UNDER REVISION anxa 88-B 12669 Board of Education, South Kensington CATALOGUE OF THE LOAN EXHIBITION OF BRITISH ENGRAVING AND ETCHING HELD AT THE VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON LONDQN: PRINTED FOR HIS MAJESTY'S* STATIONERY OFFICE, BY W Y.MAN AND SONS, LIMITED, FETTEJ* LANE, E.G. And to be purchased, either directly or through any Bookseller, f om EYRE & SPOTTISWOODE, East Harding Street, Fleet Street, E,C. ; or OLIVER and BOYD, Edinburgh; or E. PON SON BY, 1.6 Grafton Street, Dublin. I903. 1903. Price Ninefience. From the Library of Frank Simpson UNDER REVISION Board of Education, South Kensington CATALOGUE OF THE LOAN EXHIBITION OF BRITISH ENGRAVING AND ETCHING 0 HELD AT THE VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON I9o3. LONDON: PRINTED FOR HIS MAJESTY'S STATIONERY OFFICE, BY WYMAN AND SONS, LIMITED, FETTER LANE, E.G. And to be purchased, either directly or through any Bookseller, from EYRE & SPOTTISWOODE, East Harding Street, Fleet Street, E.G. ; or OLIVER and BOYD, Edinburgh; or E. PONSONBY, 1)6 Grafton Street, Dublin. 1903. Price Ninepenee. iii CONTENTS. PAGE List of Committee of Advice - - - - iv. List of Contributors • - v. Introduction - - vii. Catalogue— Line Engravings. 16th and 17th centuries. Bay 1 - - 13 Etchings and Line Engravings. 17th century. Bay 2 - - 17 Mezzotint Engravings. Latter half of 17th century. Bay 3 - 21 Mezzotint Engravings. 17th and 18th centuries. Bay 4 - 25 Line Engravings. 18th century. Bay 5 28 Line Engravings and Etchings. 18th and early 19th centuries. Bay 6 31 Mezzotint Engravings. Latter half of 18th century. Bays 7,8,9, 10 35 Mezzotint Engravings. Latter half of 18th and early 19th centuries. Bay 11 47 Stipple Engravings. Latter half of 18th century. Bay 12 - - 51 Stipple Engravings. Latter half of 18th and early 19th centuries. Bays 13, 14 - 56 Coloured Engravings, Aquatints, and Etchings. End of 18th and early 19th centuries. Screen A. - - 64 Aquatints. End of 18th and early 19th centuries. Screen B. - 67 Mezzotint Engravings. First half of 19th century. Bays 15, 10 68 Line Engravings. First half of 19th century. Bay 17 - - 75 Line Engravings. 19th century. Bay 18 - - - - - 78 Engravings after J. M. W. Turner, R.A. First half of 19th century. Screens A, B. - - 81 Line Engravings for Book Illustrations. 19th century. Screen B. 91 Engravings after Landseer and Mulready. Middle of 19th century. Bay 19 - 97 Line and Mixed Engravings. 19th century. Bay 20 - 98 Etchings. End of 18th and 19th centuries. Bay 21 - 101 Etchings. 19th century. Bay 22 - - 106 Modern Etchings. Bays 23, 24 - - - 110 Modern Etchings and Mezzotint Engravings. Bay 25 - 115 Modern Mezzotint Engravings. Bay 26 - - 118 Modern Etchings. Screen C - 120 Tools and Materials used in Engraving and Etching - - 129 Index of Engravers 141 7258. 1000— Wt. 1502.— 5/03. Wy. & S. iv COMMITTEE OF ADVICE. Mr. F. G. Ogilvie, M.A., B.Sc. (Chairman). Sir William de W. Abney, K.C.B., D.C.L., F.R.S. Mr. T. Armstrong, C.B. Sir George Birdwood, K.C.I.E., M.D., LL.D. f Sir C. Purdon Clarke, CLE., F.S.A. Sir W. Martin Conway. Mr. Sidney Colvin, M.A. Mr. Walter Crane, A.R.W.S. Mr. Lionel Cust, M.V.O., M.A., F.S.A. Mr. George Davison. Mr. Harold Hartley. Mr. Charles Holme. Mr. R. R. Holmes, C.V.O., F.S.A. Mr. Charles Holroyd, R.E. Mr. Marcus B. Huish. Mr. Bruce Ingram, f Sir James D. Linton, R.I. Mr. Seymour Lucas, R.A. f Mr. F. M O'Donoghue. f Mr. G. H. Palmer. Sir J Poynter, Bart., P. R.A. f Mr. Gilbert R. Redgrave, f Mr. Frank Short, R.E. ■(■ Mr. E. V. Strange. Mr. Carmichael Thomas, f Mr. Charles J. Watson, U.K. Mr. Horace Wilmer. Sir Henry Trueman Wood. Mr. H. M. Cundall, F.S.A., Secretary. f Members of the Executive Committee. V LIST OF CONTRIBUTORS. His Majesty the Kin<;. a Court, Lieut-Col. Charles, CM. (J. Appleton, T. G., Esq. Armstrong, T., Esq., C.B. Arts, Society of Bauerle, Miss Amelia, A.R.E. Bayes, A. W., Esq., R.E. Bolingbroke, Miss Minna Bridgwater, H. Scott, Esq. Bryden, Robert, Esq., R. E. Burgess, W. W., Esq., R.E. Burridge, F. V., Esq., R.E. Bush, R. E. J., Esq., A.R.E. Chattock, 1\. S., Esq. Colnaghi and Co., Messrs. P, and 1). Cooke, Conrad W., Esq., M.Inst. E.E. Cundall, E. G., Esq. Dalgliesh, Theodore [., Esq., R.E. Dicksee, Herbert, Esq., R.E. Dobie, James, Esq. Eley, Charles C, Esq. Eve, G. W., Esq., R.E. Faed, James, Esq. Finnie, John, Esq., R.E., M.E. Forrester, Frank, W., Esq. Gascoyne, G., Esq., R.E. Goulding, F., Esq. Graves and Co., Ltd., Messrs. Greg, Mrs. Eustace Haig, Axel Herman, Esq., R.E. Hall, E. Marshall, Esq.* K.Q, M.P. Hall, Oliver, Esq., R.E. Hardie, Martin, Esq. Hartley, Alfred, Esq., R.E. Hartley, Harold, Esq, Hayes, Miss Gertrude, A.R.E. Herkomer, Professor Hubert \on C.V.O., R.A. Heydemann, W.. Esq. Holroyd, Charles, Esq., R.E. Home, Henry Percy, Esq. Hughes and Kimber, Messrs. Huth, F., Esq. Kemp-Welch, Miss M., A.K.E. Lofthouse, Mrs. J. D. Macbeth, R. W., Esq., R.A. Martyn, Miss Ethel King, R.E. Miller, J. D., Esq., M.E. Monk, William, Esq, R.E. Murray, C. ()., Esq , R.E. Norman, A. C, Esq., M.A., J.P. Pott, Miss C. M., R.E. Pratt, Joseph B., Esq. Rawlinson, W. G, Esq. Reeve, James, Esq., F.G.S. Reiss, Fritz, Esq. Rhead, G. WoolHscroft, Esq., R.E. Richmond, Sir W. B., K.C.B, R.A. Robertson, H. R., Esq., R.E. ►Sherborn, Charles W, Esq, R.E. Short, Frank, Esq, R.E. Sloane, Miss Mary A, A.R.E. Slocombe, Edward, Esq, R.E. Slocombe, F, Esq, R.E. ft pence, Robert, Esq, R.E. Stacpoole, F, Esq., A.R.A. Synge, E. M, Esq, A. R.E. Taylor, J. E, Esq. Taylor, Luke, Esq., A. U.K. Theobald, H. S, Esq, K.C. Thomas, Percy, Esq., R.E. Ward, Mrs. E. M. Waterson, I )avid, Esq, A.R.E. Watson, Charles J, Esq, R.E. Wehrschmidt, D A, Esq., M.E, vii EXHIBITION OF BRITISH ENGRAVING AND ETCHING. INTRODUCTION. The present Exhibition of P]ngraving and Etching, the third of a series of the Graphic Arts, owes its initiation, like those of " Lithography " and of " Modern Illustration," held on former occasions, to the Council of the Society of Arts ; and the majority of those who have assisted the Board of Education in the organization of the Exhibition were invited to act on the Committee of Advice on the recommendation of that Society. The original proposal was to exhibit all methods of intaglio engraving, including photogravure and other mechanical processes, but on the suggestion of the Advisory Committee the exhibition has been restricted to Fine Art Engraving and Etching, and the exhibition of photographic processes of engraving has been reserved for a future occasion. It was also decided to confine the present exhibition to work by British engravers and etchers, and by foreign artists who practised, or still practise, their art in this country. The Art of Engraving on Metal Plates does not appear to have taken root in England until nearly a century after it had become firmly established on the Continent : and then to have owed its introduction to foreign artists. Some explanation of this curious tardiness on the part of English printers to avail themselves of a new and convenient method of picture-making, may doubtless be found in the fact that, abroad, it had been very largely devoted to the production of such representations of saints and other religious subjects as would hardly be acceptable at that period in this country. Even when adopted it was for a long time used only for secular portraits, title- pages, and the reproduction of maps, and anatomical and architectural drawings. The earliest mention of line engraving in England is to be found in a list of goods attached to a deposition dated 20th August, 32 Henry VIII. (A.D. 1540), relating to the printer Thomas Reynolds. Among other entries the following concern our subject : — f plates, and laid down the lines on which the art developed for a considerable period. Their chief associates or pupils were William Hole, Francis Delaram, John Payne, Thomas Cecill, William Marshall George Glover, and Robert Vaughan. The work of this school is in technique and drawing an advance on that of the late Elizabethan * Also known as (ieminn*, Geiuine and Gemyne. ix artists ; but these gains hardly compensate for the loss of the decorative quality of the latter. But the art was now well established, and the remaining history of line engraving is only that of its successive practitioners. In the latter half of the seventeenth century, the chief of these was William Faithorne, a pupil of John Payne, who during part of the Civil War, had studied at Paris under the great French master Robert Nanteuil. His portraits, executed after his return, arc of the first quality, and have hardly been surpassed in England by those of any other period. David Loggan (a native of Dantzig, c. 1635-1700), Robert White (1645-1704), and William Sherwin (worked 1670-1711), also belong to this time. During the eighteenth century, line engraving obtained an application somewhat wider than before. Its beet work was no longer given almost exclusively to portraiture, for we now have the fine landscapes of Francis Yivarcs (1709-1780), a Frenchman who settled in London at the age of 18 ; of that great engraver, William Woollett (1735-1785), of James Peak (c. 1730-1782), and of John Browne (1741-1801). There are also the satires of William Hogarth (1697- 1764) — perhaps the best known prints of the whole British School — and the engravings after the Old Masters of Sir Robert Strange (1721-1792), a native of Orkney and pupil of Le Bas. But, on the whole, this branch of the art did not flourish, so overshadowed was it by those of mezzotint and stipple. The commencement of the nineteenth century saw another new development in the use of steel plates, and also the application, on a large scale, of line engraving to the purposes of book illustration. An increase in the popular taste for reproductions of pictures also made itself felt in the same direction ; and the engravers of paintings by Wilkie, Mulready, Webster and Landseer, form a school by them- selves : the productions of which are not however comparable with the fine work after the drawings of J. M. W. Turner. Turner had a genius for inspiring his engravers to their highest level ; and in the view r of many critics the plates made for such works as " Picturesque Views of the South Coast of England," and " Views ... in Richmondshire " are amongst the best of British Line Engravings. Of the many engravers who worked for Turner, mention may be made of G., and W. B. Cooke, E. Goodall, K. Wallis, E. Finden, W. Miller, and J. C. Allen. Of other engravers of the century, P. W. Tomkins, J. Burnet, J. Pye, J. H. Eobinson, J. Watt, T. Landseer, B. P. Gibbon, S. Cousins, Lumb Stocks, G. T. Doo, G. H. Robinson, and Francis Holl, are only a few of many notable names. Mezzotint engraving was invented by Ludwig von Siegen, an officer who had been in the service of William VI., Landgrave of Hesse-Cassel, but had resigned about 1638 and settled at Amsterdam, where his first plate in the method — a portrait of the Landgrave's mother— was complete in August, 1642. Von Siegen communicated his secret to Prince Rupert, at Brussels, in 1654, and he brought the art to England, where he explained it to, among others, John Evelyn, whose " Sculptura " (1662) contains the first English account of the process. Prince Rupert employed Wallerant Vaillant both before and after his return to England, to assist him in the preparation of his plates ; and many of the best works of the latter artist were done in this country. As to the Prince's own productions, the finest is undoubtedly "The Great Executioner," after Spagnoletto (1658) ; and it holds its own in artistic merit, if not in technique, with the best work that followed it. X Prince Rupert was followed by William Sherwin (fi. 1669-1714), Francis Place (1647-1728), Henri Gascar (1635-1701), and Abraham Blooteling. The technique of the art was well worked out by these men and their immediate followers, and it gradually grew in popularity. At the turn of the century worked John Smith (1652-1742) and John Simon (c. 1675-1751), the two best mezzotint artists of the first period. Then we have in quick succession G. White, John Faber, senior, and his much more accomplished son of the same name. Peter Pelham, who introduced mezzotint engraving into America in 1726, is worthy of mention on that account. During the second quarter of the century Thomas Beard, John Brooks, and Andrew Miller, who all learned their art in England, settled in Dublin, and established an Irish School, which not only kept the art alive, but produced four such masters as MacArdell, Houston, Spooner, and Purcell. The greatest period of mezzotint engraving was from 1770 to 1800, as may be seen by the superb prints contributed to the Exhibition. The paintings of Reynolds, Romney, Hoppner, and of other artists, furnished engravers of the calibre of Valentine Green and John Raphael Smith, the great masters of the art, with subjects exactly suited to the technique they used, and to the prevail- ing sentiment of the day. Other engravers of the first rank of this period were R. Earlom, whose fruit-pieces and plates after Wright, of Derby, are notable, W. Dickinson, R. Dunkarton, and W. Petner Some of these men were painters also, but none had the ability in this • lit '( tion of W. Ward, whose association with George Morland should not be forgotten. In the early part of the nineteenth century the only change of importance in the technique of mezzotint engraving since its invention is to be noted. In 1820 W. Say produced a portrait of Queen Caroline engraved on steel. At first some difficulties were met with in working this new material, but they were soon overcome, largely by the efforts of T. Lupton, who