. Proof before any letters. India paper. Unique ....... Ditto. The Aurora. Proof L. Loyd, Esq. Holy Family, with the Bird. Proof .... Ditto. Virgin and Child with the Bird Ditto. Jurisprudence. After Raffaelle. Proof .... Ditto. Portrait of L. da Vinci. First Proof .... Ditto. Queen of Arragon. After Raffaelle Ditto. SCHMUZER, German. Neptune and Amphitrite. After Rubens ... G. Smith, Esq. St. Ambroise. After Rubens . Lewis Loyd, Esq. [ 46 ] ENGRAVINGS— LINE. 744 744 ’ 745 746 747 748 749 750 751 752 753 754 755 756 757 J, K. SHERWIN, Essex, 1775— London, 1795. Portrait of W. Woollett. Proof .... Lewis Loyd , Esq. Ditto ditto . ' . . . . . Felix Slade, Esq. CHRISTIAN FREDERICK VON MULLER, Stuttgard, 1783— Dresden, 1816. Pupil of J. G. Muller. St. J ohn. Proof. After Domenichino . . . Lewis Loyd , Esq. The Virgin and Saints, called the Madonna di San Sisto. After Raffaelle. Etching Ditto. The Virgin and Saints, called the Madonna di San Sisto. After Raffaelle. Etching. First trial proof. . . Ditto. The Virgin and Saints, called the Madonna di San Sisto. After Raffaelle. Etching. Second proof, unfinished Ditto. Madonna di San Sisto. Engraver’s proof, with Muller’s initials etched in the centre, before the nimbus or glory . J. Lang ton, Esq. Madonna di San Sisto. Engraver’s proof, with Muller’s initials etched in the centre, before the nimbus or glory. Finished proof Lewis Loyd , Esq. GARAVAGLIA, 1789—1835. The Virgin and Child, called Madonna della Seggiola. Unfinished and finished proof Ditto. Assumption. After Guido. First Proof .... Ditto. Magdalen. After C. Dolce. First Proof .... Ditto. David. After Domenichino. First Proof .... Ditto. ALEX. TARDIER, Paris, 1750— Paris, 1820. Communion op St. Jerome. After Domenichino. Proof . Ditto. CHEESMAN. Pupil of Bartolozzi. The Lady’s Last Stake •'« . . . E. Cheney , Esq. JOHN VENDRAMINI, Roncade, 1769— London, 1839. Pupil of Bartolozzi. Raising of Lazarus. After Del Piombo . . George Vemghan , Esq. COLLYER, 759 Flemish Festival. After Teniers. Proof. . . G. Smith, Esq. JOHN SCOTT, Newcastle, 1774- •1828. 760 Breaking Cover. After Reinagle . S ir C. Dr icc. 761 Death of the Fox. After Gilpin Ditto. JOHN LANDSEER, now living. 763 The Alpine Mastiffs. After Edwin Landseer Duke of Buccleugh . A. RAIMBACH. 764 Distraining for Rent. After Wilkie . G. Smith, Esq. 765 Village Politician. After Wilkie . Ditto. 766 The Cut Finger. After Wilkie . . . Ditto. P. ANDERLONI, Brescia, 1784. Scholar of Longhi. 767 Judgment of 'Solomon. After Raffaelle, proof, with white border ........ Lewis Loyd, Esq. 768 The Heliodorus. After Raffaelle. . Ditto. 769 The Attila. After Raffaelle. . . . Ditto. 770 The Maodalen. After Sassoferrato • Ditto. 770* The Beautiful Virgin. After Raffaelle . . Ditto. [47 771 772 772 773 773 774 775 776 777 778 779 779 781 782 i 783 784 784’ 785 786 787 787* 788 789 790 791 792 793 794 795 796 •.—•LINE. ROSASPINA, Bologna, 1765— 1826 The Dance of Cupids. After Albano .... Lewis Loyd, Esq . GIUSEPPE LONGHI, Milan, 1766—1831. The Magdalen heading. After Correggio, before the arms. Proof. • Ditto. Decollation of St. John. After G. Donne . . G. Vaughan, Esq, The Vision of Ezekiel Lewis Loyd, Esq. Vision of Ezekiel. After Raffaelle . ... G. Vaughan , Esq. The Marriage of the Virgin. After Raffaelle, first trial proof M. J. Johnson, Esq. The Marriage of the Virgin. Finished proof . Ditto. Madonna del Lago. After L. da Vinci . . . Lewis Loyd, Esq. Portrait of Napoleon, for the Civil Code. Engraver’s proof. J. M. Johnson, Esq. The Virgin, called De La Benediction . . . Ditto. Marriage of the Virgin. Proof. .... Lewis Loyd, Esq. The Galatea. After Albano G. Vaughan , Esq. SELMA, Spanish. Christ bearing his Cross. After Raffaelle . . . M. J. Johnson , Esq. LAMBERT ANTOINE CLASSENS, Antwerp, 1764—1834. Pupil of Bartolozzi. Descent from the Cross. After Rubens . . . Lewis Loyd, Esq. J. B. MASSARD, Paris, 1775. Charles I. and his Family. After Vandyck. Proof. Ditto. LOUIS AUGUSTIN BOUCHER DESNOYERS, Paris, 1765—1856. The Virgin and Child, called La Beltte Jardiniere. Engraver’s Proof Felix Slade, Esq. The Virgin and Child. Called “La Belle Jardiniere ” . . Messrs. Agnew. Belisarius. After Gerard. India paper before all letters, from Josephine’s Collection, with stamp and autograph Francis Gar ford, Esq. La Vierge au Rocher. After L. da Vinci. Proof. Most rare. Duke of Portland. St. Catherine. After Raffaelle, from the picture in the National Gallery. First proof .... G. Smith, Esq. The Visitation. After Raffaelle G. Vaughan, Esq. La Vierge de la Maison D’Albe. After Raffaelle . Lewis Loyd, Esq. La Vierge au Linge. After Raffaelle .... Ditto. La Vierge de Foligno. After Raffaelle .... Ditto. St. Catherine. After Raffaelle Ditto, Napoleon in his Robes Ditto. JAS. HEATH, 1765. The Canterbury Pilgrims. After Stothard . . George Smith , Esq. JAMES HOLLOWAY, London, 1770—1820. lhe Seven Cartoons at Hampton Court. After Raffaelle. Proofs in very early states Ditto. W. J. TAYLOR. View of Battersea. After Deane .... Ditto. LEISNER, Paris. Portrait of Marc Antonio. After Raffaelle . . Ditto. [ 48 ] ENGRAVINGS.— LINE. 796 * 797 798 799 800 801 802 803 803* 804* 804** 804 805 806 806* 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 LE CONTE, Paris. Dante and Beatrice. After Scheffer . . . H. V. Tebbs , Jun., Esq. The Holy Family, called “ The Pearl.” After Raflfaelle. Lewis Loyd , Esq. JOHN LE KEUX, London, 1783—1846. MEC2ENAS’ Villa. After Wilson. Etching and proof . J. H. Le Keax , Esq. After Canaletti. Proof and etching .... Ditto. A SELECTION FROM HIS ARCHITECTURAL SUBJECTS . . Ditto. HENRY LE KEUX. Venice. After Prout, unfinished proof .... Ditto . Venice. After Prout, finished proof . . . Lewis Loyd, Esq. J. T. RICH0MME, Paris, 1785. Galatea. After Raflfaelle, engraver’s proof, India paper, before all letters, and with etched landscape in the margin. Francis Garford , Esq. Thetis. After Gerard. The Galatea. After Raffaelle. Proofs, with remarks ..... . Lewis Loyd, Esq. Neptune and Amphitrite. After Julio Romano . G. Vaughan , Esq. The Five Saints. After Raflfaelle . Ditto . G. T. D00, living. The Saviour. First proof. After Raflfaelle . G. T. Doo , Esq. Beauty Interceding for the Vanquished. After Etty. First proof ........ Nature. After Lawrence. First proof . . J. Coles , Esq. Ecce Homo. After Correggio, .... LL. V. Tebbs , Jim., Esq. J. H. ROBINSON. Sir Walter Scott. After Lawrence. First proof. Felix Slade , Esq. The Wolf and Lamb . J. H. Robinson , Esq. Napoleon and the Pope . Ditto. MERCURII, France. St. Amelie. After Paul Delaroche . Lewis Loyd , Esq. Peasants Returning from Harvest . . M. J. Johnson, Esq. WILLIAM FINDEN. George IV. After Lawrence .... . Messrs. Graves . DIEN, France. The Sibyls. After Raflfaelle .... . . Lewis Loyd, Esq. WATT. The Drovers. Af^er Landseer .... . Duke of Buccleueh. Horses at the Fountain. Ditto . Messrs. Graves. The Flitch of Bacon. After Stothard . Lewis Loyd, Esq. RIVERA, Italy. Cleopatra. After Guido . Lewis Loyd, Esq. W00LN0TH. Joshua. After C. Maratti . — JVoolnoth, Esq. Story of my Life. Leversedge. Ditto Ditto. W. MILLER, Edinburgh. Modern Italy. After Turner .... . . J. Coles, Esq. View of Venice . G. Vaughan, Esq. [49] E ENGRAVINGS.— LINE. 822 823 823 * 823 ** 824 825 826 827 828 ” 829 830 831 j 832 833 834 835 836 837 838 839 840 841 841 842 843 844 845 846 846 847 848 849 850 851 852 853 854 — DUPONT, France. The Hemicycle, in three Compartments. Afte Stafford going to Execution. Ditto Christian Consolation. After Scheffer Christian Remuneration. After Scheffer . Delaroche J. Coles, Esq. , . Lewis Loyd, Esq. H. V. Tebbs, Jun., Esq. . Eitto. FORSTER, Paris. Virgin, with the bas-relief. After L. da Vinci Raffaelle. After his own picture Raffaelle, when young .... Lewis Loyd, Esq. Eitto. Eitto. W. HUMPHREYS. Sancho and the Duchess. After Leslie . . . W. Humphrey, Esq. TOSCHI, Parma, 1780—1852. Madona Della Tenda. After Raffaelle . ... J. Coles , Esq. The Spasimo. After Raffaelle. Unfinished proof . Lewis Loyd, Esq. The Same. First Finished Proof .... Eitto. Entrance of Henry IV. into Paris. After Gerard. Emanuel Zwitchmbardt, Esq. Descent from the Cross. D. de Volterra . . . Lewis Loyd , Esq. FRANCIS GODEFRQY. Paris, 1780—1836. Battle of Austerlitz. After Gerard. . Emanuel Zwitchenbardt, Esq . BETTELINX, Italian, 1775—1824. The Magdalen. Schidone . George Smith, Esq. PERFETTI, Florence. Birth of the Virgin Eitto. Virgin and Child, enthroned .... . Lewis Loyd , Esq. Birth of the Virgin ...... • George Smith , Esq. Sibylla Persica. Domenichino .... . Leivis Loyd , Esq. Sibylla Cumaia. Guercino .... . . Eitto. Titian’s Mistress . . Eitto. The Presentation. Fra Bartolomeo. . . . Eitto. WILMORE, living. Crossing the Bridge. After Landseer. . Wilmore, Esq. Harvest in the Highlands. After Landseer . . Eitto. Mercury and Argus. Turner . . Eitto. Ancient Italy. Turner Eitto. Old Temeraire. Turner . . Eitto. Conveying Bellini’s Picture to the Church of the Redemp- tion. Turner. ....... Eitto. 1 Temple. Turner Eitto. The Golden Bough. Turner Eitto. Tilbury Fort. Callcott . . Eitto. The Rhine. Callcott , .. Eitto. Powis Castle. Callcott , . Eitto. Italian Town. Stanfield. ..... . . Eitto. The Dogana. After Turner , . Eitto. Four Small Views. Turner. . Eitto , | Italian Sea-port. Leich Eitto. [50 ] ENGRAVINGS.— LINE. 855 856 857 858 858 * 859 860 861 862 863 864 865 866 867 868 869 869 * 870 871 872 873 874 875 876 877 878 879 880 881 881 * 882 883 EDWARD G00DALL. The Waggoner. After Rosa Bonheur . Tivoli. After Turner . . ' Girl Crossing a Brook .... MERZ, German. Last Judgment. After Cornelius • . Destruction of Jerusalem. After Kaulbach WEBER, German. Portrait of Holbein .... BRIDEAUX, Paris. Miraculous Conception .... VERNON. The Madonna and Child. After Dyce, R.A. L. GRUNER, German. The Crucifixion. After Perugino Christ in the Garden. After Raffaelle LAMB STOCK, A.R.A. Evening Prater. After Frith The Card-Player. Webster Fourteen Specimens. Various. . BLANCHARD, Paris, living. A Conversation. Messonier Gabriel. After P. Delaroehe Head of Our Saviour. After Delaroehe . Margaret and Faust in the Garden ^ ROBERT GRAVES Whiskey Still. Sir E. Landseer First Reading of the Bible. After Harvey Virgin with the Rosary. After Murillo . LOUIS, Paris. The Two Mignons. After Scheffer St. Cecilia. After Scheffer .... Mother of Sorrow. Spagnoletto The Same TRAVELLONI, Parma, living. Annunciation. After Guido THEVENIN, Paris, living The Charitable Child. After Scheffer FRANCOIS, Paris, living. Bonaparte Crossing the Alps Napoleon at Fontainebleau STEINLA, German, living Murder of tiie Innocents. After Raffaelle The Madonna and Child. After Holbein H. V. Tebbs, Jim., Esq. . . J. Coles, Esq. II. V. Tebbs , Jim., Esq . George Vaughan , Esq. E. Zwitchenbardt, Esq. . Lewis Loyd , Esq. . G. Vaughan , Esq. H. V. Tebbs, Jun., Esq. . R. Fisher, Esq. Ditto. L. Stock, Esq. Ditto. Ditto. . John Dillon, Esq. . Lewis Loyd , Esq. . Ditto. H. V. Tebbs, Jun., Esq. . Messrs. Graves. . Ditto. Ditto. EL. V. Tebbs. Jun., Esq: Ditto. Ditto. . Ditto. . Lewis Loyd, Esq. II. V. Tebbs, Jun., Esq. . J. Coles, Esq. . G. Vaughan, Esq. Lewis Loyd, Esq. Emanuel Zwitchenbardt, Esq. ESTEVE, Spanish, living. Moses striking the Rock. After Murillo . The same, in a different stato ..... [ 51 ] G. Smith, Esq. Lewis Loyd, Esq. E 2 884 885 886 887 888 889 899 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 LINE. EELSING, German. Madona del Trono. After A. Del Sarto. . Lewis Loyd, Esq . Poesy. After Kochlen The Marys at the Well. Bendemann . Ditto. St. Catherine. After Mucke .... . Ditto. LIGN0N, Paris. Portrait of Poussin The same, in a' different state Lewis Loyd, Esq. CHATXLL0N, Paris. St. Michael. After Raffaelle . . Ditto. ZIGNANX, Italian. Disciples at Emmaus. After Appiani . G. Smith , Esq. LEFEVRE, Paris. Annunciation. After Murillo. . . . . Lewis Loyd , Esq. TESTI, Roman. Fortune. After Michael Angelo. . G. Smith , Esq. JOHN EYE, living. Wycliffe. After Turner . John Eye, Esq. Temple of Jupiter. After Turner . Ditto. Hardraw Fall. After Turner .... . Ditto. Ehrenbreitstein. After Turner. Proof . Ditto. F. GIRARDET. Christ and the Woman taken in Adultery. Proof G. Vaughan, Esq o The Entombment. After Andrea del Sarto, proof. . . Ditto. The Transfiguration. After Raffaelle, proof • . Ditto. EICHENS. The Epiphany. After Lo Spagno .... . M. J. Johnson, Esq. Christ bearing his Cross. After Ary Scheffer, engraver’s proof H. Ditto. Ditto. H. TV. Caper , Esq. Ditto. Virgin Mart. After Ary Scheffer, engraver’s proof Magdalen. After Ary Scheffer, engraver’s proof . E. P. GIBBON. The Shepherd’s Grave. Engraver’s own proof. . Old Shepherd’s Chief Mourner. Engraver’s choice proof CARON, France. After Ary Scheffer. After Ary Scheffer. KELLER. The Holy Women. After Ary Scheffer . . Ditto. The Triumph of Religion over the Heart. After Over- beck Emanuel Zwitchenbardt , Esq. Faust and Margaret. The Mount of Olives. U. V. Tebbs, Jim., Esq. Ditto. MANDEL, Berlin. The Virgin with a Book. After Raffaelle The Nymph of the Lurleiberg . Children among Foliage. After Magnus [52] L. Durchardt , Esq. Ditto. L. Burchardt, Esq. 914 915 916 917 918 919 920 921 922 923 924 924* 925 926 927 928 929 930 931 932 933 934 935 936 937 941 942 943 i.-ETCHINGS. MANDEL — con tinned. Christ weeping over Jerusalem. With Nimbus. After Ary Scheffer . . 1 . . . II. V. Tebbs , Jim., Esq. Christ weeping over Jerusalem. After Ary Scheffer L. Bur char dt, Esq. Virgin crowned with Stars. After Murillo Ditto. Charles I. After Vandyck ..... Ditto. Shepherd Boy. Italian Ditto, Head of Titian, with white tablet . . Ditto. Head of Vandyck Ditto. Margrave of Brandenburg Ditto. King and Queen of Prussia .... . ' Ditto. ERR CORR, Antwerp, living. Crucifixion. After Vandyck .... M. M. Holloway , Esq. JESX. 1790—1853. Leo X. After Raffaelle J. Langton , Esq. Madonna col. Bambino. . . . . • . . G. Smith , Esq. RYALL, living. The Holy Well. After J. W. Burton ALPH. FRAHCONI. Mignon and her Father. After A. Scheffer STEPHENSON of Manchester. George Cooke , Esq. J. V. Tebbs , Jim., Esq. . J. Langton , Esq. The Dutch Girl. After Newton GIRARD. The Three Marys at the Tomb. After Scheffer J. V. Tebbs, Jim., Esq. BEAUGKAND. Augustine and Monaoa. After Scheffer MAETINET. Woman Taken in Adultery. After Signol CALAMATTA. Francesca da Rimini. After Scheffer E. BROMLEY. Portrait op Abernethy. After Lawrence Fifteen Illustrations to Campbell’s Poems. Touched Proofs by Turner, in four frames .... Messrs. Agnew <$• Sons. Twenty-six Selections from Turner's England and Wales, &c. Proofs before the letters, &c. . ... T. Burchall, Esq. BIEN, Paris. St. Apolline. After Raflfaelle ...... G. Vaughan, Esq. DECLAUX. Les Pecheurs. After Robert G. Vaughan, Esq. Les Moissonneurs. After Robert .... Ditto. . . Ditto. . . Ditto. Ditto. M. M. Holloway , Esq. Part II.