in 1822 succeeded in obtaining 1,500 good prints from a steel plate, and was rewarded with a gold medal by the Society of Arts. During the remainder of the 19th century G. Clint, S. W Reynolds, C. Turner, J. C. Bromley, H. Meyer, D. Lucas and S. Cousins continued to practise the art, which nevertheless gradually declined, as the use of mixed mezzotint was more largely indulged in ; some success has, however, attended a recent effort to re-establish wor k in pure mezzotint. During the years 1807 to 1819 J. M. W. Turner published his " Liber Studiorum," a collection of studies suggested by Claude's "Liber Veritatis." These were mostly executed in mezzotint by various engravers on a ground deeply etched by Tumor himself. In all 71 plates were published, of which C. Turner executed the greatest number. Of the other engravers, Say, Hodgetts, Dunkarton, Clint, Lupton and Dawe may be mentioned, and one plate was produced in aquatint by F. C. Lewis. The process of aquatint engraving has been said to have been used by Hercules Zeghers (c. 1660), but the point is very doubtful and of little importance, seeing that no further developments occurred. The art really begins with a plate by Jean Lo Prince, made about 1750. The Hon. Charles Greville brought the secret to England and com- municated it to Paul Sandby, who produced the first English aquatint in 1774. Sandby considerably improved the process, and is believed to have been the first to use the spirit ground. Aquatint soon gained public favour, mainly as a convenient means of xi producing coloured plates, and most of the best work therein was devoted to a series of collections of landscapes, topographical and architectural views, and caricatures and costume, such as those pub- lished by Ackermann and Orme from about the year 1 800 and onwards. As to individual artists, Sandby, Malton, Daniell, Havel 1, J. C. Stadler, T. Sutherland, and F. C. Lewis, working, some for colours and some in monochrome only, are the most distinguished. To William Wynne Ryland (1738-1783), is due the introduction of the stipple method into this country; he, having learned it in France, where it had been perfected by Jean Francois a little earlier It was applied by him with great success to the reproduction of designs by Angelica Kauffmann, which were generally printed in red or brown. Francesco Bartolozzi (1727-1815) was one of the most successful practitioners of this method; and Lewis Schiavonetti (1765-1810), Giovanni Vendramini (1769-1839), and William Nutter (1754 -1802) may also be mentioned. Mezzotint and stipple engravings were also frequently printed in colours ; sometimes receiving a good deal of finishing by hand. With the exception of the work of Weneeslaus Hollar, a native of Prague (1607-1677), who worked mainly in England except between the years 1645-1652, and whose talents were chiefly devoted to topographical views and costume, there was no etching in England worthy of special reference uniil the latter half of the eighteen tli century, when a small group of imitators of Rembrandt, among whom were B. Wilson, the painter, Capt. W. Baillie, T. Worlidge, and the Rev. R. Byron, may be noted. Bartolozzi and other engravers also used the process ; and Rowlandson, Gillray, Dighton, Aiken, and others employed it as a vehicle for publishing large numbers of cheap coloured caricatures and views. The original etching, however, of the Norwich School represented by Crome, Cotman, Vincent, and the Rev. E. T. Daniell ; the etching of Turner already referred to, and that of Sir David Wilkie and Andrew Geddes form the real commence- ment of the modern school of British Etching. In 1840, a clever series of prints was issued by Charles David Read, a drawing-master of Salisbury. The work of George Cruikshank takes a special place at the head of a class apart, with which should be numbered various other humorous draughtsmen working as book illustrators. In 1841, a number of painters formed the first Etching Club and published the " Deserted Village " of Goldsmith, illustrated with 80 etchings by its members. This was followed by "Etched Thoughts" (1844), by several other set of plates illustrating poetry, " Etchings for the Art Union," (1857), and a "Selection of Etchings " (1865). Samuel Palmer, Richard Redgrave, Thomas Ores wick, Frederick Tayler, Ansdell, and Cope, are among the leaders of this epoch. The work of the " Junior Etching Club " was on similar lines. The members of these Societies gave an impetus to the practice of the art, which still flourishes at the present day. A set of works executed by the Students of the Engraving School of the Royal College of Art, formerly styled the Etching Class of the National Art Training School, is exhibited. This School was founded in 1864, its first master being R. J. Lane, A.R.A. He was succeeded by T. O. Barlow, R.A., in 1873, by Professor Alphonse Legros in 1875, while in 1882 the class was under the direction of Mr. F. Goulding. In 1891 Mr. Frank Short, R.E., was placed at the head of the School, which has lately been extended to include all methods of engraving, During this period a very large number of etchers have passed through the school, and of these a XII considerable proportion have attained to eminence in the exercise of their art. The glass cases contain tools and materials used in'the various processes of engraving and etching. These have been prepared in the school by the assistant teacher, C. M. Pott, R.E., under the direction of Mr. Short, who has also supplied the technical notes given in the catalogue The nucleus of the collection has been made by a selection of engravings and etchings from the Art Library in the Museum, and the rest of the works exhibited have been lent by various private collectors and others. His Majesty the King has graciously permitted some early engravings, including a rare mezzotint, " The Great Executioner," by Prince Rupert, to be selected from the Royal Collection at Windsor, The best thanks of the Board are tendered to the following gentlemen : Mr. If. S. Theobald, K.C., Mr. W. (4. Rawlinson, Mr. A. C. Norman, Mr. H. Percy Home, Mr. Fitz Reiss, Mr. .1. E. Taylor, Mr. Marshall Hall, K.C., M.P., and many others, who have kindly assisted the Exhibition by the loan of many rare engravings. The works have been arranged, as far as the exigencies of space permitted, according to periods, so that the history of the ar t may be conveniently studied ; but in some cases, in order to give greater prominence to certain artists, the chronological sequence has not been strictly maintained. L3 BAY I. LINE ENGRAVINGS. 16th and 17th CENTURIES. Thomas GEMINI (fl. 16th cent'). I. Title page. Compendiosa totius Anatomie delineatio London, 1545. Line. Property of the Museum. Franz HOGENBERG (b. about 1530; d. 1590). 2. Mary, Queen of Scots. Line. And three other portraits of Mary, Queen of Scots, after the above engraving by E. Harding and others. Lent by His Majesty the King. Georg HOEFNAGEL (b. 1545 ; d. 1600). 3. Palatium rbgium in Anglic regno appellatum Noncuitz. (Nonsuch Palace.) 1582. Line. Property of the Museum. William ROGERS 1589-1604). 4. Queen Elizabeth. Line. And another state of above. Lent by His Majesty the King. 5. Portrait of an Unknown Person. Line. 6. Godfrey Adelmar. Line. 7. Portrait of an Unknown Person. Line. Lent by H S. Theobald, Esq., K.C. 14 Renold ELSTRACKE (fl. 1598-1625). 8. Robert Carr. Earl of Somerset, and Frances, his wife. Line. 9. Mary, Queen of Scots, and Henry, Lord Darnley. Line. Also two mezzotint impressions (one proof ), by R. Dunkarton. of the above. 10. Prince Charles, afterwards Charles I. First state. Line. And a mezzotint engraving, probably, suggested by the above. Lent by His Majesty the King' 11. Title page of "The Workes of the most high and mighty Prince James. London 1616." Title page of "An History of the Civill Warres of England. London 1641." Line. Property of the Museum. Crispin VAN DE PASSE (b. c. ir,r,0). 12. Queen Elizabeth. After Isaac Oliver. Artist's proof. „ „ „ ,. with Inscription. Also two mezzotint copies (one proof) by Charles Turner of the above subject. Line. Lent by His Majesty the King. S mon VAN DE PASSE (b. about 1591 ; d, about 1G44). 13. General Cecil, son of the Earl of Exeter. Francis Bacon, Viscount St. Albans. Richard Sackville, Lord Buckhubst, 1617. Mary Sidney, Countess of Pembroke. Mils Line. 14. Henry, Prince of Wales, eldest son of James I. Also, three copies by W. Hole, one by W. Marshall, and three others. tine. Lent by His Majesty the Kiixj. 15. Henry, Prince of Wales, eldest son of James I. 1612. (Another state). Line. Lent by 11. flf. Theobald, Esq., K.C, 15 Willem VAN DE PASSE (b. about 1590 ; J. about 1660). 1G. Sir Henry Rich. Line. Lent by His Majesty the King. William HOLE about 1607-1630). 17. Michael Drayton. See also No. 14. Line. Lent by His Majesty the King. Francis DELARAM (b. 1590; d. 1627). 13. Frances, Duchess of Richmond and Lenox. 1623. Line. 19. Ernest, Earl of Mansfield. Line. 20. Arthur S. OToole. Dated 1618. Line. Lent by His Majesty the King. 21. Queen Mary. First state, before the oval frame. Line. Lent by H. & Theobald, Esq., K.C. 22. Queen Mary. Later state, with oval frame. Line. Lent by His Majesty the King. William MARSHALL (b. 1591 ; d. 1649). 23. Princess Anne, daughter of Charles 1. Line. Lent by His Majesty the King. Titl'e page of " Love and Valor or The divers Affections of Minerva." London, 1631. Title page of " Poetae Minores Graeci." 1635. Line. See also No. 14. Property of the Museum. 16 John PAYNE (h. about 1607 ; d. 1647). 25. Title page of "The Christian Warfare Against the Devill, World and Flesh." London, n. d. Title page of " A Guide to Godlynesse or a Treatise of a Christian Life." London, n. d. Line. Property of the Museum. 26. Philippus Aureolus Theophrastus Paracelsus, whose family name was Bombastus. Line. Lent by His Majesty the King. Pierre LOMBART (b. about 1612 ; >l about 1682). 27. Oliver Cromwell on horseback, with equerry bearing his helmet. After Sir A. Van Dyck. Third state, with head of Cromwell. Line. 28. Charles I. on horseback, with equerry bearing his helmet. After Sir A. Van Dyck. Fourth state, with the King's portrait introduced. Line. Lent by His Majesty the King. Thomas CECILL (ft. 1620-1645). 29. Gustavus Adolphus, King of Sweden. Line. Lent by His Majesty the King. 30. Title page to " Ancient Funeral! Monuments." London, 1631. Line. Property of the Museum. R. WALLER (ft. latter half of 17th cen y ). 31. Title page of "Essays of Natural Experiments made in the Academy Del Cimento. Englished by Waller." London, 1684. Line. Property of the Museumx. Robtrt VAUGHAN Property of the Museum. 7258 B 2 20 P. SIMMS. 61. Title Page of " The History of the Reformation of the Church of England." n.d. JACOBUS HOUBRAKEN (b. 1698 ; d. 1780). 62. George Vieliers, Duke of Buckingham. After C. Janssens. George VERTUE (b. 1684; d. 1756). 63. Sir Hugh Myddelton, Bart. After C. Janssens. 1722. Line. 64. Henry Hare, 3rd Baron Coleraine. After W. Faithorne. This plate was begun by Faithorne, and finished by Vertue. Line. 65. John Owen. Line. Property of the Museum, Peter WILLIAMSON (f. middle of 17th cent"). 66. Charles II. Line. The design, with slight differences in detail, is the same as that signed " R. White, Sculpsit." See No. 59. Property of the Museum. Line. Property of the M useum. Line. Lent by H. S. Theobald, Esq., K.C. JOHN SAVAGE (J, end of 17th cent>). 67. Sib ELenry Pollexfen. Line. Lent by H. S. Theobald, Esq., K.C. 21 BAY 3. MEZZOTINT ENGRAVINGS. THE LATTER HALF OF 17th CENTURY. Jan VAN DE VELDE, Senr. 68. Oliver Cromwell. ■ Said to have been executed in imitation of mezzotint before the secret was divulged. Lent by H. Percy Home, Esq. William SHERWIN (J. 1669-1714). 69. George, Duke of Albemarle. Only known copy. Mez. Lent by H. S. Theobald, Esq., K.C. 70. Charles II., 1669. Mez. 71. Barbara, Duchess of Cleveland. After Sir P. Lely. See Line Engraving No. 56. Mez. Lent by H. Percy Home, Esq. David LOGGAN (fi. abt. 1635; d. 1693). 72. Richard AlLestRee; John Dolben; John Fell. After Sir P. Lely. Mez. Lent by H. S. Theobald, Esq., K.C. Henri GASCAR (b. 1635; d. 1701). 73. Louise, Duchess of Portsmouth. Mez. Lent by H. Percy Home, Esq. 22 Richard TOMPSON (ft. end of 17th cent*). 74. Madame Graham. After Sir P. Lely. Mez. 75. Eleanor Gwyn, with Her Two Sons. After Sir P. Lely. First state. From Lord Palmers ton's collection. Mez. Lent by H. S. Theobald, Esq., K.C. Francis PLACE (b. about 1645; d. 1728). 76. Major-General John Lambert. Mez. 77. Nathaniel, Lord Crewe, Bishop of Durham. Second state. Me*. Lent by H. S. Theobald, Esq., K.C. Alexander BROWNE (//.end .f 1 7th cent y ). 78. Charles I. After Sir A. Van Dyck. Mez. Lent by H. Percy Home, Esq. 79. Frances, Countess of Portland. After Sir A. Van Dyck. Mez. Lent by H. S. Theobald, Esq., KM Abraham BLOOTELING (>>. 1634 ; d. 1695;. 80. Catherine, Queen of Charles II. After Sir P. Lely. Unique state. Mez. L,cnt by H. Percy Home, Esq. Pearce TEMPEST (h. about 1650 ; d. 1717). 81. Eleanor Gwyn. Mez. Lent by H S. Theobald, Esq., K.C. William FAITHORNE, the Younger (b. 1 656 ; d. about 1701) 82. Lady Grace Getiiin. After A. Dickson. The portrait is prefixed to a book entitled " Reliqime Gethinianre." Mez. ). 99. Frances, Duchess of Richmond. Mez. Lent by H. S. Theobald, Esq., K.C. Roger WILLIAMS (ft. 1680-1704). 100. Mary, Princess of Orange. After W. Wissing. First state. Mez. Lent by H. S. Theobald, Esq., K.C. 101. William, Dukb OF BEDFORD. After E. Luttcrel. First state. -Mez. Lent by H. Percy Home, Esq, 25 BAY 4, MEZZOTINT ENGRAVINGS. 17th and 18th CENTURIES. John SMITH (b. 1652; d. 1742). 