— ETCHINGS. ALBERT DURER, Nuremburg, The Man of Sorrows b. 7, p. 44, No. 22. The Man of Sorrows, b. 7, p. No. . The Holy Family, b. 7, p. 61, No. 43. 1471—1528. . E. Fisher , Esq. Ditto. . R. S. Holford, Esq- [ 53 ] ENGRAVINGS— ETCHINGS. 944 945 946 947 948 949 950 952 954 955 956 957 958 959 960 961 964 965 966 967 968 969 970 971 972 973 974 975 ALBERT DURER, — continued. St. Jerome, b. 7, p, 75, No. 59. B. Fisher , Esq. Christ in the Garden Ditto. E. PARMEGIANQ, Parma, 1503—1540. Cupid Asleep, b. 16, p. 13, No. ll. ...» Ditto . Holy Family, St. John, &c Dev. Dr. Wellesley. Female Contemplating Ditto. A. MELBOLLA, Italian, 1540. The Judgment op Paris, b. 16, p. 69, No. 80. . . J. H. Hawkins, Esq. CLAUDE LORRAINE, Lorraine, 1600 — 1682. Pupil of Agostino Tassi. The Watering Place— Cattle-Drinking. Dumesnil, 4. Eev. Dr. Wellesley. The Storm on a Wooded Coast. Vessels driven in. First state. Name and date, 1630. D. 5 ... Ditto. The same. Second state. The light and shade on the fore- ground massed, the kneeling figure suppressed, the sky- cleared, and inscription altered. D. 5. No. 1 added in the Margin Ditto. The original drawing made by Claude for this Etching, corre- sponding with the first state, delicately finished in Chalk, from Lord Hampden’s Collection .... Ditto. The Mill. Figures Dancing, d. 6. . . . Ditto. The Shipwreck. A Bound Tower on a. Rock. D. 7 . Ditto. The Herdsman. Cattle crossing the Water. First State before. No. 4. D. 8 Ditto. The same. Second state . . . . . . Ditto. The Original Drawing by Claude for this Drawing, with con- siderable alterations, from the cabinet of Baron Denon . Ditto. The Artist Sketching, d. 9 Ditto. The Dance under the Trees. First state, d. io . Ditto. The Same. Second state Ditto. The Seaport, with the Lighthouse, d. n . . Ditto. The Landscape, with the Wooden Bridge, d. 14 . Ditto. The Seaport at Sunset, d. 15 Ditto. Mercury and Argus, 1662. d. 1 7 . . • . Ditto. Group oe Cattle and Herdsmen approaching some Roman Ruins, and a Round Tower in the Distance, d. is Ditto. The Same. An impression with a portion of the woody side- ground stopped out Ditto. Landscape, with a Dance of the Seasons, led by Apollo. 1662. Proof before the inscription. D. 20 . . Ditto. The Same, in the usual state . . . . . Ditto. Shepherd and Shepherdess seated on the Foreground of a Landscape, and Sheet of Water. First state. D. 21 Ditto. ■ The Same. Second state Ditto. The Same. Third and usual state .... Ditto. The Campo Vaccino, or Forum, at Rome, 1636. D. 23 Ditto. The Same. Before the Inscription .... Ditto. Jupiter and Europa. First state . . . . C. t S'. Bale, Esq. [54] ENGRAVINGS.-ETCHINGS. 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 995 996 997 998 999 1000 1000 * 1001 1002 1003 1004 RUBENS, Antwerp. St. Catherine St. John Bent , Esq. A. VANDYCK. Antwerp, 1599. London, 1641. Waverus. Unique proof ...... C. S. Bale , Esq. Titian and his Mistress St. John Bent , Esq. The Ecce Homo Bitto. The Head of Yandyck. Pure etching. . . . Buke of Buccleuch. Philip le Roy ........ Bitto. William de Yos Bitto. Head of Snyders. Pure etching JI. Vaughan, Esq % J. RIBERA, Xativa, 1589 — Naples, 1656. Three, of St. Jerome, differently treated . . Rev. Br. Wellesley . B. 20, p. 10, No. 4. St. Bartholomew, b. 20, p. 81, No. 6 . • . . J. H. Hawkins , Esq. Don John of Austria, b. 20, p. 85, No. 14 . . . St. John Bent , Esq. SALVATOR ROSA. Two Etchings Bitto. B. E. MURILLO, Seville, 1613— Cadiz. 1685. St. Francis. His only Etching. Unique . . . . R. Ford , Esq. GUIDO RENI. A Group of Angels. After Cangiago . . . . St. John Bent , Esq . GUERCINO DA CENTO. St. Anthony and St John Rev. Br. Wellesley . P. SANUZZI. Pope Sextus V. b. 18, p. 157, No. l . . . . Bitto. REMBRANDT VAN RHYN, Koukerk, 1606— Amsterdam, 1668. Portrait of Rembrandt, holding a Bird of Prey. The Buke of Buccleuch. * W. 3. Portrait of Rembrandt, in a Turned up Hat, with an Embroidered Mantle, w. 7 . . . . Bitto. A Head, resembling Rembrandt, with Frizzled Hair. Bitto. W. 8. A Portrait of Rembrandt, when young. Half-length Bitto. W. 11. Portrait of Rembrandt leaning on a Stone Sill. w. 21. Bitto. Portrait of Rembrandt, drawing. Third and Finest State. W. 22. //. Brodhurst , Esq, / The Sabre Print. Only four known . . . R. S . Holford , Esq. ' The Sabre Print. The cut Plate. Second state . Bitto. ( The Sabre Print. The cut Plate. Third state, w. 23. Bitto. Four Prints for a Spanish Book, on a Single Sheet, w. 40. • • • • • • • The Buke of Buccleuch. Tobit Blind. First state, w. 47. .... Bitto. The Angel appearing to the Shepherds, w. 49. . Bitto. The Flight into Egypt. Iu the style of Elslieimer. First, second, third, and fourth states. W. 61. • • Bitto. * The references are to Wilson’s Catalogue. [ 55 ] ENGRAVINGS -ETCHINGS. 1005 1005 * 1006 1007 1008 1009 1010 1011 1012 1012 * 1013 1014 1015 1015 * 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 1034 * 1035 1036 1037 1038 1039 REMBRANDT VAN RHYN — continued. Christ Preaching. The Little La Tombe. TV. 71. . If. Brodhurst , Esq. The Triumph of Mordecai Ditto. The Resurrection of Lazarus. A large Print. First state. TV. 77 The Duke of Buccleuch. Christ Healing the Sick, called “The Hundred Guilder Piece.” First impression, on Indian Paper, formerly in Denon’s Collection . . . Sir C. Price , Bart. Our Saviour in the Garden of Olives, w. 79 . The Duke of Buccleuch. The Ecce Homo. Second and third states, TV. 82. • Ditto. The Descent from the Cross, w. 84. ... B. Fisher , Esq. The Descent from the Cross, tv. 87. ... Ditto. The Descent from the Cross. First state. TV. ss. The Duke of Buccleuch. Our Lord and the Disciples at Emmaus. First state. . Ditto. TV. 92. The Good Samaritan. First state. TV. 95. . . Ditto. St. Jerome Sitting at the Foot of a Tree. First state. Ditto. W. 108. St. Jerome. Unfinished, w. 109. . St. Jerome at Prayer. On vellum An Allegorical Piece, tv. m. . A Jews’ Synagogue, tv. iso. The Shell. First and second states. TV. it Beggars at the Door of a House, tv. h A Woman preparing to dress after bathing. First state W. 196. The Woman with the Arrow, tv. 196. View of Omval. w. 206. View of Amsterdam, tv. 207. The Three Trees, tv. 209. • A Peasant Carrying Milk-pails, tv. 210. The Coach Landscape, w. 212. . The Canal : A Landscape, of an irregular form. TV. 21S. The Landscape with a Ruined Tower. First state . W. 220. An Arched Landscape, with a flock of Sheep. First state. W. 221 An Arched Landscape, with an Obelisk, tv. 224. • A Grotto with a Brook. First state, w. 228. • A Cottage with White Pales. First state. TV. 229. The Duke of Buccleuch. Rembrandt’s Mill. Unfinished. TV. 230. • • • Ditto . The Goldweigher’s Field. On thick India paper. TV. 231. Ditto. Landscape, with a Barn Ditto. Jan Asselyn. First state. TV. 273. . . • • G. Smith , Esq. The Advocate Van Tolling. A print of the greatest rarity and value ........ The Duke of Buccleuch . Old Haaring. Most rare H. Brodhurst , Esq. John Lutma. Second state, w. 278. .... Ditto. Ephraim Bonus. First state. Black ring. w. 2S0. . P- S. Holford , Esq. [ 56 ] Ditto. . G. Smith, Esq. The Duke of Buccleuch. Ditto. Ditto. . Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. G. Smith, Esq. 1040 1041 1012 1043 1044 1045 1052 1053 1054 1055 1056 1057 1058 1059 1080 1061 1062 1063 1064 1065 1086 1067 1068 1089 1070 1071 1072 1073 1074 1075 1076 1077 1078 1079 1080 1081 ■ETCHINGS. REMBRANDT VAN RHYN — continued. Ephraim Bonus. Second state. White ring . . B. S. Holford, Esq. The Gold- weigher. Four states .... The Duke of Buccieuch. John Cornelius Sylvius. Formerly Lord Ayles- ford’s. w. 282 . . G. Smith , Esq. Portrait of Coppenol. Large plate. Unfinished, w. 285 . Bulce of Buccieuch. Portrait of Coppenol. First state Bitto. The Burgomaster Six. First state, w. 287. • . . Bitto. W. HOLLAR, Prague, 1607 — London, 1677. Antwerp Cathedral . Felix Slade , Esq. London, from Top of Arundel House .... Bitto. Tothill Fields . Bitto. The Savoy Bitto. Mantegna’s Cup Bitto. Four Sheets of Insects and Butterflies . . Bitto. One Sheet of Shells and Moths. One Sheet of Muffs. Bitto. Richard II. and Patron Saints Bitto. James, Duke of York St. John Bent , Esq. One Sheet of Heads. Various ..... Messers. Evans. Portrait of Hollar Bitto. Faith. After Holbein Felix Slade , Esq. The Earl of Surrey. Proof C. S. Bale , Esq. Solomon and Queen of Sheba. First State . . Bev. Mr. Griffiths. Two of Holbein's Vases Felix Slade , Esq. Six Views of Islington - Bitto. • Two Views of Arundel House Bitto. Catshead Bitto. Mary, Queen of Scots Bitto. Margaret Lemon C. Lady Digby G. Smith, Esq. Lady Shirley Bitto. Princess Mary of Orange Bitto. Tile Four Seasons Bitto. Ann of Cleves. After Holbein St. John Bent, Esq. A. CUYP, Haarlem, 1606 — 1672. Set of Cows. Eight prints and portrait ... Jl. Fisher , Esq. JOHN V. HECH, Oudenarde, 1625—1670. Four Sheets of Dogs C. S. Bale, Esq. GASPAR POUSSIN, Rome, 1613— 1675. Pupil of Nicholas Poussin. Set of Four Landscapes. Lengthways . . Henri/ Vaughan , Esq. B. 20, p. 235, No. 5 — 8. H. SAFTLEVEN, Rotterdam, 1609 — Utrecbt, 1685. Pupil of Van Goyan. The Great Tree. b. i, p. 256, No. 28. B. Fisher , Esq. The Gate of Utrecht, b. i, p. 257, No. 20 . . . . . Bitto. [ 57 ] 1 1 1 1082 1083 §!! 1084 1085 1086 1087 1088 1089 1090 1091 1092 1093 1094 k 1095 if! 1096 1097 1098 1099 1100 1101 1102 : 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 ENGRAVINGS.— ETCHINGS. A. V. OSTADE, Lubeck, 1610 — Amsterdam, 1685. Pupil of F. Hals. Portrait of Ostade. By Gole. Mezzotint proof The Peasant with Pointed Cap. b. l, p. 352, No. 3. • The Laughing Peasant, b. l, p. 352, No. 4. . Peasant Blowing a Horn. b. i, p. 353, No. 7. The Laughing Smoker, b. i, p. 353, No. 6. . The Hurdy-Gurdy Player, b. 1, p. 354, No. 8. The Smoker at the Window, b. 1, p. 355, No. 10. Rustic Tenderness (with long S). b. 1, p. 355, No. 11. • The Empty Flagon, b. 1, p. 357, No. 15. ... The Doll. b. 1, p. 358, No. 16. . . The Stab with the Knife. Pure Etching, b. 1, p. 359, No. 18 The Stab with the Knife. First State, b. 5, p. 359, No. 18. The Singers at a Window. Pure Etching, and first state B. 5, p. 360, No. 19. The Knitter at the Door. b. 5, p. 363, No. 25. . The Fishers, b. 5, p. 364, No. 26. The Painter. First state before verses, b. 5, p. 367, No. 32. The Spinner, b. 5, p. 367, No. 31. The Father and Family, b. 5, p. 368, No. 33. The Blessing, b. 5, p. 369, No. 34. .... The Wandering Musicians, b. 5, p. 371, No. 38. . The Peasant Paying his Reckoning, b. 5, p. 374, No. 42. The Peasant Paying his Reckoning . . . . FL . The Charlatan. Pure Etching, and second state B. 5, p. 375, No. 43. The Violin, b. 5, p. 377, No. The Family. Pure Etching, and first state. B. 5, p. 378, No. 46 The Fete under the Trellis. First state. B. 5, p. 379, No. 47. The Fete under the Great Tree. b. 5, p. 380, No. 48. The Dance in the Alehouse, b. 5, p. 381, No. 49. The Meal. First impression. B. 5, p. 382, No. 50. . • BI. Brodhurst, Esq. The Meal Fisher > Es F A. WATERLOO, Amsterdam, 1618— Utrecht, 1679. Six Landscapes. Various. First State . . . FL. Brodhurst , Esq . First State of the Mill. b. Ditto. Two Landscapes. First state Bohn Bent, Esq. H. SWANEVELT, Holland, 1620— Rome, 1690. Pupil of Gerard Douw and of Claude Lorraine. _ Four Views in Italy. Proofs Ditto. Evening, b. 2, p. 294, No. Belix Es $' The Little Wooden Bridge. Proof. B. 2, p. 295, No. 82. J- Brodhurst , Esq. P. POTTER, Enkhuisen, 1625—1654. The White Horse, b. 1, p. 51, No. Bohn Dent , Esq. The Cowherd. First state b. l, p. 52, No. 14. The Set of Eight. The Bull Book .... BLEEMBANY. 1120*1 Joseph selling Corn. Etched on two separate sheets . [58] li. Fisher , Esq . Ditto. Ditto. Ditto. Ditto. Ditto . Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Brodhurst , Esq. JR. Fisher , Esq. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. G. Smith , Esq, 1121 1122 1123 1124 1125 1126 1127 1127 * 1128 1129 1130 1131 1131 * 1132 1132 * 1133 1133 * 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 •.—ETCHINGS. The Cluster of Trees. BE HEUSCH. Most, Rare . G. Smith y Fsq. A. V. BE VELBE, Leyden, 1639—1672. The Cowherd Sleeping, b. l, p. 220, No. 11. . . Richard Fishery Fsq . N. BERGHEM, Haarlem, 1624—1683. Pupil of Van Goyen. The Bagpiper. First state, b. 5, p. 257, No. 4. . . St. John Bent, Fsq. The Man on an Ass. b. 5, p. 257, No. 5. Ditto. The Goat's Head. b. 5, p. 267, No. 18. . . . Henry Rrodhurst, Fsq. The Goat’s Head. Extremely rare. b. 5, p. 267, No. 19. Felix Slade, Fsq. The Man’s Book. Six plates. Pure etchings B. 5, p. 274, Nos. 35, 40. The Set of Four, of Animals. Proof. C. BU 8ART, Haarlem, 1665—1704. Pupil of Adrian V. Ostade. An Interior with Figures. First state The Village Festival A. H. V. BOOM, 1650. The Hamlet, b. 4, p. 75, No. 1 The Piece of Water, b. 4, p. 76, No. 2. J. G. V. VLIET, Delft, 1610. St. Jerome Praying The Raising of Lazarus Lot and his Daughters The Poet Vondel. Proof The Sacrifice of Abraham F. BOL. C. BU JARDIR, Amsterdam, 1635 — Venice, 1678. Pupil of N. Berghem. The Goats, b. 1, p. 171, No. 13. ... The Two Hogs. b. 1, p. 173, No. 15 The Herdsman and Three Oxen The Peasant in the Water. The Field of Battle Before the No. B. 1, p. 177, No. 22. B. 1, p. ISO, No.27. • B. 1, p. 181, No.2S. The Mule with Bells, b. 1, p. 182, No. 29. The Cows, &c. b. i, p. 185, No.3L The Sheep, &c. b. 1, p. 1S7, No.3S. J. RUISBAEL, Haarlem, 1635 — 1681 The Two Peasants and their Dog. b. 1, p. 312, No. 2. The Cornfield, b. 1, p. 315, No. 5. Cottage and Wooden Bridge .... Group of Trees The Travellers J. BOTH, Utrecht, 1610—1650. Pupil of Blocmart. The Chariot drawn by Oxen .... B. 5, p. 206, No. 2. Proof before either name. The Four Upright Landscapes, b. 5, p. 208, No. 1. The Ford. Two states, b. 5, p. 209, No. 7. [ 59 ] C. S. Bale , Fsq . St. John Dent , Fsq. St. John Dent , Fsq. Richard Fisher , Fsq. St. John Dent , Fsq. Ditto. . G. Smith, Fsq. R. Fisher , Fsq. 6 Messrs. Evans. Felix Slade , Fsq. G. Smith, Esq. H. Rrodhurst, Fsq. Ditto. Ditto. Ditto. Ditto. Ditto. R. Fisher , Fsq. II. Rrodhurst, Esq. Ditto. St. John Dent, Esq. Ditto. Ditto. Ditto. . Messrs. Evans. St. John Dent , Fsq. Felix Slade, Esq. ENGRAVINGS “ETCHINGS. 