102. John Sheffield, Earl of Mulgrave. After Sir G. Kneller. Third state. Mez. Property of the Museum. 103. Mrs. Voss and Child. After Sir G. Kneller. First state, before inscription. Mez. Lent by H S. Theobald, Esq., K.C. 104. William Johnston, Marquess of Annandale. After Sir G. Kneller. First state, 1703. Border in line engraving. Mez. 105. Robert, Earl of Ailesbury. After Sir P. Lely. Mez. Lent by H. Percy Home, Esq. George WHITE (b. about 1671 ; d about 1734). ] 06. John Dryden. After Sir G. Kneller. First state, before inscription. Mez. Lent by Fritz Reiss, Esq. 107. Henry, Viscount Bolingbroke. After T. Murray. Mez. 108. Allan Ramsay. After W. Aikman. Second state Mez. 109. Sir John Coke. Mez. Lent by H. Percy Home, Esq. 26 Thomas PRESTON (d. 1759). 110. Admiral Robert Blake. Second state. Mez. Lent by H. S. Theobald, Esq., K.C. Peter VAN BLEECK (b. 1695- d. 1764). 111. Francesco Du Quesnoy, called II Fiammingo. After Sir A. Van Dyck, 1751. First state. Mez. 112. Eleanor Gwyn. After Sir P. Lely, 1751. Mez. Lent by H. Percy Horne, Esq. George LUMLEY (b. 1708; d. 1768). 113. Lady Mary Fen wick. After M. Dahl. First state (?) Mez. Lent by H. Percy Home, Esq. Bernard LENS (b. 1G59; d. 1725). 114. Lady Mary Radclyffe, afterwards Countess of Derwent- water. After W. Wissing and J. Vandervaart. Seeond state. Mez. Lent by H. Percy Horne, Esq. 115. Princess Sophia of Hanover. After B. Lens. Mez. Lent by H S. Theobald, Esq., K.C. Andrew MILLER (Ji about 1740). 116. Oliver Cromwell and General Lambert. Mez - Lent by H. S. Theobald, Esq., K.C. 117. George Frederick Handel. After T. Hudson. 1749. •^ ez - Lent by H. Percy Horne, Esq. Jean SIMON (b. 1075 ; d. about 1755). 118. Queen Elizabeth. After F. Hilliard. First state. Mez. 119. Matthew Prior. After J. Richardson. First state. Mez. Lent by H. 8. Theobald, Esq., K.C. Samuel TAYLOR. 120. Charles I. Mez. Lent by H. S. Theobald, Esq., K.C. John FABER, Junr. (b. 1684; d, 175G). 121. Mrs. Clive in the character of Philida. After P. Van Bleeck, junr. Third state. 1734. Mez. Lent by H. Percy Home, Esq. 122. The Children of Frederick and Augusta, Prince and Princess of Wales. After Du Pan. First state. Mez. Lent by Frank W. Forrester, Esq. 123. Alexander Pope. After J. B. Vanloo. First state, before any inscription. Mez. Lent by Fritz Reiss, Esq. 124 Sir Hans Sloane, Bart., M.D. After Sir G. Kneller. First state. 1729. Mez. Property of the Museum. Peter PELHAM (b. 1G84; d. about 1738). 125. Thomas, Duke of Newcastle. After Sir G. Kneller. First state. Mez. Ltnt by H. Percy Home, Esq. William ROBINS (fl. about 1730). 126 Henry VI. No other known. Mez. Lent by H. S. Theobald, Esq., K.C. 28 Francis KYTE (/?. early 16th cent*'). 127. John Gay. After W. Aikman. First state, before inscription. Mez. Lent by H. Percy Home, Esq. George VERTUE (b. 1684; d. 1756). 128. William II., Prince of Orange. After Sir A. Van Dyck. Mez. Lent by H. 8. Theobald, Esq., K.G. John GREENWOOD (b. 1729; d. 1792). 129. Rev. John Wesley. After N. Hone. First state, before inscription. Mez. Lent by H. S. Theobald, Esq., K.C. BAY 5 LINE ENGRAVINGS. 18th CENTURY. William HOGARTH {b. 1697; d. 1764) 130. Morning. (The Four Times of the Day.) 131. Noon. ( ) Line. Property of the Museum. 132. Strolling Actresses Dressing in a Barn. Published 1738. Line. 133. John Wilkes. Published 1763. Simon, Lord Lovat. Published 1746. Etchings. Lent by Harold Hartley, Esq. W. HOGARTH and F. AVILINE. 134. Chairing the Members. After W. Hogarth. Published 1758. Line. Lent by Harold Hartley, Esq. 29 W. HOGARTH and Charles MOSLEY. 135. 0 the Roast Beef of Old England. After W. Hogarth. Line. Lent by Harold Hartley, Esq. Luke SULLIVAN (b. 1705 ; d. 1771). 136. March of the Guards towards Scotland in the Year 1745, known as "The March to Finchley." After W. Hogarth. Published 1750 Line. Lent by Harold HartUy, Esq. Louis Gerard SCOTIN (b. abt. 1690; d. ). 137. Marriage-a-la-mode. Plate I. The Contract. After W. Hogarth. Published 1745. Line. Lent by Harold Hartley, Esq. Bernard BARON (b. abt. 1700; d. 1762). 138. Marriage-a-la-mode. Plate II. The Breakfast Scene. After W. Hogarth. Published 1745. Line. Lent by Harold Hartley, Esq. Francois Simon RAVE NET, A.R.A. (b. 1706; d, 1774). 130. Marriage-a-la-mode. Plate IV. The Toilet Scene. After W. Hogarth. Published 1745. Line. 140. Marriage-a-la-mode. Plate V. Death of the Earl. After W. Hogarth. Published 1745. Line. Lent by Harold, Hartley, Esq. Charles GRIGNION (b. abt. 1716; d. 1810). 141. Canvassing for Votes. Plate II. After W. Hogarth. Published 1758. Line. Lent by Harold Hartley, Esq. John BROWNE, A.E. (b. 1741 ; d. 1801). 142 Adonis carried off by Venus. After Herman Swanevelt. Published 1791. Line. Property of the Museum. 30 James PEAK (b. 1730; d. e. 1782). 143. Classical Landscape. Hermes and Argus. After Claude Lorraine. Published 1766. Scratched letter proof, before title. Line. Property of the Museum. William WOOLLETT (6. 1735 ; d. 1785). 144. The First Premium Landscape. After Smith of Chichester. Proof. Line. Lent by Lieut-Colonel C. a Court, C.M.G. 145. The Second Premium Landscape. After Smith of Chichester. Engraver's proof. Line. Lent by W. G. Rawlinson, Esq. 146. Roman Edifices in Ruins. After Claude Lorraine, Working proof before all letters. Line. Property of the Museum. 147. Roman Edifices in Ruins. After Claude Lorraine. Engraver's proof, with arms. Published 1772. Line. Lent by W. G. Rawlinson, Esq. W. WOOLLETT and W. ELLIS. 148. Solitude. After R. Wilson, R.A., 1762. Engraver's proof, with arms. Published 1778. Line. W WOOLLETT and F. VIVARES. 149. The Enchanted Castle. After Claude Lorraine. Engraver's proof. 1780. Line. Lent by W, G. Rawlinson, Esq. Francois VIVARES (6. L709; d. ITso). 150. The Rural Lovers. After T. Gainsborough, R.A. Li ne - Propniy of th<> Museum. 31 Francesco BARTOLOZZI, R.A. (6.1727; ^. 1815). 151. The Repulse of Cupid. After Annibale Caracci. Pub- lished 1772. Line. 152. Venus and Cupid and a Satyr. After Luca Giordano. Line. 153. The Holy Family " La Madonna del Sacco." From the fresco by Andrea del Sarto. Published 1797. Line. Property of the Museum. Sir Robert STRANGE (b. 1721 • d. 1792). 154. Venus dissuading Adonis from the Chase. After Tiziano Vecellio. Finished proof before all letters. Line. Lent by W. G. Rawlinson, Esq. 155. Charles, Prince of Wales, James, Duke of York, and Princess Mary ; children of Charles the 1st. After Sir A. Van Dyck. Line. 156. Madonna and Saints, St. Jerome and others. After Correggio. Published 1771. Line. Property of the Museum. 157. Charles I. After Sir A. Van Dyck. Trial proof. Line. Lent by H. Percy Home, Esq. BAY 6 LINE ENGRAVINGS AND ETCHINGS. 18th AND EARLY 19th CENTURIES. John HARRIS (/I. 1680-1700). 158. View of the Custom House. Line. Property of the Museum. 32 Jan KIP (h. abt. 1652; d. 1722). 1 .">!). l)U;u.v<: ton House in Pickadilly. Belonging to the Right Honourable Charles Boyle Baron Clifforde of Londesburgh, and Earle of Burlington, etc." After L. Knyff. Line. . Property of the Museum. Pierre Charles CANOT (b. abt. 1710 ; d. 1777). 160. View of London Bridge, before the late alteration as in the Year 1760. After S. Scott. Published 1761. Property of the Museum. Edward ROOKER (b. 1712; d. 1774). 161. Scotland Yard, with part of the Banqueting House, Whitehall. After P. Sandby, R. A. Published 1 766.' Line. 162. A Gate belonging to the Old Palace of Whitehall. (The Holbein Gate.) After S. Wale, R.A. And four anonymous engravings of Whitehall. Linc - Property of the Museum. Thomas BOWLES {b. abt. 1712). 163. The Church of St. Mary-le-Bow, Cheapside. And an anonymous engraving of the same. LlIle ' Property of the Museum. Thomas WORLIDGE (b. 1700; d. 1766). L64 A MAN LOOKING OVEB His BIGHT SHOULDER. 1754. Etching. Property of the Museum. 165. MAHOMET, a Turkish merchant. El t liin r Li nt by Mrs. Eustace Grey. Benjamin WILSON a, 1721 ; d. 1788). gowiu Smith, .M l;., f.r.s. 1754 i roperty of the Museum. 33 James CALDWALL (b. 1739; d. about 1789). 167. Mrs. Siddons in the tragedy of the " Grecian Daughter.' After William Hamilton, R.A. Proof with open letters. Published 1791. Line. Property of the Museum. John GOLDAR (b. 1729; d. 1795). 108. The Honey-Moon. (Plate III. of the set of four entitled " Modern Love.") After J. Collett. Published 1766. Line. Property of the Museum. James BARRY, R.A. (b. 1741 ; d. 1806). 169. The Fall of Satan. Original design for a painting proposed for the decoration of St. Paul's Cathedral. Published 1773. Etching. Lent by the Society of Arts. James MASON (b. 1710; d. about 1780). 170. Landscape with Ruins. After Claude Lorraine. Published 1744. Line. Property of the Museum. Thomas CHAMBERS, A.E. (b. 1724; d. 1789). 171. Helena Fouement, Rubens's Second Wife. After Sir A. Van Dyck. Proof with arms and engraver's name. Published 1767. Line. Property of the Museum. Thomas MAJOR, A.E. (b. 1720; d. 1799). 172. Sea Piece, with Ruins and Shipping. After Claude Lorraine. Published 1752. Line. Property of the Museum. John BOYDELL (b. 1719; d. 1804). 173. Jason. After Salvator Rosa. Published 1765. Line. P roperty of the Museum. James LOVELACE. 174. Mary Carew. After T. Hudson. Line. Lent by H. S. Theobald, Esq., K.C 7528 C 34 Thomas BEWICK (h. 1753; d. 182s) 175. The remarkable Kyloe Ox \; m(i Property of the Museum. William SHARP (b. 1749; d. L824). 176. The "Ecce Homo." After Guide- Reni. Finished state on India paper. Published 1798. Line. 177. The Women at the Sepulchre. After Annibale Caracci. The plate left unfinished by Sharp and completed by Frederick Bacon. Proof with etched name of Sharp and date of publication, 1822. Line 178. King Lear. Before letters. Line. I 7!) Willi am Schaw, 1st Earl Cathcart. After Sir J. Reynolds, P.R.A. Proof with the engraver's name and date. 1791. Line. 180. Thomas Howard, Earl of Arundel, KG. After 8ir A. Van Dyck India proof, published .1823. Property of the Museum. John Keyse SHERWIN (b. 1751 ; d. 1790). 181. The Fortune Teller. After Sir J. Reynolds, PR A Published 1786. Line. 18% The Holy Family. After Nicholo Beretoni. Published 1778. Line * Property of the Museum. Maria Anna Angelica KAUFFMANN, R.A. (ft. 1741 • d. 1807). 183. A Seated Girl. 1766. Kt, ' 1 " n - Property of the Museum. 36 BAY 7. MEZZOTINT ENGRAVINGS. LATTER HALF OF 18th CENTURY. Richard HOUSTON (b. 1722; d. 1775). 1 84. Maria, Countess of Waldegra ve, with her daughter, Lady Elizabeth Laura, After Sir J. Reynolds, P.R.A. Mez. Lent by A. C. Norman, Esq. 185. A Burgomaster. After Rembrandt. First state, before inscription. Mez. 186. Woman plucking a Fowl. After Rembrandt. Mez. Lent by H. Percy Home, Esq. 187. Caroline, Duchess of Marlborough, and Lady C. Spencer. After Sir J. Reynolds, P.R.A. First state, before inscription. 1769. Mez. 188. Kitty Fisher. After Sir J. Reynolds, P.R.A. First state, before inscription. Mez. Lent by H. S. Theobald, Esq., K.C. Johann JACOBE (b. 1733; d. 1797). Lo9. William Hayley. After G. Romney. Published 1779. Mez. Lent by H. S. Theobald, Esq., K.C. Josiah BOYDELL (b. 1750; d. 1817). 190. Regnier Anslo, Anabaptist Minister, offering consolation to a widow. After Rembrandt. Published 1781. Scratched letter proof, before title. Mez. Property of the Museum. George Townley STUBBS (b. 1756; d. 1815). 191. Bulls Fighting. After G. Stubbs, R.A. Published 1788. Open letter proof. Mez. Property of the Museum. Captain William BAILLIE (6.1723; d, 1810). 192. James, Duke of Monmouth, son of Charles II. After J. Wyck and G. Netscher. First state. Published 1774. Mez. Lent by H. S. Theobald, Esq., K.C. 7528. c 2 36 Thomas FRYE (b. 1710; d. 1762). L98. Portrait of the Engraver. Painted by himself. Proof before letters. 1760. Mez. 194. 1 1 had OF a Lady. Painted by the engraver. Proof before letters. Mez. Lent by Fritz Reiss, Esq. Edward FISHER (b. 1730; d. 1785). lit"). Lady Elizabeth Lee, one of the ten bridesmaids to Queen Charlotte. After Sir J. Reynolds, P.R.A. First state, before any inscription. 1766. Mez. 196. Lady Sarah Bunbury. After Sir J. Reynolds, P.R A. First state, before inscription. 1766. Mez. Lent by H S. Theobald, Esq., K.C. James MAC ARDELL (b. about 1710; d. 1765). 197. Lady Anne Dawson, 6th daughter of Thomas Fermor, Earl of Pomfret. After Sir J. Reynolds, P.R.A. First state, before inscription. 1754. Mez. 198. Lady Grammont (La Belle Hamilton). After Sir P. Lely. First state, before any inscription. Mez. 199. Mrs. Middleton. After Sir P. Lely. First state, before any inscription. Mcz - Lent by H. S. Theobald, Esq., K.C. 200. Lady Flizabeth Montagu (Duchess of BuccleudiY After Sir J. Reynolds, P.R.A. First state, before inscription. Mez. 201. Mrs. WoFPlNOtON. After A. Pond. Lent by II. Percy Home, Esq. 202. Marv, DrrHEss of A xr aster. After T. Hudson. ^ First stato, before inscription. Published 1757. Lent by Fritz Reiss, Esq. 37 Jonathan SPILSBURY (ft. L786-1810). 203. Elizabeth, Countess of Ancrum. After Sir J. Reynolds, P.RA. Published 1771. Proof. Mez. 204. Lady M ary Leslie. After Sir J. Reynolds, P.RA. First state, before inscription. 1766. Mez. Lent by H. 8. Theobald, Esq., K.C. William PETHER (b. 1731 ; d. 1795). 205. The Rabbi. After Rembrandt. Published 1778. Scratched letter proof, before title. Mez. 206. The Orrery. After J. Wright. Scratched letter proof. 1768. Mez. Property of the Museum. Philip DAWE (ft. 1760-1780). 207. The Oyster Woman. After H. Morland. Published 1769. Mez. Property of the Museum. John FINLAYSON (b. 1730; d. about 1776). 208 Maria, Lady Broughton. After F. Cotes, R.A. Published 1772. First state, before name of personage. Mez. 209. Lady Charles Spencer. After Sir J. Reynolds, P.R.A. Proof before letters. Mez. Lent by H. 8. Theobald, Esq., K.C. S. EINSLIE (.//. c 1789). 