1150 1151 1152 1153 1154 1155 1158 1156 ' 1157 1158 1159 1160 1161 1162 1163 1164 1165 1166 1167 1168 1169 1170 1171 1172 1173 1174 R. ZEEMAN, Amsterdam, 1612. Shipping. Shipwright sawing .... B. BXSCAXNO, Genoa, 1632—165^ The Cradle, b. 21, p. 1S4, No. 6. . . . Holy Family, b. 21, p. , No The Saviour b. 21, p. 189, No. 14 J. H. R00S, Otterdorf, 1631 -Frankfort, 1685. Pupil of C. du Jardin. The Ram and Two Sheep, b. l, p. 138, No. 13. . Henry Brodhurst, Esq. Bev. J. Griffiths. Rev. Dr. Wellesley. Ditto. Ditto. Sheep and Cows. Set of thirteen plates . B. 1, p. 141, No. 18—30. Pure aqua fortis. The Shepherdess. First state b. 1, p. 149, No. 31. The Shepherd and Flock Reposing, b. 1, p. 154, No. 3S C. SEGA, Haarlem, 1620—1664. The Peasant at the Window. First state B. 5, p. 232, No. 19. The Two Lovers, b. 5, p. 235, No. 25. The Three Drinkers, b. 5, p. 237, No. 29. The Alehouse, b. 5, p. 240, No. 35. Ditto. Ditto. St. John Dent, Esq. . Messrs. Evans. Ditto. Ditto. . Ditto. J. STOOP, Holland, 1612-1686. Ten of a Set of Twelve Horses. Proofs, before the address and Nos. B. 4, p. 95, Nos. 1 — 12. • • • . Henry Brodhurst, Esq. Two proofs, before the skies H. NAIWINCX, Utrecht, 1620. Set of Eight Landscapes, b. 4, p.si, Nos. 1—8. . Set of Eight Landscapes, b. 4, p.85. Nos. 9— 16- . G. DOUW, Leyden, 1613—1674. Scholar of Rembrandt. Proof. .... Messrs. Evans. B. Fisher, Esq. Ditto. His own Portrait. Man’s Head Holy Family A. Y. EVERDINGEN, Alcmaer, 1621 — 1675. Landscape, b. 2, p. , No. Landscape, b. 2, p. , No. L. V. TJDEN. Landscape. After Rubens S. BE VLIEGER, Amsterdam, 1612— 1642. The Dog. Proof, b. l, p. , No. JOHN MORIN, Paris, 1612— 1666. Cardinal Bentivoglio F. V. WYNGAERDE, Antwerp, 1635. Portrait of Vosterman C. A. BEGYN, The Hague, 1650— Berlin, 1696. , The Cowherd C. S. Bale, Esq. . Ditto. . Ditto. Felix Slade, Esq. . Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. [ 60 ] 1175 1176 1177 1178 1179 1180 ) I 1181 1182 1183 1184 1185 1186 1187 1188 118S 119C i.-MEZZOTINTO. A. DIEPENBEKE, Bois le Due, 1607. Man and Donkey PIRANESI, Rome, 1760. rwo Views of the Temple of Jupiter, Rome . Figure of Job BARRY, R.A. SIR E. LANDSEER. rwELVE Etchings of Animals Felix Slade , Esq. E. Holmes , Esq. EUto. Eulce of Buccleuch. GEORGE CRUIKSHANK. Illustrations to Time William Smith , Esq . > The Storm on the Thames (Tower) .... Eitto. Der Freischutz Eitto. Humphrey’s Introduction (H. Clinker) . . . Eitto. Humphrey’s Zeal for his Master .... Eitto. Bung for Beadle Abel Beechcroft Discovering the Body of the Miser in the Tower Eitto. S. PALMER, living. The Rising Moon S. Palmer , Esq . 1 The Rising of the Lark Eitto. The Early Ploughman t Eitto. THE ETCHING CLUB. ; A Frame of Selected Etchings . . ARY SCHEFFER. The Suliote Woman H. V. Tebbs , Esq., Jan . Leonora Eitto. Part III.— MEZZOTINTO ENGRAVING. LOUIS V. SIEGEN, Holland, 1609— 1680. Amelia Elizabeth, Landgravine of Hesse Augusta Makia, Princess of Orange .... Holy Family, after Ann. Caracci Felix Slade , Esq. | . Rev. Er. Bliss. Eitto. T. CASPAR FURSTENBERG, 1635. Leopold Wm. Archduke of Austria .... Rev. Er. Wellesley. T. Caspar Furetenbcrg, Colonellus. Head of Christ. Upright Rev. J. Griffiths. Head of John the Baptist on a Salver .... Eitto. JOHN THOMAS. Ypres, 1610—1673. Pupil of Rubens. Little St. Christopher M. J. Johnson, Esq. Titian Felix Slade, Esq. [ 61 ] ENGRAVINGS -MEZZOT1NTO. 1192 1193 1194 1195 1196 1197 1193 1199 1200 1201 1202 1203 1204 1205 1206 1206* 1206* 1207 1208 1209 1210 1210 * 1211 1213 1214 PRINCE RUPERT. The Standard Bearer . Felix Slade, Fsq. Magdalen. After Merian . Rev. J. Griffiths. Head of St. Jerome . . Messrs. Evans. Portrait of Rupert George Vaughan , Fsq. Soldier with the Head of St. John . J. II. Hawkins, Fsq, W. VAILLANT, Lisle, 1623— Amsterdam, 1677. Angels appearing to the Shepherds. After Berghem R. Fisher , Fsq. A. BLQOTELING, Amsterdam, 1634. J udith. After Raffaelle R. Fisher , Fsq. Duchess oe Portsmouth. Proof and print . . . Felix Slade, Fsq. JOHANNES. Henry II. and Diana of Poictiers as Mars and Yenus. After Parmegiano ....... Rev. Dr. Wellesley. G. A. WOLFFGANG, Chemnitz, 1631— 1716. Yesp asian Felix Slade, Fsq. ISAAC BECKET, Kent, 1653. Beau Fielding . . Ditto. G. VALCK, Amsterdam, 1626— 1690. Pupil of A. Blooteling. Louisa, Duchess of Portsmouth Ditto. LE BLOND, 1680. The Children of Charles I. After Yandyck. Printed in colour. The earliest example of this style of Engraving. E. Chmey, Fsq. GOLE, Holland, 1680. Ostade’s Portrait. Proof. . . . . . . R. Fisher, Fsq. C. DTI SART. Peasants in an Alehouse, b. 5, p. , No. . . . Felix Slade, Fsq. The Smokers Ditto. F. PLACE. Portrait of Bishop Crewe Rev. Dr. Wellesley. R. THOMPSON, London, 1693. Prince Rupert. Proof before inscription .... Messrs. Evans. B. LENS THE YOUNGER, Knightsbridge, 1741. Lady Mary Radclyffe, Daughter of Charles II. George Vaughan, Fsq. JOHN SMITH, English, 1670—1720. Pupil of Becket. Queen Mary Felix Slade, Fsq. James II Messrs. Evans. ANONYMOUS. Ignatius Loyola G. Vaughan, Fsq. FABER, 1698—1756. Lady Byron, W.L. After Hogarth .... F. Cheney, Fsq. THOS. WATSON, London, 1750—1781. Mrs. Crewe. After Sir J. Reynolds . . . The Duke of Bueeleuch. Duchess of Manchester. After Sir J. Reynolds . . . Ditto. [ 62 ] 1215 1218 1217 1218 1219 1220 1221 1222 1223 1224 1225 1225 * 1226 1227 1228 1229 1230 1231 1232 1233 1234 1235 1236 1237 1238 1239 1239 * 1240 1241 1242 1243 1244 1245 1246 1247 MEZZOTINTO. C. H. HODGES, 1760—1837. Mrs. Musters as Hebe. After Sir Joshua Reynolds The Duke of Buccleuch. Infant Hercules. After Sir, Joshua Reynolds . . . Ditto. Head of Our Saviour. After Guido G. Smithy Esq. R. DUNKARTON, English, 1744. Miss Horneck. After Sir Joshua Reynolds Lord Lifford. After Sir Joshua Reynolds . JOHN DIXON, English, 1770. Tiger. After Stubbs ...... Portrait of Berghem. After Rembrandt Duchess of Ancaster. After Sir J. Reynolds Duke of Leinster. After Sir J. Reynolds . Dr. Robertson. After Sir J. Reynolds Ugolino. After Sir J. Reynolds .... Lady Herbert and Child. After Sir J. Reynolds W. DICKENSON, English, 1780. Mrs. Pelham. After Sir J. Reynolds Sir Joseph Banks. After Sir J. Reynolds . MC ARDELL. Infant Moses. After Yandvck G. Smith , Esq. Time Clipping Cupid’s Wings. After Vandyck . . . Ditto. Countess of Waldegrave. After Sir J. Reynolds. The Duke of Buccleuch. GIUSEPPI MARCHI, Rome, 1770—1808. The Duke of Buccleuch. . . Ditto. . Sir C. Brice, Bart. . H. R. Gregg , Esq. The Duke of Buccleuch. . Ditto. . . Ditto. . . Ditto. . . Ditto. . Ditto. . Ditto. Mrs. Hartley. After Sir J. Reynolds . Oliver Goldsmith. After Sir J. Reynolds . Oliver Goldsmith. After Sif J. Reynolds . JOHN DEANE, English, 1790. Pupil of Val. Green. After Sir J. Reynolds The Infant Samuel. RICHARD EARLOM, d. 1822 Fruit-p iece. First state Flower-piece. First state The Royal Academy. After Zoffany . Rubens’ Nurse and Child and Fruit. The Four Market Pieces .... The Fig. After Rubens .... George III. After Gainsborough . . The Forge. After Wright of Derby JOHN RAPHAEL SMITH, Derby Mrs. Carnac. After Sir J. Reynolds Mrs. Galway. After Sir J. Reynolds Lady Montagu. After Sir J. Reynolds Mrs. Montagu. After Sir J. Reynolds . Samuel. After Sir J. Reynolds C. TOWNLEY. Percival Pott, F.R.S. After Sir J. Reynolds [63] . . Ditto. . . Ditto. George Vaughan , Esq. The Duke of Buccleuch. George Smith , Esq. Ditto. . . The Duke of Buccleuch. After Rubens George Smith , Esq. C. C. . . The Duke of Richmond. ... G. Smith , Esq. 1750—1811. The Duke of Buccleuch. . . Ditto. . . Ditto. Ditto. Ditto. Ditto. ENGRAVINGS -MEZZOTINTO. 1248 1249 1250 1251 1252 1253 1254 1255 1256 1257 1258 1259 1260 1261 1262 1263 1264 1265 1267 1268 1269 1270 1271 1272 1273 1274 1275 1276 VAL. GREEN, Warwickshire, 1739 — London, 1813. Duchess of Devonshire. After Sir J. Reynolds . Sir Joshua Reynolds. After Sir J. Reynolds The Ladies Waldegrave. After Sir J. Reynodls GROZIER. Mrs. Seaforth. After Sir J. Reynolds . E. FISHER, English, 1765. Lady Sarah Bunbury Garrick between Tragedy and Comedy . W. DOUGHTY, York, 1740. Dr. Johnson. After Sir J. Reynolds J. JONES, English, 1740. Mrs. Tollemache. After Sir J. Reynolds James Boswell. After Sir J. Reynolds View from Richmond Hill. After Sir J. Reynolds J. JACOBE, 1760. Miss Monckton. After Sir J. Reynolds Miss Meyer. After Sir J. Reynolds K. DAWE. Portrait of Dr. Birkbeck. After Lane W. WARD. The Snake in the Grass. After Sir J. Reynolds The Duke of Buccleuch. The Duke of Buceleuch- Ditto. . Ditto. . Ditto. . Ditto. . Ditto. Ditto. . Ditto. . Ditto, t Ditto. . Ditto. . Ditto. J. Langton , Esq. J. WARD, English, 1800. Lord Ashburton and Colonel Barre. After Sir J. Reynolds Ditto. Mrs. Billington. After Sir J. Reynolds .... Ditto. Diana and her Nymphs. After Rubens .... Mrs. Garlc. The Centurion. After Rubens ...... J. Hertz , Esq. J. M. W. TURNER, 1774— died 1854. A Selection of Proofs from his “ Liber Studiorum,” touched on by himself, with the etchings and progressive proofs. Via Mala. Unpublished etching . . . . . J. Dillon, Esq. Via Mala. Finished proof, unpublished . Miss Mary Constance Clarke. The Shipwrecked Man. Unpublished. Eight progressive proofs .......... Ditto. The Calm. Two soft ground etchings, and eight progressive proofs and prints ........ Ditto. Entrance to Calais Harbour. Trial proof . . . Ditto. Entrance to Calais Harbour. First finished proof, without letters Ditto. Entrance to Calais Harbour. First finished proof, with etched letters printed in black . . . . J. H. Hawkins, Esq. Entrance to Calais Harbour. First finished proof, with letters Miss Mary Constance Clarice. Leaders Marine. Etching J. Dillon, Esq. Leaders Marine. First finished proof . Miss Mary Constance Clarke. [ 64 ] 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1310 1311 1312 5. — MEZZOT1NTO. J. M. W. TURNER — continued . The Fifth Plague of Egypt. Etching The Fifth Plague of Egypt, touched proof The Fifth Plague of Egypt. Proof, with ! letters The Fifth Plague of Egypt. Finished proof Etching of Solway Moss, and nine progressive touched proofs Narcissus and Echo. Unpublished. Two state; etchings ....... Pan and Syrinx. Unique etching The Deluge. Unpublished. Trial proof Source of Arveiron. Etching . First proof, touched First proof, unlettered First proof, lettered Miss Mary Constance Clarke. , Ditto. , Ditto. , Ditto. Source of Arveiron. Source of Arveiron. Source of Arveiron. Windmill and Loch Raglan Castle Mer de Glace Little Devil’s Bridge . Peat Bog. Unfinished proof Peat Bog. Finished proof Stonehenge. Unpublished Dumbarton. Unpublished. Printed in Basle. Touched proof . Interior of Church. Etching Interior of Church. Proof given to C Interior of Church. Finished proof Egremont’s Marine. Etching Egremont's Marine. Proof . Egremont's Marine, with sun, and dravvin Egremont’s Marine, with sun darkened, befoi on further vessel Egremont’s Marine. black Tut of soft . Ditto. . Ditto. . Ditto. . Ditto . . Ditto. . Ditto. . Ditto. J. H. Hawkins , Esq. . Ditto. . Ditto. . Ditto. . Ditto. Ditto. . J. Dillon , Esq. . Ditto. . Ditto. . Ditto. J. H. Hawkins, Esq. Ditto. J. Dillon , Esq. J. H. Hawkins , Esq. of clouds Ditto. the wave breaking . . . Ditto. Finished Proof, before Engraved Title Ditto. Ditto. CHARLES TURNER. The Wreck. After J. M. W. Turner The Wreck The Beggars. After Owen James Watt. After Lawrence .... The Marlborough Family. After Sir J. Reynolds Water-mill. After Callcot . G. Cooke, Esq. C. Turner , Esq. . Ditto. . Ditto. Jf r . Bussell, Esq. C. Turner , Esq T. LUPTON. The Packet entering Calais Harbour. After J. M. W. Turner ......... T. Birch all, Esq. Four Subjects of his newly engraved plates from Turner’s “ Liber Studioruin,” — viz., Solway Moss; Devil’s Bridge; Windmill and Loch; and Raglan Castle . . T. Lupton, Esq. I 65 ] i 1313 1314 1315 1316 1317 1318 1319 1320 1321 1322 1323 1324 1325 1328 1327 1328 1329 1330 1331 1332 1333 1334 1335 1338 1337 1338 1339 1340 1341 1342 1343 1344 i.— MEZZ OT INTO. SAMUEL COUSINS. Bolton Abbey in the Olden Time. After Sir E. Landseer. Etchings, and Trial, Finished Proofs . . The Tu/ce of Buccleuch, 3 ope Pius YII. After Sir T. Lawrence ... W. Smith , Esq fHE Duke of Wellington. After Sir T. Lawrence Samuel Cousins, Esq I?he Countess Gower and Child. After Sir T. Lawrence sir Robert Peel. After Sir T. Lawrence Mjss Eliza Peel. After Sir E. Landseer rnE Order of Release. After Millais rHE Infant Samuel. After Sant Miss Peel. First Proof rHE Queen. After Landseer . Eitto. . Eitto. . Eitto. . Eitto. . Eitto. Euke of Buccleuch . Eitto. FAER. Portrait of Dr. Wardlaw Evangeline. After T. Faed J. Faed, Es ^ Eitto. G. R. WARD. Tyndale Translating the Bible The Dream THOMAS LANDSEER. Deer Stalking. After Sir E. Landseer The Twins. After Sir E. Landseer Monarch of the Glen. After Sir E. Landseer Children of the Mist CHARLES LEWIS. The Sanctuary ATKINSON. Windsor Castle. Sir E. Landseer Peace. Sir E. Landseer War. Sir E. Landseer .... Lord Ellesmere G. E. Wood, Esc . Eitto. Euke of Buccleuci . Messrs. Grave . Eitto. . Eitto. Euke of Buccleuci Messrs. Grave Eitto. Eitto. — Grundy, Es EXKENS. Christ Bearing his Cross. After Scheffer . The Virgin Mary. After Scheffer The Magdalen. After Scheffer . H. COUSINS. Refreshment. Sir E. Landseer W. 0. GELLER. Large Fruit Piece. After Lance Small Fruit Piece. After Lance S. BELLIN. Expostulation. After Stone The Salutation. After Eastlake ZOBELL. The Marquis of Douglas. After Buckman [ 66 ] II. V. Tebbs, Jun., Es . Eitto. . Eitto. . Messrs. Grave . W. 0 . Gellen, Es . . Eitto. . . S. Beilin, Es . . Eitto. — Zobell, Es 1345 1346 1347 1348 1349 1359 1351 1352 1353 1354 1355 1356 1357 1358 1359 1360 1361 1362 1363 1364 1365 1366 1367 1368 ;.-WOOD. Part IY.— WQOD ENGRAVINGS. FROM BLOCK BOOKS. About 1439. The Ars Moriendi Rev. J. Griffiths. The Apocalypse Ditto. FRENCH ARTISTS. Early Playing Cards. Printed in Colours . . W. Russell , Esq. OLD JAPANESE. Sixteen Woodcuts, printed in Colours, of early but unascer- tained date. Supposed to be Illustrations of a Romance or Novel; two represent a Dance of Death . . . W. Russell , Esq. OLD WOODCUTS, with dotted shadows called cribble. 1450. St. John writing his Gospel Rev. J. Griffiths. DOM. CAMPAGNOLA, Padua, 1507. The Murder oe the Innocents b. 13 , p. 484 , No. l. . W. Russell , Esq. LUCAS CRANACH, 1470—1553. Hunting the Deer Ditto. HANS BURGMAIR, Augsburg, 1472—1559. Julius II Rev. Dr. Wellesley. Maximilian Felix Slade , Esq. EARLY WOODCUTS. (Italian.) St. Francis receiving the Stigmata .... Rev. Dr. Wellesley . St. Mark and St. Sebastian Ditto. Two of St. George and the Dragon .... Ditto. GASPER RUINA. The Creation op Adam Ditto. EARLY ITALIAN— ZOAN ANDREA. [Twenty-four Woodcuts . . . . . I Eight Capital Letters | Ten Illustrations to a Book of Prayers . [Six Illustrations to Ovid . Eight from the Volume “De Re Militare.” 1472. Book printed in Italy with woodcuts . W. Russell , Esq. Ditto. . . Ditto. Ditto. The Second Ditto. UGO DA CARPI, Rome, 1486. The Miraculous Draught. After Raffaelle Diogenes. After Parmegiano The Death of Ananias Hercules and the Lion Cupids at Play. Two different states .... Saturn. After Parmegiano Death of Ananias. After Raffaelle .... David and Goliaii. After Raffaelle. Two different states The Sacrifice of Abraham. After Titian. Large plate. [67] Ditto. Ditto. Ditto . Ditto. Ditto. Ditto. Ditto. Ditto. Ditto. F 2 1369 1370 1371 1372 1373 1374 1375 1376 1377 1378 1379 1380 1381 1382 1383 1384 1385 1333 1337 1388 1389 1390 1331 1392 1392 4 1393 1394 1395 1398 1397 1398 i.