210. Ann. Countess of Aldborough. After J. Hoppner, R.A. Mez. Lent by Lieut-Colonel C. a Court, C.M.G. 38 BAY 8. M EZZ( )TINT ENGRAV [NGS. LATTER HALF OF L8th CENTURY. John DIXON (b. 1710; d. 1780). 211. The Missis Crewe. After Sir J. Reynolds. P.R.A. First state, before inscription. Mez. 212. Nelly O'Brien. After Sir J. Reynolds, P.R.A. First state, before inscription, 1774. Moz. Lent by H. 8. Theobald, Esq.,K.C. 213. Count Ugolino and his Children. After Sir J. Reynolds, P.R.A. Mez. Property of the Museum. Richard BROOKSHAW (b. 1736; d. about 1804). 214. Chevalier Roslin. After A. Roslin. Mez. Lod by Fritz Reiss, Esq. 215. Miss Greenfield. First state. Published 1767. Mez. Lent by H. S. Theobald, Esq., K.C. John WRIGHT (b. about 1740). 216. JOHN Van Goyen, with Wife and Child. After F. Hals. Published 1771. Second state. Mcz - Lent by H. Percy Home, Esq. Caroline KIRKLEY 217. Sn: JoBHUi Reynolds, P R.A. After himself First state, before name of personage. Published 1705. yU / Lent by H. S. Theobald, Esq., K.O. 39 Robert LAURIE (5. about 1710; d. about 1804). 218. Elizabeth, Duchess of Argyle. After Katherine Read. First state, before inscription. Published 1771. , Mez. Lent by If. 8. Theobald, Esq., K.C. Thomas BLACKMORE (b. about 1740; d 1780). 219. Samuel Foote. After Sir J. Reynolds, P.R.A. First state, before any inscription. Mez. Lent by H. S. Theobald, Esq., K.C. Valentine GREEN, A.E. (b. 1739 ; d. 1813). 220. The Ladies Waldegrave. After Sir J. Reynolds, P.R.A. First state, before personages' names. Published 1781. Mez. L'nt by Fritz Reiss, Esq. 221. Mary Isabella, Duchess of Rutland. After Sir J. Reynolds, P.R.A. Second state. Published 1 780. Mez. 222. Lady Elizabeth Compton, daughter of Charles, 7th Earl of Northampton. After Sir J. Reynolds, P.R.A. Second state. Published 1781. Mez. Lent by A. C. Norman, Esq. 223. Lady Caroline Isabella Howard. Alter Sir J. Reynolds, P.R.A. First state, before inscription 1778. From Lord Bessborough's Collection. Mez. 224. Miss Sarah Campbell. After Sir J. Reynolds, P.R.A. First state, before inscription, scratched letters. 1778. Mez. Lent by H. S. Theobald, Esq., K.C. 225. Louisa, Countess of Aylesford. After Sir .Joshua Reynolds, P.R.A. First state. Published 1783. Mez. Lent b§ Lieuti, -Colonel C. <) Covrt, C.M.G 10 2i ) (i. Oxias Humphry. After G. Romney. An intermediate state between the 1st and 2nd described by J. C. Smith (70). Published 1772. Mez. 227. An Experiment with an Air Pump. After J. Wright. Scratched letter proof, before title. 1769. Mez. 228. The Placing of Christ in the Sepulchre. After Caracci. Published 1775. Mez. Property of the Museum. David MARTIN (b. 1736; d. 1798). 229. Louis Francois Roubiliac. After A. Carpentiers. First state, before any inscription. Mez. Lent by H. S. Theobald, Esq., E.G. 230. Jean Jacques Rousseau. After A. Ramsay. First state, scratched letters. 1700. Mez lent by Fritz Beiss, Esq. James WATSON (b. 1740; d. 1790). 231 Nelly O'Brien. After Sir J. Reynolds, P.R.A. Second state. Moz - Lent by A. C. Norman, Esq. 232. Sir Joshua Reynolds. Painted by himself. Published 1770. First state, before name of personage. M, / Lent by Fritz Reiss, Esq. 232a. The OoPPEB Plate from which No. 232 was printed. Lent by Messrs. P. and I). Colnaghi and Co. 233. Ebancbs, Lib* Britobs, After F. Cotes, Iti First state, before inscription. M - W M,;s kASCELLES and Child (Frances). After Sir J '^•viiol.ls, r.R.A. I'ul.lished 1705. nral state, before any inscription. Mi / lent by 11. S. Theobald, Esq. K.C. 11 235. The Letter (?). After Metzu, Published 1771. Scratched letter proof before title. Muz . 233. Sir John Oust. After Sir J. Reynolds, P.R.A. An earlier state than described by J. C. Smith. Published 1769. An engraver's proof. Mez. Property of the Museum. BAY 9 MEZZOTINT ENGRAVINGS. LATTER HALF OF 18th CENTURY. Richard EARLOM (b. 1743; d. 1822). 237. Fruit Piece. After J. Van Huysum. Scratched letter proof. Published 1781. ^ See impression in colours, No. 418. Mez. 238. Flower Piece. After J. Van Euysum. Scratched letter proof. Published 1778. Mez. 239. Death of EiPPOLYrus. After P. P. Rubens. Proof before letters. Published 1797. Mez. 240. Triumph of Silenus. After P. P. Rubens. Proof with arms and artist's name. Published 1 7 been left unfinished at Watson's death. Mez. Property of th e M uaeu m . 44 Robert DUNKARTON {b. 1744 ; d. about 1811). 262. Miss Mary Horneck, afterwards Mrs. Gwynne. After Sir Joshua Reynolds, P.R.A. First state, before name of personage. Published 1778. M oz# Lent by A.C. Norman, Esq. 263. Mrs. Elizabeth Billington. After J. Downman, A.R.A; Engraver's proof, first state. Published 1786. Mez. 2(>4. Miss Anne Catley in the character of Euphosyne. After William Lawrenson. First state before inscription. Published 1777. Mez. Lent by H. S. Theobald, Esq., K.C. BAY 10. MEZZOTINT ENGRAVINGS. LATTER HALF OF 18th CENTURY. William DOUGHTY (b. about 1740; d. L782). 26.">. Miss Mary Palmer. After Sir J. Reynolds, P.R.A. First state, before inscription. 1779. Me/. Ien< 6y H. 8. Theobald, Esq., K.C. 266. Samuel Johxson. Second state. Published 1779 Mez. 267. Sleeping Child. After Sir J. Reynolds, P.R.A. Published 1780. Mi Property of the Museum. Edward DAYES (b. 1703: rf. 1804). 268. A Visit to THE GRANDFATHER. After J. li. Smith ( ►pen letter proof, 1788. M«'/.. i ( n t Fritz Reins, Esq. John DEAN (b. about 1750 ; d. 1798). 269. Elizabeth, Countess of Derby. After G. Romney, Published 1780. Mez. 270. Lady Kent. After Sir J. Reynolds, P. R. A. Published 1778* First state, before inscription, scratched letters. Mez. Lent by H. S. Theobald, Esq., K.C. 271. Mercury After Sir J. Reynolds, P.R.A. Published 1777. Cupid as a Link Boy. After Sir J. Reynolds, P.R.A. Published 1777. Mez. Property of the Museum* John Raphael SMITH (b. 1752; d. 1812). 272. The Gower Family. After G. Romney. Second state. Published 1781. Mez. 273. Miss Cumberland, afterwards Lady Elizabeth Cavendish - Bentinck. After G. Romney. Second state. Published 1779. Mez. 274. Louisa, Lady Stormont. After G. Romney. First state, inscription in scratched letters. Published 1780. Mez. Lent by A. C. Norman, Esq. 275. Henrietta, Countess of Warwick. After G. Romney. Scratched letters. Published 1780. Mez. 276. Mrs. Payne Gallwey and Son. After Sir J. Reynolds, P.R.A. Second state, but first finished state. 1780. Mez. 277. The Walton Family. (The Fruit Barrow.) After H. Walton. First state, before inscription. Published 1780. Mez. Lent by H. S. Theobald, Esq., K.C. 278. William Frederick, William George Frederick, and Louisa Wilhelmina, Princes and Princess of Orange. After J. H. Tischbien. Second state. Published 1790. Mez. Lent by Lieut. -Colon el C. a Court, C.M.C. 46 270. Henry Woodward as " Petruchio." After B. Van der Gucht. First state. Published 1774. Mez. 280. Agostino Carlini (with Bartolozzi and Cipriani). After G. F. Rigaud. Published 1778. Mez. 281. The Banished Lord. After Sir J. Reynolds, P.R.A. Proof with scratched letters. Published 1777. Mez. 282. The Weird Sisters. Macbeth, Act I. After H. Fuseli, R.A. Mez. 283. Miss Emma Hart, afterwards Lady Hamilton, as a Bacchante. After Sir J. Reynolds, P.R.A. A reversed copy of the portrait engraved by John Raphael Smith, inscribed "A Bachante." See No. 421. ^ ey - Pro} >rr( y of th e Mi I &e urn. John JONES (b. 1710; I 1797). 284. Frances Kemble (Mrs. Twiss), Sister of Mrs. Siddons in " black dress." After Sir J. Reynolds, P.R.A. Published 1784. Mez. 285. Frances Kemble (Mrs. Twiss), Sister of Mrs. Siddons in " white dress." After Sir J. Reynolds, P.R A. Proof. Published 178(>. Mez. 286. Mrs. Davenport. After G. Romney. Published 1784. Mr/ - kni by H. 8 Theobald, Esq., K.C. 287. Thomas, Lord EasKiNE. After Sir J. Reynolds, P.R.A. Proof. Published 1786. Mez. 288. Francis Hargrave. After Sir J. Reynolds, P.R.A. First state. Published 1793. Property of the Museum 47 Joseph Philip Liberati MARCHI (b. about 1735 j d. 1808). 289. Mrs. Bouverie and Mrs. Crewe. After Sir J. Reynolds, P.li.A. First state. 1785. Mez. 190. Oliver Goldsmith. After Sir J. Reynolds, P. R. A. First state, before inscription, uncleared edge. 1770. Mez. Lent by H. S. Theobald, Esq., K.C. J. SAUNDERS. 2J1. Miss Mathews. After Rev. \V. Peters, R.A. Proof before letters. Mez. Lent by If. S. Theobald, Esq., K.C. BAY 11. MEZZOTINT ENGRAVINGS. LATTER HALF OF 18th AND EARLY 19th CENTURIES. John YOUNG (b. L755 ; d. L825). 292. Cupid and Psyche. After J. Hoppner, R.A. Open letter proof. 1793. Mez. Lent by Fritz Reiss, Esq. 293. Right Hon. George Canning. After J. Hoppner, R.A First state, open letters. Published 1808. Mez. 294. Mrs. Bunbury. After J. Hoppner, R.A. First state, inscription in open letters. Published 1791 Mez. lent by H. 8. Theobald, Esq., K.C. 48 Joseph GROZER (k about 1755 ; d. about 1800). 295. Lady Charlotte Legge, afterwards Lady Feversham. After G. Roinney. First state, scratched letters. 1794. Mez. 296. Miss Frances Harris. After Sir J. Reynolds (said to be the last portrait painted by him). Second state, inscription in open letters. 1791. Mez. Lent by If. 8. Theobald, Esq., K.C. Henry KINGSBURY if. 1750-1781). 297. Miss Harriet Serocold. After J. Downman, A.R.A. Second state, name of personage in scratched letters. Published 1779. Mez. Lent by A. C. Norman, Esq. 298. Miss Stanley. After J. R. Smith. Published 1778. Mez. Lent by II. S. Theobald, Esq., K.C. George KEATING (ft. 17621 •2 ( M). Georgian a, Duchess of Devonshire, and Daughter. After Sir J. Reynolds, P.R.A. First state, open letters. 1787. Mez. Lent by II. S. Theobald, Esq., K.C. William Whiston BARNEY (jl early 19th cent*). :J00. GBORGIANA, Duchess of Devonshire. After T. ( iainsborough, R.A. Open letter proof. Published 1808. Mez. 301, Lords George and Charles Spencer, sons of Marquis of Blandford After R. Cosway, R.A. First state, open letters. Published 1805. Ml5Z - Lent by II. S. Theobald, Esq., K.C. 49 William SADLER {fl. end of 18th cent y ;. 302. John Philip Kemble in "The Count of Narbonne." Second state, the lace touched up by graver and dry-point, Mez. Lent by H. & Theobald , Esq., K.C. William SAY {b. 1768; d 1834). 303. Love. After Sir J. Reynolds, P.R.A. Published 1813. Mez. 304. Sir George Rowland Beaumont, Bart. After J. Hoppner R.A. ' Proof. Published 1808. Mez. 305. Dorothea. After Clarke. Open letter proof. Published 1802. Mez. 306. Cupid and Psyche. After Sir J. Reynolds, P.R.A. Published 1816. Mez. Property of the Museum. Elizabeth JUDKINS (fl. end of 18th centf). 307. Mrs. Abington. After Sir J. Reynolds, P.R.A. First state, before inscription, scratched letters. 1772. Mez. Lent by H. S. Theobald, Esq., K.C. Gainsborough DUPONT (b. 1767 ; d. 1797). 308. The Eldest Princesses, daughters of George III.; Charlotte Augusta Matilda, Princess Royal, Princess Augusta Sophia; Princess Elizabeth. After T. Gainsborough, R.A. First state, inscription in skeleton and open letters, bottom edge not cleared. Published 1793. Mez. 309. Queen Charlotte. After T. Gainsborough, R.A. First state, before inscription, bottom edge not quite cleared. Published 1790. Mez. Lent by H. S. Theobald, Esq., K.C. 7528 D 50 William WARD, A.R A. (b. 176«; d. 1826). 310. The Death of OSdipus. After H. Fuseli, R.A. Published 1785. Mez. 311. -John Jeffreys, Marquess Camden. After J. Hoppner RA. Second state. Published 1807. Mez. 312. John Liston. After J. Jackson, R.A. " Finished !i proof before all letters. Mez. 313. James Harris, 1st Earl of Malmesbury. After Sir T. Lawrence. P. R.A. First state, before any inscription. Published 1807. Mez Property of the Museum. James WARD, R.A. (6. 1769 ; d. 1859). 314. Charles Cornwaujs, 2nd Marquess Cornwallis, K.G. After Sir W. Beechey, R.A. Second state. Published 1799. Mez Property of the Museum. 315; The Centurion Cornelius. After Rembrandt, Published 1800. Mez. 316. Sir Francis and Charles Baring and Mr. Wall. After Sir Thomas Lawrence, R.A. Second state. Mez - Lent by Mrs. E. M. Ward. Charles Howard HODGES (6. 1774; d. 1837). .317. Ann Warren. After G. Romney. Mez. 818. Lavinia, Countess Spencer. After Sir J. Reynolds, P.R.A. First state, before inscription. 1785. Ml/ < lent by H. S. Theobald, Esq., K.C. 319. John Wolcot, M.D. (Peter Pindar). After J. Opie, R.A. Proof in open letters. Published 1787. Mez. 320. Children spouting tragedy. After R. M. Paye. Open letter proof. Published 1785. Mez. Property of the Museum BAY 12. STIPPLE ENGRAVINGS. LATTER HALF OF 18th CENTURY. Richard READ (b. 1745; d. end of LBtfa cent y ). 321. Louisa (Sheridan's "Duenna"). After J. Russell, R.A. Published 1778. Stipple, in red. Property of the Museum. Jean Marie DELATTRE (6. 1745 ; d. 1840). 322. Calais. The Snuff Box. — La Tabatiere. Sterne s Sentimental Journey. Alter A. Kauffmann, R.A. Published 1781. Stipple, in red. Property of the Museum. John OGBORNE K b. c. 1725 ; d. c. 1795), 323. Mrs. Jordan, as " The Romp." After G. Romney. First state, open letters. Published 1788. Stipple. Lent by 11. S. Theobald, Es). 328. Samuel Arnold, Mus. Doc, Oxford. Open letter proof. 1797. St 'Ppta Property of the Museum. Thomas RYDER (b. 1746 ; d, 1810). 329. Henry William Bunbury. After Sir T. Lawrence, P.R.A. Open letter proof. Published 1789. ,St 1 PPk« Property of the Museum. 330. Miss Boydell. Published 1784. S ^pple. Lent by tt. 8. Theobald, Esq., K.C. 53 William WARD, A.R.A. (b. 1766 ; d. 1826). 331. The Choice. After a painting by the engraver. Published 1787. Stipple. Lent by H. S. Theobald, Esq., K.C. 332. Princess Sophia Augusta, Daughter of George 111. After J. H. Ramberg. Stipple. Property of the Museum. John BALDREY (b. 1750; d. 1821). 333. Lady Elizabeth Lambart. After J. Downman, A.R.A Published 1783. Stipple. Lent by H. S. Theobald, Esq., K.C. Francesco BARTOLOZZI, R.A. (b. 1727 ; d, 1815). 334. Honourable Anne Bingham. After Sir J. Reynolds, P.R.A. Stipple, in red. 335. Lady Smith and her Children. After Sir J. Reynolds, P.R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. 336. John Philip Kemble (1757-1823) as " Richard III." Act V. Scene 5. After W. Hamilton, R.A. Published 1790. Stipple. 337. " Thais." After Sir J. Reynolds, P.R.A. Published 1792. Stipple. 338. Elizabeth Farren. After Sir T. Lawrence, P.R.A. . Proof with skeleton letters. Published 1791. Stipple. 339 Alexander Wedderburn, Earl of Rosslyn. After W. Owen. Proof before letters, except artists' names and publication line, 1800. Line and stipple. 340. Venus attired by the Graces. After A. Kauffmann, R.A. Stipple, in red. Property of the Museum. 54 William Wynne RYLAND (b. 1732 ; d. 1783). 341. Duchess of Richmond. After A. Kauffinann, R.A. Published 1775. Stipple, in red. Lent by A. C. Norman, Esq. 342. Cupid Bound. After A. Kauffinann, R.A. Published 1777. Stipple, in red. 343. Queen Eleanor and Edward T. After A. Kauffinann. R.A. Published 1780. Stipple, in red. Property of the Museum. Thomas TROTTER (b. middle of 18th cent*) : d. 1803). 344. Lady Helen Boyle. After R. Cosway, R.A. Stipple. Lent by II. S. Theobald, Esq., K.C. 345. The Mirror of Venus After A. Kauffinann, R.A. Pub- lished 1787. Stipple. Property of the Museum. Joseph COLLYER, A.E. (b. 1748 ; d. 1827). 346. Mrs. Fitzherbert, wife of George IV. After J. Russell, R.A. Published 1792. Stipple. 347. Miss Palmer. After vSir J. Reynolds, P.R.A. Published 1785. Stipple. Lent by If. 8. Theobald, Esq., K.C. 348. Yen; s. Aftor Sir J. Reynolds, P.R.A. Published 178U. Also a line engraving of the same subject, by Abraham Raimbach. Sl M , l )1( '- Property of the Museum. Thomas CHEESMAN \b. 17G0; d. 1820). 34!). Lady Hamilton, as "The Spinster." After G. Romney. Published 1789. Stipple. 350. LADY Hamilton, as " The Sempstress." After G. Romney. Second state, open letters. Published 1787. Stippk, Lent by If. 8. Theobald, Esq., K.C. 00 Francis HAWARD, A E. (b. 1759 ; d, 1797). 351. Mrs. Siddons, as the "Tragic Muse." After Sir J. Rey- nolds, P.RA. Published 1787. Stipple. Property of the Museum. Thomas BURKE (b. 1749; d. 1815). 352. Angelica Kauffmann, R.A., in the character of Design. After A. Kauffmann, R.A. Published 1787. Stipple. Property of the Museu m. ] :hn JONES (b. about 1740; d. 1797). 353. Lady Hamilton, as " Emma." After G. Romney. First state. Published 1785. Stipple. Lent by H. 8. Theobald, Esq., K.G. 354. Elizabeth Farren as "Lady Teazle," with Thomas King as " Sir Peter." After J. Downman, A.R.A. Proof with dotted letters before names, etc., except those of the artists', and the publication line. 1787. Stipple. Property of the Museum. George KEATING (b. 1762). 355. Lady Hamilton as " St. Cecilia." After G. Romney. Published 1789. Stipple. Lent by H. S. Theobald, Esq., K.G. 56 BAY 13 STIPPLE ENGRAVINGS. LATTER HALF OF 18th AND EARLY 19th CENTURIES. Joseph STRUTT(/;. 1749; d. 1802). 356. Christian and Hopeful Crossing the River. 1797. The Victory. Christian Vanquishing Apollyon. 1789. (Illustrations to Bunyan's "Pilgrim's Progress.") After T. Stothard, R.A. Stipple. Property of the Museum. James CALDWALL (b. 1739; d. after 1789). 357. The Children in the Wood. After Sir J. Reynolds P. R.A. Published 1793. Stipple. Lent by H. S. Theobald, Esq., K.C. J. HARDY. 358. Joseph Baretti. After Sir J. Reynolds, P.R.A. Published 1794. Stipple. Property of the Museum. William DICKINSON (b. 1746; d. 1823). 359. The Gardens of Carlton House. After H. Bunbury. Published 1785. Stipple. Lent by Frank W. Forrester, Esq. mi Mrs. Rop.ixson, as '• Perdita." After Sir J Reynolds P.R.A. Published 1785. Sti PP le - Lent by H. S. Theobald, Esq., K.C. Georg Sigmund FACIUS and Johann Gotlieb FACIUS (worked 1766-1802). 301. The Birth of Venus. After J. Barry R A Published 1778. Stl PP le ' Property of the Museum 57 Peter SIMON (b. about 1750; d. about 1810). 362. The Sleeping Nymph. After J. Opie, R.A. Published 1787. Stipple. Lent by Frank W. Forrester, Esq. 363. Miss Frances Isabella Gordon. After Sir J. Reynolds, P.R.A. Five cherubs' heads. Published 1789. Stipple. Lent by H. S. Theobald, Esq., K.C % Joseph GROZER (b. c. 1755 • d. 1799 (?) ). 364. Lady St. Asaph. After Sir J. Reynolds, P.R.A. Private plate, 1792. Stipple. Lent by E. S. Theobald, Esq., K.C. Thomas NUGENT (worked end of 18th cent>). 365. Esther Jane Sheridan. After J. Hoppner, R.A. Published 1800. Stipple. Property of the Museum. MANGO. 366. Angelica. After J. Gresse. Stipple, in red. Lent by A. C. Norman, Esq. William NUTTER (b. 1754; d. 1802). 367. Captain Thomas Coram. After W. Hogarth. Published 1796. Stipple. 368. A Bacchante. After Sir J. Reynolds, P.R.A. Published 1801. Stipple. Property of the Museum. Peltro William TOMKINS (b. 1700 ; d. 1840). 369. Girl gathering Nuts. After W. R. Bigg, R.A. Published 1787. Stipple. 370. Miss Mary Linwood. Proof with skeleton letters. Published 1806. Stipple. Property of the Museum. J. PETTIT. 371. Mrs. Robinson. After R. Co-sway, R.A. Published 1789. Stipple. Lent by H. S. Theobald, Esq., K.C. Charles WILKIN (b. 1750; d. 1814). Lady Greville. After J. Hoppncr, R.A. Published 1799. StippL . 373. Viscountess Andover. After J. Hoppner, R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. Mariano BOVI (b. about 1740). 374. Countess of Radnor. After R. Cosway, R.A. Stipple. 375. Mrs. Swinburne. After R. Cosway, R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. William LANE (b. 1746; d. 1849). 376. Mrs. Abington. After R. Cosway, R.A. Published 1790. Stipple. Lent by H 8. Theobald, Esq., K.C. Anthony CARDON (b. 1773; d. 1813). 377. "Round and Sound Five Pence a Pound Duke Cherrys!" (From "Cries of London.") After F. Wheatley, R.A. Published 171)5. Stipple. 378. HENRY Trbsham, R.A. After A. Pope. Published 1814. Stipple. Property of the Museum. Giovanni VENDRAMINI (b. L769 j d. L839). 379. " Old Chair to Mend." (From " Cries of London.") After l\ Wheatley, R.A. Published 1795. Stipple. 380. Sin Peter Francis P>ou«;eois. U.A. After Sir W. Beechey, R.A. Open letter proof (?) Published 1811. Stipple Property of the Museum 59 Thomas GAUGAIN (ft 1748 • d. c, L805). 381. "Turnips and Carrots Ho." (From "Cries of London.") After F. Wheatley, R.A. Published L797. Stipple. Property of the Museum. Niccolo SCHIAVONETTI (d. 1813). 382. " New Mackrel, New Makrel." (From " Cries of London.") After F. Wheatley, R.A. Published 1795. Stipple. Property of the Museum. Caroline WATSON (b. c. 17G0 ; d. 1814). 383. Princess Sophia, Daughter of George III. Princess Mary, Daughter of George III. After J. Hoppner, R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. 384. Hon. Mrs. Stanhope as "Contemplation." After Sir. J. Reynolds, P.R.A. Published 1790. Mixed stipple. Lent by H. Percy Home, Esq. BAY 14. STIPPLE ENGRAVING. LATTER HALF OF 18th AND EARLY 19th CENTURIES. William BROMLEY, A.E. (b. 1769 j d. 1842 385. Pantaloon. T. Stothard, R.A Published 1799. Stipple. Property of the Museum Robert Mitchell MEADOWS (d. c. 1812). 38G. Edmund's first sight of Ethelinda. T. Stothard] R.A. Published L793. Stipple. Property of the Museum. 60 Lewis SCHIAVONETTI (b. 1765 ; d. 1810). 387. Caroline, Lady Cawdor. After H. Edridge, A.R.A. Private plate. 1806. Stipple. Property of the Museum. 388. Mrs. Damer. After R. Cosway, R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. Richard WOODMAN (b. 1784 ; d. 1859) 389. George Frederick Cooke, as " Sir Pertinax MacSyco- phaut." After S. De Wilde. Stipple. Property of the Museum. W. BLENKINSOP. 390. Thomas Banks, R.A. After J. Northcote, R.A. Published 1802. Proof before all letters. Stipple. Property of the Museum. Henry MEYER (b. 1783 ; d, 1847). 391. Horatio, Viscount Nelson. After J. Hoppner, R.A. Proof before all letters. Stipple. 392. Thomas Cadell, the elder. After Sir W. Beechey, R.A. Proof hefore all letters, exeept the artists' names. St ipple. Property of the Museum. John CONDE (b. vw\ of L8tb cent*). 89a Lady Manners. After R. Cosway, R.A. Stipple. 394. Mrs. Fitzherbert. After R. Cosway, R.A. Stipple. Lent by H. S. Theobald, Esq., K.C. 61 William BOND. 395. Mrs. Young, in the character of " Cora," from the tragedy of « Pizarro." After W. Hobday. Published 1804. Stipple. 396. Spring, Summer, Autumn, Winter. (Set of four.) After H. Singleton. Stipple. Property of the Museum. John Raphael SMITH (b. 1752; d. 1812). 397. The Snake in the Grass. After Sir J. Reynolds, P.R.A. Published 1802. Stipple. Property of the Museum. John Samuel AGAR (b. 1770 ; d. 1835). 398. Anne, Countess of Charlemont, wife of . . . second Earh After Anne Mee. Published 1812. Stipple. Property of the Museum. G. MAILE. 399. George IV. After J. Cruikshank. Proof before all letters. Stipple. Property of the Museum. H. ROBINSON. 400. Samuel Wilberforce, Bishop of Oxford. After G. Richmond. Scratched letter proof ; arms below, in centre. Stipple. Property of the Museum. Alexander POPE. 401. Mrs. Siddons. Stipple. Lent by H. S. Theobald, Esq., K.C. Samuel COUSINS, R.A. (b. 1801 ; J. 1887). 402. Dugald Stewart. After Sir David Wilkie, R.A. A private plate ; vignette. India proof. Stipple. Property of the Museum. 62 J. H. BAKER. 403. Percy Bysshe Shklley, Poet. After Miss Curran (?). Bust, India proof before all letters. Stipple. Property of the Museum. James THOMSON (b. 1789; & L850). 4^)4. Lady Mary Bagot, Lady Burghersh, and Lady Fitzroy Somerset. After Sir T. Lawrence, P.R.A. India proof. Stipple. 405. James Bartleman. After T. Hargreaves. India proof. Published 1830. Line and stipple. Property of the Museum. Frederick Christian LEWIS {b. 1779 ; d. 185G). 406. John William Ward, Earl of Dudley. After J. Slater. India proof before all letters, except the artists' names. Stipple. Property of the Museum. 407. Miss Addams. After Sir T. Lawrence, P.R.A. Stipple and aquatint. Lent by H. S. Theobald, Esq., K.C. Charles HEATH {b. 1784; d. 1848). 408. Lady Agar Ellis. After Sir T. Lawrence, P.R.A. Stipple. Property of the Museum. W. DANIELL. 409. Richard OosWay, R.A. After G. Dance, R.A. Stipple. I 410. Sir Joseph Banks. After G. Dance, R.A. Proof before all letters. Stlp P le - Properly of tho Museum, 63 George Thomas DOO, RA. (b. 1800: d. L886). 411. Torso of Venus (British Museum). Proof before letters. Stipple. Property of the Museum. E. STODART. 412. Princess Victoria and the Duchess of Kent. After Sir J. Hayter. Stipple. 412a. The Copper Plate, steel-faced, from which No. 412 was printed. Lent by Messrs. Henry Graves and Co., Lid. Charles PICART (b. about 1780; d. about 1837). 413. Sir Thomas Bernard. After J. Wright. Open letter proof. Published 18 15. Stipple. Property of the Museum. M. N. BATE. 414. Lieut.-Colonel Thomas Thornton. After Gilpin and Reinagle. Proof before all letters. Published 1810. Mixed stipple. Property, of the Museum. Francis HOLL, A.R.A. (b. 1810; d. 1884). 415. William Makepeace Thackeray. After S. Laurence. Published 1853. Stipple. Property of the Museum. William HOLL (b. 1807 ; d. 1871). 416. John Opie, R.A. Proof before letters, except the engravers name lightly etched. Stipple. 417. Mary Somerville. After J. R. Swinton. India proof. 1848. Stipple. Property of the Museum SCREEN A. COLOURED MEZZOTINT AND STIPPLE ENGRAVINGS, AQUATINTS AND ETCHINGS. END OF 18th AND EARLY 19th CENTURIES. Coloured engravings were sometimes printed by tilling in the plate with various coloured inks by means of small stumps, &c. This was a lengthy process and was rarely very successful. The more common method was to print broadly with two or three tints of piinting ink, and afterwards to complete the colouring by hand with water colours ; and in some cases the whole of the colour was added by hand over an ordinary black or grey print. Richard EARLOM (b. 1743; <>\ L<>iu;y Loungers. After H. Wigstead. Coloured Etching. Lent by A. C. Norman, Esq. 441. View of Dover. Colon red E telling. Properly of the Museum. Joseph Constantine STADLER. 442. Hotel de Ville at Louvain. After S. Prout. Coloured Aquatint. Property of the Museum, George SCHARF [b. 1788; d. 1860) and R. and D. HAVELL. 443. The Westminster Election, July 4th, Ls is. ( >olou*ed Aquatint Property of the Museum. R, and D. HAVELL (worked 1810-1637). 444. An Island on tin: Thames, near Park Place, Oxfordshire Published 1811, ( loloured Aquatint 445. Windsor Castle. Published 1811. From A Series of Picturesque Views of the River Thames." 1*12. Ooloured Aquatint Property of the Museum. 67 William DANIELL, R.A. (b. 1769 ; 4 1837). 440. The Long Walk, Windsor Park. ( Joloured Aquatint. 447 Windsor Castle prom the Brocas Meadow. Coloured Aquatint. Property of the Museum, W. J. BENNETT. 448. New Bridge Street, Blackfriars. After F. Nash. Published L809. Coloured Aquatint. Property of the Museum. Theodore Henry Adolphus FIELDING (b. 1781 ■ d. 1851). 44!). Hampton Cliffs, near Bath. 450. View from Claverton Down. After B. Barker. Published 1824. From Barker's "Landscape Scenery." Coloured Aquatints. Property of the Museum. SCREEN B AQUATINTS. END OF 18th AND EARLY 19th CENTURIES. Samuel PROUT (b. 1?83; d. 1852.) 451. Study of Cottages. Published 1813. Aquatint. Property of the Museum. R. GOLDING. 452. Don Quixote and Sancho Pan/a. After R. Sniirke, K.A. Aquatint, Property of th e Musev. m. William DANIELL, R.A. (b. 1769; d. L837). 453 Bacbouc the Barrer's First Brother. (Illustration of the "Hunchback.") After R. Bmirke, R.A. Aquatint. 454. View of the East Front of the New Theatre Royal, Covent Garden, completed in 1809. Published 1809. Aquatint. . Pwperty of the Museum. 7258. K 2 08 Paul SANDBY, R.A. (b. 1725: d. 1809). 