-WOOD. T7G0 DA CARPI — continued. The Sacrifice of Abraham. After Titian. Without inscription Rev. Dr. Wellesley. AnCHISES AND iENEAS Ditto. DOM BECCAFUMI, Vienna, 1484—1549. St. Andrew. In two states W. Russell , Esq. Set of Six Small Subjects Ditto. St. Philip Rev. Dr. Wellesley. ALBERT DURER, Nuremburg, 1471 — Large Head of Christ. In two states Head of Durer. 1527. In two states The Apocalypse. Set of 16 Plates Life of the Virgin. Set of 20 Plates The Triumphal Car of Maximilian. By Burgmair The Triumphal Arch. 10 feet by 9 . . Emperor Maximilian Charles V 1528. . W. Russell , Esq. . Ditto. R. Fisher, Esq. Ditto. William Russell , Esq. O. . W. Russell, Esq. Ditto. Woodcut Map of Venice, 1500. Attributed to Albert Durer, but more probably by the band of an Italian artist The Wood-Blocks are carefully preserved at Venice, in the Museo Civico Correr, and it is much relied on for the earlier Topo- graphy of Venice Ditto. MB. after BROSAMER, 1554. David and Bathsheba. In Nine Sheets. A very curious and perhaps Unique Woodcut Ditto. J. U. PILGRIM, Supposed to be the inventor of engravings in chiaroscuro. Orpheus Rev. Mr. Griffith. TITIAN. After bis Design. A Man Ploughing W. Russell, Esq . A Caricature of the Laocoon Ditto. Martyrdom of St. Felicite Ditto. Landscape, with Goats Ditto. Mars and Venus Ditto. Old Women going to Market Ditto. St. Jerome Ditto . St. Rock Ditto Marriage Festival at Venice Ditto. The Bucentaur ........ Rev. Dr. Wellesley. The Triumph of Truth ... . Ditto. The Marriage of the Adriatic W. Russell, Esq. I. A. VAVASORI. Procession of the Doge Priuli, Venice. After Titian. Ditto . A. ANDREANI, Milan, 1590. Rape of Sabines. After J. de Bologna . . . Ditto . The Triumph of the Church. After Titian . . Ditto . [ 68 ] 1399 1400 1401 1402 1402 * 1403 1404 1405 1406 1407 1408 1409 1410 1411 1412 1413 1414 1415 1416 1417 1418 1419 1420 1421 1422 1423 1424 1425 1426 1427 ; -WOOD. A. ANDREANI — continued. Christ and the Lepers. After Parmegiano . . W. Russell , Esq. B. 12, p. 2, No. 18. Triumph op C/Esar. After Mantegna. In nine Sheets. . Eitto. St. Nicholas and other Saints. After Titian . . Rev. Dr. Wellesley . Martyrdom op St. Felicite .... William Russell, Esq. The Deluge. After Titian Eitto. Destruction of Pharaoh. After Titian . . . Eitto. Our Saviour with the Magdalen .... Eitto. The Beautiful Gate. After Raffaelle. Partly Etched. Eitto. Pilate Washing his Hands. After John of Bologna. Two different states ....... Eitto. The Miraculous Draught. After Raffaelle. . . Eitto. Murder op the Innocents Rev. Er. Wellesley. The same subject printed from a single Block. . . . R. Fisher , Esq. Miraculous Draught. After Raffaelle. . . . Rev. Er. Wellesley. H. HOLBEIN, Augsburg, 1498— London, 1554. The Dance of Death. Woodcuts R. Fisher , Esq. The Maze ......... W. Russell , Esq. GERMAN. Burlesque Representation of a Funeral Procession, the rear brought up by Skeletons. Style of Hans Burgmair . Eitto. N. VICENTINA. Milo of Crete. After Raffaelle .... . Eitto. G. MATHEUS. Christ on the Steps of the Temple. After Raffaelle . Eitto. ITALIAN WOODCUTS, 1560. Four. After Peruzzi, Pordenone, M. Angelo, and Correggio Eitto. ANT. CAMPI OF CREMONA. 1550. Seven Woodcuts. Various. Eitto. PORTRAITS IN WOOD. About 1560. The Doge Grimani Eitto. Pope Julius III. Eitto. Charles V. . . Eitto. Maximilian of Bavaria Eitto. The Emperor Solyman Eitto. LIGOZZI. Four Subjects of the Virgin Eitto. R. RODII. The Wise Men’s Offering, in which is introduced The Massacre of the Innocents. On four Sheets . . • Rev. Er. Wellesley , SCOLARI. The Entombment W. Russell , Esq. St. Jerome Eitto. J. STELLA. Lyons, 1596 — Paris, 1647. Christ Washing the Disciples’ Feet . . . Rev. Er. Wellesley. [69] 1428 1429 1430 1431 1432 1433 1434 1435 1436 1437 143s) 1439 1440 1441 ! 1442 1443 1444 1445 1446 1447 1448 1449 1450 1451 WOOD. BTJSINCK. After L’Allemand. French, 1625. Eight of the Apostles W. Russell, Esq. BAHT. CQRI0LANX7S, Bologna, 1585. The Fall of the Giants C. JEGHERS, Germany, 1578. The Garden of Loye. After Rubens Virgin and Child, with Dance of Cupids. After Rubens J. B. JACKSON, English, 1726. The Crucifixion. After Tintoretto. On three sheets . The Peter Martyr. After Titian Christ on the Steps of the Temple. After Titian . Marriage in Cana. After P. Veronese E. KXRKALL, Sheffield, 1695— 1760. Two Landscapes. Printed in colours .... T. BEWICK, 1753-1828. One hundred and sixty-seven specimens of his works, contained in frames, many of them very scarce ; a most interesting and valuable collection ........ Rev. T. Hugo'. 1. The Tiger. Proof, in colour W. Russell , Esq. 1 . The Tiger. On vellum Eitto. 1. Lion. Proof Eitto. 1. Lion. Proof on vellum ...... Eitto. 1. Elephant ......... Eitto. 1. Zebra Eitto. Twenty Specimens of Birds. Proofs and old impressions Eitto. Twenty-five Specimens. Various. Many of his early works Eitto. JOHN THOMSON, AFTER MULREADY. Thtrty-two Illustrations to the “Vicar of Wakefield” Eitto. J. L. WILLIAMS. A Frame containing Howitt’s “Rural Life,” Thomson’s “ Seasons,” “ Antioch and Ararat ”, . . Messrs. Williams. A Frame containing Wiffen’s “ Tasso,” Bridge and Cottage, High-Priests, and The Sixth Age . Eitto. G. WILLIAMS. The Irish Cabin E. Holmes , Esq. The Drunken Husband Eitto. The Deaf Post-boy Eitto. Selection T. WILLIAMS. from his Subjects. After Cruikshank , Messrs. Williams . J. ORRIS SMITH. The Murder of Archbishop Sharpe . . E. Holmes , Esq. Paul and Virginia. Illustrations . . Eitto. N ineveh W. PQWI8. Fruit, &c. E. LANDELLS. After Lance ..... . . Eitto. [70] Eitto. Eitto. Eitto . Eitto. Eitto. Eitto. Eitto. Eitto. 1452 1453 1454 1455 1450 1457 1458 1459 1460 1461 1462 1463 1464 1465 1466 1467 1468 1469 1470 1471 1472 1473 1474 1475 i— LITHOGRAPHY. W. J. LINTON. Choosing the Wedding Gown. After Mulready The Last Ripening Sunbeam MASON JACKSON. Oyster-Deedging. After E. Duncan Bridge and Boats. • After J. D. Harding Country Churchyard The Astronomer. After T. Gilbert The Drawing Lesson. After E. M. Ward . E. BALZELL, A Selection of Woodcuts .... E. Holmes , Esq. . Ditto. M. Jackson, Esq. . _ Ditto. Ditto. . Ditto, . Ditto. E. Dalzell, Esq. Part V.— LITHOGRAPHIC ENGRAVINGS. A Collection of the First Specimens and Attempts at Lithography in England . . . . R. J. Lane, Esq., A.R.A. T. Bewick’s only attempt at ^Lithography . . . Rev. T. Hugo. A Selection from Mr. Lane’s Works in Lithography, of various dates, including some private plates, the property of Her Majesty the Queen . . . R. J. Lane , Esq., A.R.A. Princess Royal. Winterhalter. Ditto. Queen Adelaide. Winterhalter. Prince Leopold . Ditto. Ditto. J. K. IE XEUX. A Frame containing four specimens . . . . J. H. Le Keux, Esq. LYNCH. Portrait of a Lady . . . . . . Richmond Lynch, Esq. A Lucky Escape Ditto. J. H. MAGUIRE. The Queen. After Winterhalter. Prince Albert and the Prince of Saxe Cobourg The Three Bows Frith The Dinner Scene J. H. Maguire. Ditto. Ditto. Ditto. WE1NH0LD. The Madonna of Seville. . G. Vaughan, Esq. M0ULLER0N. Francesca and Paolo. After Gendron. . . H. T . Tcbhs, Jun., Esq. LASALLES. Christ borne to the Tomb. After Gegou . [ 71 ] . Ditto. CATALOGUE OF THE PHOTOGRAPHIC GALLERY, COLLECTED AND ARRANGED BY PHILIP H. DELAMOTTE, ESQ., F.S.A.- PROFESSOR OF DRAWING, KING’S COLLEGE, LONDON. 1 Rev. H. M. Birch . Claudet. 1 37 Owen Jones . H. Watkins. 2 Portrait . Ditto. 38 Luke Limner Ditto. 3 Dr. Forbes Winslow J. Watkins. 39 Robert Simpson T. It. Williams . 4 W. H. Russell Ditto. 40 J. Doyle Ditto. 5 Count Creptowitch Ditto . 41 Lord Brougham Ditto. 6 John Gilbert . Ditto. 42 Dr. Livingston Claudet ^ 7 Douglas Jerrold Ditto. 43 Portrait of Lady . Ditto. 8 Donald Nicoll, M.P. Ditto. 44 Lieut. Bellot . Ditto. 9 The Ameer of Keyerpoor Barker. 45 Dr. Hassall Ditto. 10 Lord Talbot de Malahide Ditto. 46 W. T. Brande Ditto. 11 Dr. Todd Ditto. 47 Dr. Hamel Ditto. 12 Portrait . Ditto. 48 Crystal Cup . C. T. Thompson. 13 Hepworth Dixon . Ditto. 49 Rev. O. Winslow . H. Watkins. 14 Sir Houston Stewart Claudet. 50 Horace Yernet Bingham. 15 John Britton . Ditto. 51 Miss Brougham Claudet. 16 W. L. Chance Ditto. 52 Lord Gough . Barker . 17 Carlotta Leclerq . Ditto. 53 Earl of Belmore Ditto . 18 George Godwin . JET. Watkins. 54 W. G. Rogers Claudet . 19 Luca della Robbia Ware 55 Portrait . Ditto. C. T. Thompson. 56 Harrison Weir B. Wowlett.. 20 Charles Knight T. B. Williams . 57 Bishop of Durham . J. Watkins.. 21 Sir R. Mayne Ditto. 58 Samuel Warren Ditto. 22 Capt. Bayne3 . Ditto. 59 Dean of Westminster Ditto. 23 Charles Mackay . JI. Watkins. 60 Sir John Herschel . J. StewarC 24 George Grote Ditto. 61 George Cruikshank J. Watkins. 25 Le Due de Guise . Claudet. 62 Lord Alfred Paget . Ditto. 26 Horatio Ross . Ditto. 63 Sir C. Roney . Ditto. 27 T. B. Macaulay Ditto. 64 Col. Griffiths . Kilburn. 28 Dr. Major Delamotte. 65 Two Ways of Life. 29 Bishop of Manchester Brothers. Bejlander. 30 Lord Naas Barker. 66 Statue. Antique. Exhibited by 31 Mayor of Manchester Brothers. Brince Albert . 32 Miss Murray GoodAnan. 67 Portraits J. Watkins. 33 Luca della Robbia Ware 68 Bishop of Oxford . Contencin . C. T. Thompson. 69 Portrait. Coloured. Claudet . 34 Alderman Agnew . Brothers. 70 Lord Lyons „ Caldesi . 35 Town Clerk of Manchester Ditto. 71 Mile. Piccolomini „ Ditto. 36 Portrait . Barker. 72 Captain Wilson „ Claudet _ [ 72 ] PHOTOGRAPHIC GALLERY* 73 Miss Swanborough. Col’d. Caldesi. 1 115 James Sant Lake Price. 74 Portrait „ Claudet. 116 George Cattermole Ditto. 75 Mr. Mechi „ Kilburn. 117 Lord Palmerston JL. Watkins. 76 Portrait „ Claudet . 118 Lord Lyndhurst Ditto. 77 Portrait „ Ditto. 119 H.R.H. Prince Albert Lake Price. 78 Portrait „ Locke. - 120 Marquis of Lansdowne 79 Duke of Newcastle „ Caldesi. 11. Watkins. 80 Duke of Cambridge „ Claudet. 121 T. B. Macaulay Maull ft Co.. 81 Sir Benj. Hall, M.P. „ Caldesi. 122 Professor Owen Ditto. 82 Portrait „ Locke. 123 Sir Wm. Cubitt Ditto. 83 Signor Mario „ Caldesi. 124 Lord Campbell . Ditto. 81 Group „ Claudet. 125 Napoleon III. Lx. by H.R.II. 85 Carlotta Leclerq „ Ditto. Prince Albert. 86 Signor Lablache „ Caldesi. 126 William Fairbairn Brothers. 87 Group „ Claudet. 127 Admiral Lord Lyons Kilburn. 88 Giulia Grisi ., Caldesi. 128 Sir Harry Smith Brothers. 89 Sir R. Peel, Bart. „ Claudet. 129 Mark Antony De la Motte. 90 Duke of Wellington „ Ditto. ISO Portraits Goodman. 91 Signor Benedict „ Caldesi. 131 Lord Brougham H. Watkins. 92 Pi’ince Oscar „ Kilburn. 132 J. C. Horsley Howlett. 93 Signor Costa „ Caldesi. 133 J. C. Hook . Ditto. 94 Hepworth Dixon „ Claudet. 134 T. Webster . Ditto. 95 Lord Mayor of London Mayall. j 135 W. P. Frith . Ditto. 96 Col. Macdonald Ditto. 136 Thomas Creswick Ditto. 97 Sir C. Eastlake Ditto. 137 F. R. Pickersgill Ditto. 98 Mr. Stern Ditto. 138 Lake Price Lake Price. 99 Sir Colin Campbell Ditto. CO OO * Le Mont Rosa Martens. 100 Lord Pan mure Ditto. | 139 J. D. Harding Lake Price. 101 John C. Deane Ditto. | 139* Partridges Ditto. 102 Duke of Cambridge Ditto. ! 140 Frederick Tayler Ditto. 103 Mr. Dallas Ditto. 140* Falls of Niagara Lx. by 104 Serjeant, Coldstream Guards A. Brothers. Cundall. | 141 William Howard Russell 105 42nd Highlanders . Ditto. H. Watkins. 106 Serjeant, GrenadierGuards Ditto. 142 Hepworth Dixon Ditto. 107 Serjeant, 42nd Highlanders | 143 Stirling Coyne Ditto. Ditto. i 144 J. R. Blanche Ditto. 108 Scotch Fusilier Guards Ditto. 145 Chai’les Selby Ditto. 109 Serjeant, Scotch Fusiliers Ditto. 146 Bayle Bernard Ditto. 110 Falls of Niagara Lx. by A. 147 H. Brit.tan Willis Ditto. Brothers. 148 Albert Smith Ditto. 111 Portrait Lake Dr ice. 149 Professor Morse Maull ft Co. 112 Glacier du Rhone . Martens. 150 E. B. Denison Ditto. 113 Owen Jones Lake Price. 151 Admiral Beechey Ditto. 114 Clarkson Stanfield . Ditto. 152 Sir H. Holland Ditto. | PHOTOGRAPHIC GALLERY. 1 153 Dr. Rae . . Mautt >» Ditto. 504 Bolton Castle Fenton. 455 „ Engravings Mrs. Verschoyle. 505 Clouds by Le Gray 456 Copy of bas-relief . Anderson. Exhibited by Murray Heath. 457 Copies of Engravings Exhibited 506 Durham Cathedral, by II. It. II. Prince Albert. Midsummer Dr. Holden. 458 „ Paintings . Ilowlett. 507 Studies of Clouds E: v. by Murray 459 ,, Engravings «$> Heath. Exhibited by Murray $ Heath. 508 Bed of the Garravalt Fenton. 460 Ditto . . A \ Marnier. j 509 British Museum Lake Price. 461 I 510 Canterbury Cathedral Bedford. to L Copies of Paintings. Howlett. 511 On the Coast . Llewelyn. 464 J 512 The Grounds, 465 | to 4761 J Copies of drawings by Pcnllergare Ditto. ' Raffaelle, &c., photo- 513 Wellington and Na- graphed by C. Thurston poleon III. Hogarth. } Thompson, &c. 514 Bell Harry Tower, 477 Sir W. Molesworth May all. Canterbury Bedford . [ 77 ] PHOTOGRAPHIC GALLERY. 515 The Wood, Penllergare Llewelyn. 516 The Lake, Penllergare Ditto. 517 Studies of Clouds . Ex. by Murray % Heath. 518 Bridge at Dunkeld Fenton. 519 The Vatican Ex. by Prince Albert. 520 Durham, Midwinter Dr. Holden. 521 Copies of Friezes Ex. by Prince Albert. 523 Steamer at Sea Ex. by Murray $ Heath. 523 Stutton Park . H. Leverett. 524 Stothard Shield Hogarth. 525 Ludlow Castle Dr. Holden. 526 A Suffolk Lane H. Leverett. 527 Dr. Newman . Contencin. 528 Colonel Long Ditto. 529 Raglan . Dr. Holden. 530 Mediaeval Court, Crystal Palace . Delamotte. 531 Scene on the Thames Exhibited by H. M. Page. 532 Group of Fish Lake Price. 533 The Moor-hen’s Haunt H. White. CO U3 Italian Boy . Gru/ndy. 535 Stereoscopic Picture: 3 Wilson. 536 View's of Windsor . Stereoscopic Company. 597 The Malakhoff Robertson. 538 Blackberry Hunting H. White. 539 Shelling Peas Ditto. 540 Barrack Battery Robertson. 541 Runic Stones Llewelyn. 542 Forest Scene . Ditto. 543 Constantinople Robertson. •544 Beeches H. White. 545 Coi'dwood Ditto . 548 Cottage, near Chertsey Ditto. 547 Wood Yard . Ditto. 548 Constantinople , Robertson. 549 Turnip-field . . H. White. 550 The Oat-field . Ditto. 551] Portraits of Insane Women to > 562 J Dr. Diamond'. 563 Wheat field . H. White, 564 Brig of Balgrunie Wilson, 565 Lynmouth Knight, 566 Penllergare . Ditto. 567 Study — Arab Tent Grundy. 568 Harvest-time . H. White , 569 Ferry on the Wye Ditto, 570 Kenilworth Castle Delamotte , 571 Spring Morning H. Taylor . 572 Jaw-bone of Old and Young Lion . Exhibited by Dr. Pecker , 573 Balaklava . Robertson, 574 The Malakhoff . Ditto, 575 Sebastopol . Ditto, 576 Sultan’s Palace, Constantinople^ Ditto. 577 Sebastopol Ditto. 578 Traktir Bridge Ditto, 579 Sebastopol . Ditto. 580 View from Malakhoff Ditto.. 581 Interior of Redan Ditto . 582 Study — Ship Grundy, 583 Kenilworth Castle Bullock , 584 Study — Ship . Grundy, 585' 1 Studies of Arab Tents to l and Fishermen 591. f W. M. Grundy, 592 Arch, at Rome . Exhibited by Prince Albert, 593 Bridge in Switzerland Ditto. 594 Piazza, Venice . Ditto. 595 Glaciers . Murray and Heath. 596 The Louvre . . H. M. Page. 597 Alfred Tennyson . G. Downes , BBADBURY AND EVANS, PRINTERS TO THE MANCHESTER ART TREASURES EXHIBITION, WH1TEERIARS, LONDON. I