455, Windsor Terrace, looking Eastward. Published 1776. Aquatint. 450. Windsor Terrace, looking Westward. Published 1776. Aquatint. Property of the Museum. M. DUBOURG. 457. Landscape. After Claude Lorraine. Published 1809. Aquatint. 458. The "Colonna Claude." After Claude Lorraine. Published IS 11 Proof on India paper. Aquat int. Property of the Museum. BAY 15. MFZXOTIXT FNURAVIXGS. FIRST HALF OF THE L9th CENTURY. Samuel William REYNOLDS (b. 1774; d. 1835). 159 Duchess of Bedford. Aftet J, Hoppner, R.A. Published 1803. ( ))>en tetter proof. Mez. lent by H. 8. Theobald, Esq., KM 460. William. 1st Loud PaqBT After H. Holbein. [ascribed "2nd Proof"; a private plate. ICez. 401. SAMUEL Xoktiicote. After J. Noithcote, RA. Me*. w 4()2. Samuel &YSONS. After Sir T. Lawrence. PR. A. Published L804. Mez. 463. Tynemouth. After T. Girtin. From Girtin's " Liber Naturae." Mez. 4(>4. Layer Thorp Postern, York. After T. Girtin. From Girtin's " Liber Naturae.": Mez. 4(>o. Death of Dido. After Sir J. Reynolds, P.R.A. Published L835. Mez. Property of the Museum, S. W. REYNOLDS and T. G. LUPTON. 466. SlB Vicar y GlBBS. After \V. Owen, R.A. Open letter proof. Published 1815. Mez. Property of the Museum, Thomas Goff LUPTON (b. 1791 ; d. 1873). 467. Sir Philip Francis, G.C.B. After .J. Lonsdale. Lettered proof, LSI 7. Mez. 488. William Blanchard, with Listo.v and MattHBWb, in the Farce of "Love, Law and Physic." After G. Clint, A.R.A. Published 1881. Mez. 469. Arthur YVellesley. Di kk <>r Wellington Kii;li> Marshal. After T. Phillips. \\.\. ( )pen letter proof Published 1846. Mez. Property of the MiiMwm 70 Charles TURNER, A.E. (b. 1773; d. 1857). 470. Mrs. Stratton. After Sir T. Lawrence, P.R.A. Proof before all letters. Mez. 471. Charlotte, Countess of CholmondeleY, and Heb Sox, the Hon. Henry Cholmondeley. After J. Hoppner R.A. Published L805. Mez. Lent by E. S. Theobald, Esq., K.G. 472. Hon. Shute I) akkington, Bishop OF Durham. After Sir T. Lawrence, P.R.A. Proof wit li scratched letters. Published 1817. Mez. 473. Edward Law, Ls1 Lord Ellenborough. After Sir T. Lawrence, P.R.A. Open letterproof. Published 1809. Mez. 474. Robert Stewart, 2nd Marquess of Londonderry. After Sir T. Lawrence, P.R.A. Proof before border and all letters. Mez. 475. Richard Collet, Marquess Wellesley, k.g. After Sir T. Lawrence, P.R.A. Proof before all letters, except the artists' names and publication line, 1815. Mez. 476. John Pitt, 2nd Earl of Chatham, K.G. After J. Hoppner, R.A. Proof before title, etc. Published 1809. Mez. 477. Miss Harriet Mellon in the Character of " Volante" in the « Honey Moon." After Sir W. Beechey, R.A. Scratched letter proof. Published 1806. Me< 71 478. Charles, Earl Whitworth. After Sir T. Lawrence, P.R.A. Proof before letters. Mez. 479. The Water Mill. After Sir A. W. Callcott, R A Published 1812. Open letter proof. Mez. Property of the Museum, George CLINT, A.R.A. (b. 1770: d. 1854). 480. John Poole. Author of "Paul Pry," etc. After H. W. Pickersgill, R.A. Proof before all letters, except the artists' name and publication line, 1827. Mez. 481. Thom \s, Lord Erskine. After Sir T. Lawrence, P.R.A. Proof with scratched letters. Published 1803. Mez. Property of the Museum. Henry MEYER (b. 1783 ; d. 1847). 482. Lady De Tabley. After J. Hoppner, R.A. Proof before all letters. Mez. 483. John, Lord Eldon. After W. Owen, R.A. Unfinished proof. Mez. Lent by JET. 8. Theobald, Esq., K.C. 484. Lieut.-General William Fyers. After J. Hoppner, R.A. Proof before all letters. Mez. Property of the Museum Frederick Christian LEWIS (h 1779 ; d. 1856). 485. Henry Bone, R.A. After G. H. Harlow. Proof before all letters. Mez. Property of the Museum. William WALKER (6. 172!) ; d. 1703). 486. Sib I!i:ni:v Raebtjrn, R.A. After painting by the engraver. Mez. Lent by II. Percy Hornet Esq. 4*7. Edward Burtenshaw Sugden, Lord Saint Leonards. Proof before all letters. M<>z. Property of the Museum, BAY 16 MEZZOTINT ENGRAVINGS. FIRST HALF OF THE 19th CENTURY. Henry DA WE (6. 1790 ; £ 1348). 488. Georue Birkbeck. After S. Lane. Published 1827. Mixed mez. 489. Robert SoutobV. After S. Lane. Proof before Letters, except the artists' names and publication line. Published 1826. Mez. 490. Edward Knight. After .J. P. Knight (his son). Open letter proof ( 0. Published 1825. Mez, Property of the Museu m. John LINNELL (b. 1792 j d 1882). 491: Sir Augustus Wall Callcott, R.A. After painting bv i he engraver. Pirst pro«f. Published 183& ^ v/ - Property of the Museum, John MARTIN (1789-1651). and J. P. QUILLEY 4»2. Pa \ bE.M ON JU M . ("Anon out ol the Earth, etc") Alter •J. .Martin. Prop( Hy of the Museum. 73 J. P. QUILLEY. 493. Richard Parkes Bonington. After Mrs. Nf. Carpenter. Proof before all letters. Mez. Property of the Museum. T. HODGETTS. 494. George IV. After Sir T. Lawrence, P.RA. Proof before the title. Published 1829. Mez. Property of the Museum. John Richardson JACKSON (b. 1819 ; d. IS77), 495. Henry Petty-Fitzmaurice, 3rd Marquess Lansdowne, K.G. After Sir F. Grant, P.R.A. India proof before all letters, except publication line, scratched at top. Published 1857. Mez. Property of the Museum. Samuel COUSINS, R A. («. 1801; d. 1887). 496. Master Lambton. After Sir T. Lawrence, P.RA- Earliest state, with the Lawrence publication line. Published 1X27. Mez. 497. Hiss Croker. After Sir T. Lawrence, P.RA, First state, before letters. A presentation copy from the painter. Published 1828. Mez. Lent by Charles E. Eley, Esq. 498. Charles Manners-Suttox, Isl Viscoi m ( Canterbury. After H. W. Pickersgill, R.A. Open letter proof. Published IB35. Mixed mez. 499. Sir John Patteson. Km. After Mrs. Carpenter, Proof before all letters, except the artists' names. Published 1837 Mez. 500. Julia, Lady Peel. After Sir T. Lawrence, P.R.A. Open letter proof, before the name of the personage. Published 1832. Mixed mez. u gOi. The Qi ben Receiving the Holy Sacrament at her Coronation in Westminster Abbey, June 28th, 1838. After C. R. Leslie, R.A. Mixed mez. 502. tlik duke of wellington presenting a casket to his Godson, Prince Arthur, afterwards Duke of Connauoht, on his First Birthday, May 1st, 1 85 1 . After F. Winterhalter. Proof before all letters, except the publication line. Mixed mez. Property of the Museum. HENRY COUSINS. 503. Thomas Brown. After G. Watson, P.li.S.A. India proof with open and scratch letters. Published 1845. Mixed mez. Property of the Museum. William James WARD (b. abt. 1800 ; d. 1840). 504. The Marquis of Bath, K.G. After H. W. Pickersgill, R.A. Published 1834. Mez. Lent hy Frank Short, Esq., RE. William Overend GELLER, 505. Fruit Piece. After G. Lance. Published 1848. Mixed mez. Property of the Museum. Benjamin Phelps GIBBON (b. 1802; d. 1851). 506. Queen Victoria. After W. Fowler. Published 1840. Mixed mez. Property of the Museum. George J. ZOBEL (b. 1810 ; d. ISM). 507. Sin James Clark. After H. W. Pickersgill, KA. India proof before all letters. Mixed mez. Property of the Museum. Thomas Oldham BARLOW, R.A. (b. L824 ; d. 1889). 508. Bib William Fairhaikn. After P. Westcott. India proof before all letters (1851). Mixed mez. Property of the Museum. 76 David LUCAS (b. 1802 ; d, 1881). d09. Summer Afternoon — Sunshine after Shower. Alter J 4 ( Jonstahle, R.A. 1. Early trial proof. 2. Dra wn upon for alterations. 3. Alterations made and drawn upon for further altera! ions. 4. Finished proof. Mez. 510. Hamrstead Heath. After J. Constable, R.A. 1 Early trial proof. 2 Finished proof. Alez. Lent by H. Percn Home, Esq. 511. Salisrury Cathedral from the Meadows. After J. Constable, R.A. Touched proof. Mez. 512. Weymouth Bay, Dorsetshire. After J. Constable, R.A. Published 1830. Mez. Property of the Museum BAY 17. LINE ENGRAVINGS. FIRST HALF OF THE 19th CENTURY. Anker SMITH, A.E. (b. 1759; d. 1819). 513. Sophonisba. After Titian. Proof, open letters. Published 1813. Line. Property of the Museum. Thomas HOLLOWAY (b. 1748; d. 1827). R. SLANN and T, S. WEBB. 514. Peter and John healing the Lame Man at the Beautiful Gate of the Temple. After Raphael. Proof. Rare state. Published 1836. Line. Lent by W. G. Eawlinson, Esq. 70 Richard GOLDING (K 1785 ; d. 1865). 515. Sir William Grant. After Sir T. Lawrence, P.R.A. Proof with open letters ; the inscription being on a supplementary plate at foot. Line. Property of the Museum. James FITTLER. A.E. (b. 1758 ; d. 1835). 516. A Si-wish Officer. After P. P. Rubens. Published 1813. Line. 51 7. The Plague. After Nicolas Poussin. Proof, open letters. Published 181 1. Line. Property of the Museum. Charles HEATH [b. L764 1848). 5 is. The Infant Hercules. After Sir .J. Reynolds, P.K A. Published 1810. Portrait of »a Cavalier, half length, hand hold- ing SASH, AND A MILT OF 8WQBD SHOWING. After Sir A. Yandvck. Line. Property of the Museum. Niccolo SCHIAVONETTI (b. 1772; d. L813). 519. Sir .Joseph Banks. After T. Phillips, R.A. India paper proof; Published LSI 2. Line. Property oftfte Museum, William SKELTON (b. L763 j d. L848) )2(). Spexoer Perceval. Alter Sir W. Beechey, R.A. Proof. Published 1813; Line. Property of the Museum, Richard COOPER (b about L730; d. 1820). 21. Sir Nicholas Pa. on. After Zucchero. From Lodge's Large Series. India proof before all letters. Line. •22. Robert Aldebson, Rscosder of Norwich, India open Letter proof. Published 182s. Lin.- , ( nd stippie. Property of the Museum, William BROMLEY, A.E. (b 17C9 \ d. 1842). 523. The Woman taken in Adultery. After P. P. Rubens. Published 1813. Line. Property of the Museum. John POWELL. 524. Landscape. After G. Poussin. Scratched letter proof before title. Published 1815. Line. Property of the Museum, W. H. WATT, 525. Thomas Moore. After G. S. Newton, R.A. India proof with open letters. Published L828. Line. Property of the Museum M. J. DANFORTH. 526. Uncle Toby and the Widow Wadman. After C. R. Leslie, R.A. Before title. Published 1833. Line. Property of the Museum. James PHELPS. 527. Fishermen on the Look-out. After W. Collins, R.A. Scratched letter proof, before title. Published 1827. Line. Property of the Museum Francis ENGLEHEART (b. 1775 ; d. 1849). 528. Duncan Gray. After Sir D. Wilkie, R.A. Published 1828. Line. Property of the Museum. Edward GOODALL (b. 1795 ; d. 1870). 529. The Market Cart. After T. Gainsborough, R.A. Published L836. Line. 530. The Marriage Festival of Isaac and Rebecca. After Claude. Published 1834. Line, Property of the Museum, 78 John PYE (b. L782 ; d. 1874). 531. ALL THAT REMAINS OF the Glory of William Smith Proof before letters. Line. 532. The Annunciation. After Claude. Published 1832. Proof open letters. Line. Property of t/t e M v Be wm. William HUMPHRYS (b. 1793; d. 18G5) 533. Spanish Peasant Boy. After Murillo. Published 1833. Line. Property of the Museum . Henry LE KEUX (b. 1787; d. 1868). 534. The Embarkation of Saint Ursula. After Claude. Published L839, Line. 535. A View in Venice. After Canaletti. Published.1832. Line. Property of the Museum. BAY 18. L I X E K X ( ai AV I N( J S. I i h! i CENTURA William FINDEN (6. 1787 ; d. L852> 536. George IV. After Sir T. Lawrence, P.R. A. Published 1829, Line. 537. The Villauk Festival. After Sir 1). Wilkie, H.A. Pub- lished 1830. Une, Property of the Museum 79 Abraham RAIMBACH (b. L776; d. 1843). 538. Count Ugolino. After Sir J, Reynolds, P.R.A. Line 539. Jupiter and Antiopf. A tier Tit ian. Published 1807. Line. Property of the Museum. Henry Thomas RYALL (&. 1811 ; d. 1867). 540. Sir Charles Christopher Pepys, 1st Earl of CottEn- ham. After C. R, Leslie, EL A. Open letter proof. Published 1842. Mixed. Property of the Museum. Frederick BACON (b. 1803; d. 1887). 541. Victoria Marie Louise, Duchess of Kent, Mother of ELM. Queen Victoria. After Sir W. C Ross, R.A. India proof. Published 1841. Lino. 542. Slender and Anne Page. After Sir A. W. Callcott, R.A. Working proof. 543. Slender and Anne Page. After Sir A. W. Callcott, R.A- Proof before title. Line. Property of the Museum- George CRUIKSHANK (b. 1792 ; d. 1878). 544. The Worship of Bacchus. After painting by the engraver. First India paper proof. Published 1864. Line. Property oj the Museum. George Thomas DOO, R.A. (b. 1800; d. 1886). 545. John Scott, Earl of Eldon. After Sir T. Lawrence, P.R.A. India proof with open letters. Published 1828. Line. 546. Gevartius. After Sir A. VanDyok. Published 1830. Line. Property of the Museum. 547. Yorick and THE GrBISElTE. After G. S. Newton, R.A. Engraver's proof, 1837. Published 1838. Lin C Lent by W. G. Rawlinson, Es Lent by W. G. Rawlinson, Esq. Thomas Abeil PRIOR (b. 1809 ; d. 188G). 580. Zurich. After J. M. W. Turner, R.A. Engraver's proof. Line. Lent by TP. G. Rawlinson, Esq. John Tibbitts WILLMORE, A.E. (b. 1800; d. 1863). 581. The Golden Bough. After J. M. W. Turner, R.A. Published 1856. Line. 581 a. The Steel Plate from which No. 581 was printed. Lent by Messrs. Henry Graves 6c Co., Ltd. James Baylis ALLEN (ft. 1802 ; d. 1876). 582. Castle Upnor, on the Medway. After J. M. W. Turner, R.A. For " England and Wales." Engraver's proor Line. Lent by TP. G. Rawlinson, Esq. John HORSBURGH ( 7 . 1790 ; d. 1869). 583. Laugharne Castle. After J. M. W. Turner, R.A. For " Kngland and Wales." Engraver's proof. lAne. Lent by TP. G. Rawlinson, Esq. Thomas HIGHAM (b. 1796 ; d. 1844). 584. Ely Cathedral. After J. M. W. Turner RA For " England and Wales." Engraver's proof. Line - Lent by IP. G. Rawlinson, Esq, James H. KERNOT. 585. Flint Castle. After J. M. W. Turner, R.A. For " England and Wales." & Engraver's proof. Line - lent by IP. G. Rawlinson, Esq, 85 W. R. SMITH. 586. Chain Bridge over the Tees. After J. It W. Turner R.A. For " England and Wales." Engraver's proof. Line. Lent by W. G. Rawlinson, Esq. William RADCLYFFE (b. 178u ; d. L855). 587. Keswick. After J. M. W. Turner, R.A. For "England and Wales." Engraver's proof. Line. Lent by W. G. Rawlinson, Esq. W. TOMBLESON. 588. Holy Island. After J. M. W. Turner, R.A. For " England and Wales." Engraver's proof. Line. Lent by W. G. Rawlinson, Esq. Thomas JEAVONS (b. 1816; d. 18G7). 589. Knaresborough. After J. M. W. Turner, R.A. For " England and Wales." Engraver's proof. 1828. Line. Ljent by W. G. Rawlinson, Esq. Robert WALLIS (b. 1794; d. 1878). 590. Dudley. After J. M. \V. Turner, R.A. For "England and Wales." Engraver's proof, lane. Lent by W. G. Rawlinson, Esq. James BASIRE (b. 1796; d. 1869). 591. Christchurch, Oxford, from the Meadows. After J. M. W. Turner, R.A. Engraver's proof. Line. 592. Interior View of the Hall of Christchurch, Oxford. After J. M. W. Turner, R.A. Line. Lent by W. G. Rawlinson, Esq. 86 SCREEN B. ENGRAVINGS AFTER J. M. W. TURNER, R.A. FIRST HALF OF 19th CENTURY. Charles TURNER (b. 1773 ; d. 1857). 593. fLiTTLE Devil's Bridge over the Russ above Altdorft Drawn and etched by J. M. W. Turner, R.A. Plate XIX. " Liber Studiorum." An early working proof and a close copy of the sepia drawing made by the painter for the engraver to work from. Lent by Frank Short, Esq., R.E. 594. Little Devil's Bridge over the Russ above Altdorft. Drawn and etched by J. M. W. Turner, R.A. Plate XIX "Liber Studiorum," 1809. # Proof completed, but before the initial letter " M," and with the spelling " Alldorft" instead of "Altdorft." From the Engraver's Family. Lent by W. G. Raivlinson, Esq. Robert DUNKARTON (b. 1744; d, abt. 1811). 595. Hindhead Hill. Drawn and etched by J. M. W. Turner, R.A. Plate XXV. " Liber Studiorum," 1811. First published state. Lent by W. G. Raniinson, Esq. William SAY (6. 1768 ; d. 1834). 596. Windmill and Lock. Drawn and etched by J. M. W. Turner, R.A. Plate XXVII. " Liber Studiorum." 1811. First published state. Lent by W. G. Rawlinson, Esq. t As an instance of Turner's minute care in superintending the en- graving of these plates, Mr. llawlinson, in his catalogue of the "Liber Studiorum," quotes tlie following instructions written by Turner on working proofs of this plate : — " The light must be sharp and brilliant, particularly upon the front trees, bones, rock, &c; and if my etching is in your way, viz. the bird and top of the tree, scrape out or beat up the copper. Be careful about the distance. It wants air and light scraping to render it like the place." And " This sky is much better, but do not understand the spots among the light part. A slight indication of a ray of bursting light under the bridge would improve that part, and a few sharp white touches upon the leaves marked x , because they are now two black spots without connection with the stems of the trees. Put a shade upon the top of the bridge, and under at the top of arch." 87 J. M. W. TURNER, R.A. (b. 1775; d. 1851). 597. Junction of the Severn and Wye. Drawn, etched and engraved by J. M. W. Turner, R.A. Plate XXVIII. " Liber Studiorum." 1811. First published state. Lent by W. G. Rawlinson, Esq. W. ANNIS and J. C. EASLING. 598. Mildmay Sea -piece. Drawn and etched by J. M. W. Turner, R.A. Plate XL. " Liber Studiorum." IS 1 2. First published state. From the Turner Sale. Lent by W. G. Rawlinson, Esq. George CLINT, A. R.A. (b. 1770 ; d. 1854). 599. Procris and Cephalus. Drawn and etched by J. M. W. Turner, R.A. Plate XLI. " Liber Studiorum." 1812. First published state. From the Turner Sale. Lent by W. G. Rawlinson, Esq. Thomas Goff LUPTON (b. 1791 ; d. 1873). GOO. Solway Moss. Drawn and etched by J. M. W. Turner, R.A. Plate LII. "Liber Studiorum." 1816. First published state. From the Turner Sale. Lent by W. G. Rawlinson, Esq. Henry DA WE (6. 1790 ; d. 1848). 601 The Alcove, Isleworth (.also known as " Twickenham "). Drawn and etched by J. M. W. Turner, R.A. Plate LX1I1. "Liber Studiorum." 1819. Proof nearly completed, but before the separate reflections of the pinnacles of the tower. From the Stokes and Gambier Parry Collections. Lent by W. G. Rawlinson, Esq. Charles TURNER (b. 1773 ; d. 1857). 60 9 Dunsta nborough Castle. Drawn and etched by J . M. W. Turner, R.A. Plate XIV. " Liber Studiorum." Early working proof, shewing the cold appearance of the aquatint on the upper half of the plate, as compared with the mezzotint on the lower part. The aquatint was used without Turner's sanction, and lie wrote on the tirst proof submitted to him « Sir you have done in aquatint all the castle down to the rocks ; did I ever ask for such an indulgence ? " Lent by Frank Short, Esq., R.E. 88 603. Dunstanborough Castle. Drawn and etched by J. M. W. Turner, R.A. Plate XIV. " Liber Studiorum." Finished proof, where the mezzotint has been merged into the aquatint. Property of the Museum. (i()4. The Shipwreck. After J. M. W. Turner, R.A. Published 1809. Mez. Lent by J. E. Taylor, Esq. John PYE (6. 1782; d. 1874). 605. Ehrenbreitstein. After J. M. W. Turner, R.A. Beneath are two separate plates, one with the quotation, " Here Ehrenbreitstein," &c., from " Childe Harold," the other with the note, " To John Sheepshanks, Esq, this Proof is presented by his much obliged and Obedient Servant, John Pye." Also live working proofs. Line. Property of the Museum. 606. Ehrenbreitstein. After J. M. W, Turner, R.A. Etched state. Ehrenbreitstein. After J. M. W. Turner, R.A. Finished state. Line. Lent by J. E. Taylor, Esq. James Baylis ALLEN (b. 1802; d. 187G). GOT. Falls of the Rhine. After J. M. \\ r . Turner, R.A. Illustration to " Keepsake" (1833). Ha* Lent by J. E. Taylor, Esq. William MILLER (b. 1796; d. 1882). 608. Marly. After.). M. W. Turner, R.A. L8&1 LilK " Lent by J. E. Taylor, Esq. 89 Thomas Goff LUPTON (b. 1791 ; r\ -point. Lent by F. Goulding, Esq Axel Herman HAIG, R.E. 807. Entrance to Mosque, Cairo 1890. 808. Seville Cathedral. 1884. 809. Hill-town, Xavakra, Spain. 810. Amiens Cathedral, Interior. 1897. Etchings. Lent hy the Artist. Arthur EVERSHED. R.E. si I A Boat on the Sea-shore. 1877. Etchin & Property of the Museum, 115 Miss Gertrude HAYES, A R.E. 812. " Blowing the Fire. 1 M LINK E. SI 3. Rue Eau de Robec, Rouen. Croix Vert, Rouen. Etchings. Lent by the Artist. George Percy JACOMB-HOOD. si 4. The Kitten. Dry-point, Lent by F. Ooulding, Est], BAY 25. MODERN ETCHINGS AND MEZZOTINT ENGRAVINGS Robert BRYDEN, R.E. 815. Max in Armour. 1898. ^[ ez . Lent by the Artist, James AUMONIER, R.I., M.E. S16. The Cornfield. In Fold. g£ ez Lent by F. Goidding, Esq. Heywood HARDY. 817. Study of a Lion. A Buffalo's Head. Dry-points. ^ent by F Goukli E$q, 7258. L16 Joseph KNIGHT, R.I., R.E., M E. 818 Welsh Mountain Scene. Welsh Coast Scene. Mez. Lent by F. Gowlding, Esq. John FINNIE, R.E., M E. 819. A Stormy Sunset. Mez. 820. A Mountain Path. "Light in the West." Mez. Lent by the Artist. David WATERSON, A.R.E. 821. Sibyl. Mez. s-2l>. Piping Shepherd. Mez. 823 Mill. Mez. «ind etching. Lent by the Artist. 824. Kit's Hole Reach. 825. The Old Chain Pier, Brighton. A South-eastern gale. Professor Hubert von HERKOMER, C.V-O., R.A. 826. "Broken Tackle." Wild Weather 827. gwenddydd. William Lionel WVLLIE, A. R.A. Etchings. Lent by F. Goulding, Esq. Etchings, Lent by the Artist. in 828. Lord Kelvin, (i.e. V.o 1891, 829. Sir F. Seymoi R II \i>i:\. P.R.E 830. An Old Shepherd Etchings. Lionel P. SMYTH E, A.R.A. 831. Gleaners. Etching. 832. I\ THE Wood. Etching. Lent by F. GovldirCg, Esq. David LAW (k ; y the Engraver. Me/ - Lent by the Artist. 845. Alexander Duff (1806-1878> After John Faed, R.S.A. ^ oz - Property of the Museum. 119 H. Scott BRIDGWATER. 846. " Playmates." After Luke Fildes, R.A. Mez. 847. Portrait of Madame Le Brun. Me/. 848. The Sisters. After J. Sant, R.A. Mez. 849. Clytie. After Lord Leighton, P.R.A. Mez. Lent by the Artist- Gerald ROBINSON, P.M.E. 850. Princess Mary, Daughter of George IIT. After J. Hoppner, R.A. Published 1888. Proof before letters. Mez. 851. The Parson's Daughter. After G. Romney. Published 1889. Proof before letters. M ez Property of the Museum Thomas G. APPLETON. 852. The Dreamers. After Albert Moore. Mez. 853. The Stafford Children. After G. Romney. Mez. 854. Mary Amelia, Marchioness of Salisbury. After Sir J. Reynolds, P.R.A. Mez. 855. Roxalana. After Sir J. Reynolds, P.R.A. .^• ez Lent by the Artist. Joseph B. PRATT, 856. Daniel's Answer to the King. After Briton Riviere, R.A. Etching and Mez. 857. Mrs. Cuthbert. After Sir T. Lawrence, P.R.A. Mez. 858 Mrs. Gregory. After Sir H. Raeburn, R.A. Lent by the Artist Mez. J I 20 Daniel A. WEHRSCHMIDT, M.E. 859. The Late Marquis of Duffebin. After Frank Holl, R.A. Mez. 860. u Music when Sweet Voices Die." After W. Q. Orchardson, R.A. Mez. 861. Miss Clive. After Romney. Mez. Lent by the Artist. John Douglas MILLER, M.E. 862. Memories. After Lord Leighton, P. R.A. Mez. Lent by the Artist. SCREEN C MODERN ETCHINGS. Herbert DICKSEE, R.E. 863. " The Watcher ox the Hill." 864. "The King." Etchings. Lent by the Artist. James DOBIE. 865. " E'BE care regixs." After T. Faed, R.A. 866; " Betrayed/' After W. Langley. Etchings. Lent by the Artist. Miss Mary A. SLOANE, A.R.E. siiT. Lkicester from the iiaxks of the Soar. Miss Hakwooj) as the City of Oxford ix the Masque of " Beauty's Awakening." 86a A Weaver Etchin«B. Levi hlJ ihp Avi[st Miss Amelia BAUERLE, A.R.E. 869. A Song of the Ska. The Hesperides, Etchings. 870. Bacchus, Pan. Dry-points. Lent by the Artist. Miss Minna BOLINGBROKE, R.E. 871. Statue of Charles II. at Salisbury. King's Manor, York. Etchings. 872. " In the Furrowed Land." Etching. " Companions. Dry-point. Lent by the Artist. Colonel R. GOFF, R.E. 873. Summer Showers. I ' I NES — ChRLSTCHURCH Charing Cross Bridge. The Pool, Aldrington. Etchings. Lent by F. Gouldivg, Esq. Robert SPENCE, R.E. 874. George Fox and the Bayliff's Son A Breton Mill, I >ry-points. 875. George Fox and the Witches George Fox at Cambridge. Etchings Lent by the Artist. Frederick SLOCOMBE, R E. 876. "Green Pastures and Still Waters." After B. W. Leader, R.A. 877. " Where many Branches Meet." Etchings. Lent by the Artist. Edward SLOCOMBE, R E. 878. Mai. ink- Cathedral. 879. Rouen Cathedral. 1888. Etchings. Lent by the Artist. Robert BRYDEN, R.E. 880. St. Martin's Bridge, Toledo. 881. Toledo, from the Tagus. Etchings. Lent by the Artist. G. Woolliscroft RHEAD, R.E. 882. " Dost Thou Know This Waterfly ? " After J. Pettie, R.A. Holy Water. From Armstrong's " Scottish Painters." 1888. The Widower. After Luke Fildes, R.A. Taste. After Gonzales Coqnes. Hamerton's " Man in Art." Mid-day Rest. After G. F. Watts, R.A. Portfolio. 1887. Iviviun,;. After F. Madox-Brown. ' Etchings, Lent by the Artist H. R. ROBERTSON, R.E. The Upland Farm 123 884. "The Ploughman Homeward Plods his Weary W.w Etchings. Lent by the Artist. Willie HEYDEMANN. 885. "Smugglers" — to Save their Necks. After C. Napier Heiny, A.R.A. 886. The Annunciation. After A. Hacker, A.R.A. 887. The Threat. After J. Pettie, R.A. Etchings. Lent by the Artist. Charles HOLROYD, R E 888. The Story of Daedalus and Icarus. (Six illustrations). 889. Pastoral. Etchings. Lent by the Artist Edward M. SYNGE, A.R.E. 81)0. Low Tide, Pont Aven. 891. Pont Aven. 892. Hay Barn, Cortina. Etchings. Lent by the' Artist. Miss Ethel King MARTYN, R.E. 803, Ruth and Naomi. 894. The Death of the Blessed Virgin. Etchings. Lent by the Artist. Miss Margaret KEMP-WELCH, A.R.E. 895. Harvest Offering. The Cross Roads. Etchings. Lent by the Artist. I 2 I Alfred HARTLEY, R.E. 896. " Maternity." 897. An Essex Stream. Etchings. • Lent by the Artist. Percy THOMAS, R E 598. The W endmill. After John Crome. 899. Sib Paul Pindar's House, Bishopsgate. 900. The River Thames. Etchings. Lent by the Artist. Theodore Irving DALGLIESH, R.E. !>()!. Easter Procession, Northern Spain. 902. A Quarrel. 903. Landscape. After J. Constable, R.A. Etchings. Lent by the Artist. A. W. BAYES, R.E. 904 Old Houses in Cloth Fair, St. Bartholomew s 905. Cock and Magpie, Drury Lane. 906. Portr ait of John Phillips, R.A. After D. W. Wyntield. Etchings. j n) { j te Artist 125 Frederick HUTH. 907. Portrait of Professor Masson. After Sir G. Reid, P.R.S.A. 908. Breadmaking. After Zorn. 909. A Fete Champetre. After Watteau. Etchings. Lent by the Artist. Reginald E. J. BUSH, A. R E. 910. An Autumn Day. 911. The Mill Stream through the Graveyard, Llandaff 1898. St. Mary's College, St. David's. 912. "Blow, Blow, Thou Wintry Wind." Etchings. Lent by the Artist. Luke TAYLOR, A R.E. 913. The Vegetable Shop. The Road to Roxby. 914. Old Buildings on the Darro, Granada. After D. Roberts, R.A. Etchings, Lent by the Artist. John PARK. 915. Gillingham. After Miller. Etching. Lent by F. Goidding, Es 126 Charles O. MURRAY, R.E. 916. "In Tuas Manus Domixe." After Briton Riviere, R.A. 9 17. The Minster Towers, Lichfield. 918. In My Lady's Garden. After J. Young Hunter. 919. The Pass of Killiecrankie. After J. MacWhirter, R.A. Frederick V. BURRIDGE, R.E. 920. The Dockyard Smithy. Bideford Bridge. 921. ' Wisht Weather." Thunder Weather. Etchings. Lent by the A Hist. 922. Book Plate of Richard George Penn, Earl Howe. Invitation Card to the Coronation Ceremony at Westminster 4bbey, 1902. 923. Book Plate of Frances Evelyn, Countess of Warwick. Etchings. Lent by the Artist. George W. EVE, R.E. Constance, Countess of Derby. Berbert Cokayne Gibbs. Robert H. Mackwobth-Praed. Chas. John Philip Cave. Etchings. Lent by the Artist. William MONK, R.E. 924. Astley's Amphitheatre. 5. The Strand Mortuary. !) 2i). Gable's Eye, Etchings. Cheshire. Lent by the Artist. 127 Oliver HALL, R.E. 927. Showery Weather. Easby Abbey, Yorkshire. Etchings. 928. A ( JUMBERLAND PASS. A Lancaster Moor. Soft ground etchings. Lent by the Artist. Walter W, BURGESS, R.E. 929. Lincoln Cathedral from the Cloisters. 980. Canterbury Cathedral from the Dark Entry. 1894. Etchings. Lent by the Artist Edward W. CHARLTON, A. R.E. 930a.Spring tide on the Blackwater, Essex. Boat-yard, Rye. The Collier. " A Yarn.' The Slipway. 931. " A Landmark.'- The Street Corner (Lymington High Street). Etchings. Lent by the Art is). Pi 129 TOOLS AND MATERIALS USED IN ETCHING AND ENGRAVING. This Collection has been prepared in the School of Engraving of the Royal College of Art, by the Assistant Teacher, C. M. Pott, K.E., under the direction 'of Mr. Frank Short, R.E , who has also supplied the following technical notes. CASE I. ETCHING An etching is a print taken direct from a metal plate by the method known as copper-plate printing, and must not be confused with a pen-and-ink drawing. The work must be wrought with lines, and these lines must be etched, or eaten into the plate by means of acid or other chemicals. The plate is first covered with a thin coating of a wax -like sub- stance called the " ground," which protects the plate from the action of the acid. Through this ground the lines are drawn with a needle point, laying bare the metal. Acid is then applied and eats, or " bites," a furrow into the metal wherever the needle has gone. Sometimes needles of different degrees of fineness are used, to get varying thicknesses of lines ; but usually only one point is employed, the stronger lines being obtained by allowing the acid to act for a longer time, the lines becoming wider, as they get deeper. If any part of the etching is to remain finer or lighter than the other parts, the plate is removed from the acid, washed, dried, and these parts covered over with a varnish, which stops the acid from biting them any deeper. Many gradations are usually made in a plate by this means. The time the acid is allowed to act varies greatly, depending upon the acid or mordant used, the metal, the tempera- ture, and other conditions, and may vary from two minutes to two hours. 1. Steel Plate, polished for engraving or etching. 2. Zinc Plate, polished for engraving or etching. 3. CorPER Plate, polished for engraving or etching (circular polish). 4. Materials for Polishing Plates :— a. Sandstone. b. Pumice Stone. c. Slips of Snake-stone (Water-of-Ayr Stone). d. Charcoal used with^ Water. c. Charcoal used wittfOil. f. Polishing Felt. g. Emery Powder. h. Rottenstone Powder. i. Crocus Powder. k. Emery Paper, No. 0000. I Oil Rubber. 7258. 130 5. Copper Plate, covered or ' ' grounded " with dark etching ground, applied (hot) with a dabber. See Etching Grounds. No. 16 6. Copper Plate, grounded as in No. 5 and smoked with a bundle of wax tapers while still hot. The smoke is incorporated in the ground, and enables the lines to be more readily seen as the work proceeds. 7. Copper Plate, covered with paste ground, applied cold with the roller, and afterwards smoked. 8. Copper Plate coated with liquid ground smoked. 9. Tracing in lead pencil on thin paper for transferring the drawing. The paper is damped and laid on the grounded plate, which is then rolled through the press with a little less than ordinary printing pressure. The result is a drawing in grey lines on the black ground, as in No. 11. 10. Gelatine Transfer. Li using this method of transferring, the drawing is scratched into the gelatine with a needle, and these scratches hold whatever pigment is rubbed into them for the transfer — usually black or red chalk. 11. Copper Plate with pencil transfer, " Tobit's Blindness " (after Rembrandt). 12. Copper Plate, with lines drawn through the ground with a needle. It is now ready for biting in the acid after the back has been protected with Brunswick Black, or some similar varnish. 13. Back of Copper Plate protected with Bmnswick Black. 14. Copper Plate bitten by acid. 15. Proof from Plate No. 14. In the case of additional work being required after the plate lias been " proved," a similar (but usually unsmoked) ground is laid, care being taken to rub the ground well into the lines already bitten so as to prevent their being further acted on by the acid in the bath. A small piece of printing muslin (see No. 74) is used for rubbing in the ground. 16. Etching Grounds, Etc. Etching grounds are generally composed of beeswax, asphaltum. Burgundy pitch, and gum-mastic in varying combinations and proportions, according to (he purpose for which they are intended. They are applied to the plates by the three following methods : (1) hot. by means of a dabber; (2) cold dissolved into a paste with oil of lavender, by means of a roller; (3) reduced to a liquid in chloroform and poured over the plate. 131 a. Dark Etching Ground, laid hot with dabber. b. Transparent Etching Ground, laid hot with dabber. c. Paste Ground, laid cold with a roller. d. Liquid Etching Ground. e. Holler for laying Paste Grounds. f. Kid Dabber. g. Silk Dabber. Dabbers are made of horsehair covered with cotton- wool and finally with kid or silk. h. Ball of Dark Etching Ground wrapped in silk (precaution against grit). i. Taper's used for smoking Grounds. k. Hand-vice for holding plates while being smoked. 17. Materials for STorpiNG-ouT. a. Transparent Stopping-out Vamish. b. Black Stopping-out Varnish. c. Brunswick Black. d. Stopping -out Brushes. Stopping -out " means covering with varnish such f parts of the plate as are not to be further affected by the acid before replacing the plate in the bath. 18. Liquids for Biting-in or " Etching " the Plates. a. Nitric Bath. This is composed of nitric acid of 1'42 specific gravity mixed with water in varying proportions, accord- ing to its intended use. For copper it varies from equal parts of each, to one-third of acid with two-thirds of water. Weaker solutions are used for zinc and steel. So-called nitrous acid is sometimes preferred. b. Dutch Bath. This is usually composed of hydrochloric acid 10 parts, chlorate of potash 2 parts, water 88 parts, but sometimes less water is usod. c. Perchloride of Iron Bath. This consists of a 40° Beaume solution of Perchloride of Iron in water. Note. — The colours of the Nitric and Dutch baths exhibited are due to dissolved copper, these baths having been used. 19. Dish used to contain the Bath and Plate. Sometimes the mordant is applied locally with a brush or feather, avoiding the use of a dish. 7258. 1 2 132 20. Instruments for Drawing and Working on the Plate. a. Diamond Point. b. c. d. Needles. e. f. Burnishers. g. h. Scrapers. i. Graver, or Burin. CASE 2. ETCHING {con tinned). 21. Copper Plate with " sand-grain " un bitten. Sand-grain is produced by passing sand or glass- paper through the press in contact with the grounded plate. The particles of glass pierce the ground in innumerable places, and the plate is then bitten in an acid bath, with " stopping out," the same as in etching. This process is used as an auxiliary to etching, and also entirely without lines for a tone plate. 22. Copper Plate, the upper half showing " sand-grain " bitten and the lower half " fouling." Fouling occurs when the acid bites through faulty places in the ground, and is sometimes made use of intentionally by etchers. 23. Proof of Plate No. 22. 24. Tools used in making alterations to engraved and etched plates. a. Callipers. b. Hammer. c. Anvil. j d. Punches. Alterations are made by burnishing the places smooth, or, if deep, by scraping or grinding the place into a smooth hollow, and afterwards knocking up the plate level from the back upon a polished anvil. The callipers are used to indicate the corre- sponding place on the back, and the knocking up is done with the small end of the hammer., or with punches. 25. Copper Plate (back) showing knocking-up where work has been entirely removed. 26. Copper Plate with alterations made. 27. Proofs of Plate No. 26 before, during, and after alteration. a. As the Plate was originally cut. b. The word " Plate " removed, showing burnisher marks and holes. c. The holes knocked-up and burnisher marks polished out. The base of the ornament above the alteration has also been lightened with the burnisher. 133 SOFT GROUND ETCHING. In this process ordinary etching ground is used ; it is mixed with about half its weight of lard (more or less according to the temperature of the air). The ground is laid as in ordinary etching, and smoked. When cold, thin paper is carefully'strained over it. Upon this the drawing is then made with a lead -pencil, which causes the paper to pick off the ground in a broken line, corresponding to the grain of the paper, the hardness of the pencil, and the pressure used. The plate is afterwards bitten in the same manner as an ordinary etching. 28. Ball of Soft Etchtng-ground tied in silk. 29. Dabber. 30. Copper Plate, with a drawing (after J. S. Cotman.) The paper partly removed, in order to show the pencil work on one side, and the black ground picked up on the other. 31. Copper Plate, with soft ground etching bitten in. 32. Proof of Plate No. 31. DRY POINT. This is really a form of engraving, but is usually considered to belong to the processes of etching. It is merely scratching into the bare metal with a steel or diamond point. This not only ploughs into the copper, but turns up an edge or furrow, technically called " burr." The greater part of the printing quality of " dry-point " is given by this burr, to which the ink clings in printing. When this burr is removed, as in the few lines in the bottom left-hand corner of the Plate No. 33, the lines print clear as shown in the proof. 33. Copper Plate worked with dry-point only. 34. Proof of Plate No. 33, with all the " burr " on. 35. Proof of Plate No. 33, with the " burr " removed from part of the small square of lines in the lower right-hand corner. The faint lines show the printing power of the needle scratches without the burr. 3G. Dry-point Needle. The point of this is sharpened at a more obtuse angle than those used for etching. 134 LINE ENGRAVING. In pure line engraving all the work is cut with a graver and no etching is used. Much " engraving " is, however, partly bitten and partly cut. Plate No. 37 has the intended design sketched in dry-point, and the darker part cut with the graver, as the whole of the plate would be if completed. With a properly - sharpened graver there is scarcely any burr made in cutting, as in the case of dry-point, the copper being removed in a clean shaving. The graver being pushed with some force by the palm of the hand, a severe character is always given to the line as opposed to the freedom of an etched line. 37. Coppeb Plate with pure line engraving. The design being first slightly marked on the plate with dry- point and then cut with the burin or graver. 38. Proof of Plate No. 37. The darker part of the design has been cut and the lighter just marked for cutting. 39. Squabe Section Graver or Burin. 40. Engraver's Cushion. 41. Engraver's Eyeglass. CASK 3. AQUATINT. Although this method is often called " engraving," it is really etching by tones, for all the graving is done by acid ; there are, or need be, no lines. The plate is partially protected by specks of resin or asphaltum, and between these specks the acid bites, giving the plate an ink- holding capacity. Owing to the fineness of the dots or grain, a proof from an aquatint plate appears to the eye like a wash drawing. The forms and tones are obtained by " stopping out " as in etching. The natural tendency of aquatint is to render the subject in flat tones, but these can, to some extent, be modified during the biting and afterwards with the burnisher. There are many ways of producing the partial protection of the plate (called tin' aquatint ground), the two most important being the resinous dust ground, and the spirit ground. 42. Materials for Aquatint Grounds. a. Asphaltum Dust. b. Resin dissolved in Spirit of Wine. 135 43. Copper Plate covered heavily with Asphaltum Dust. Finely -powdered asphaltum is placed in a large box, which is either revolved or shaken in order to produce a smother of asphaltum dust. The box is brought to rest, and the plate inserted, which soon becomes coated with the dust. This deposit is after-wards fixed to the plate by heat. Resin is sometimes used instead of asphaltum . 44. Copper Plate cut in halves after being coated with line asphaltum dust. a. Part with the ground, un bitten. b. Part bitten to three degrees of darkness. 45. Proof of Plate No. 446. 4G. Copper Plate coated with spirit aquatint ground. The solution is poured upon the plate, and on the spirit evaporating the resin is left in a curious state of reticulation. Other conditions being equal, the more resin there is in the solution the coarser is the granulation. 47. Aquatint Plate stopped out ready for a second biting. 48. Plate Similar to No. 47, bitten ; with a few smaller darks added as a third biting. 49. Proof of Plate No. 48. The strip at the edge shows the degrees of the three bitings, and is often used as a guide in working a plate. 50. Copper Plate laid with a much coarser spirit aquatint ground and bitten with one stopping out and one biting, showing merely the high lights and the lightest tone in the subject (No. 53). 51. Proof of Plate No. 50. 52. Copper Plate similar to No. 50, bitten with three further gradations of dark. 53. Simple Proof of Plate No. 52. 54. Heavier Proof of Plate No. 52. This ground is much coarser than would be used for a subject of this size, but has been made thus in order to more easily show the characteristic forms of spirit aquatint grounds. MEZZOTINT ENGRAVING. In pure Mezzotint Engraving there is no biting, and no lines are used. The plate is first prepared or grounded by rocking the grounding tool or cradle (see No. 62) over it until the " burr " thus 136 produced prints a rich full black. The subject is then wrought by scraping away the burr in the lighter tones and finally polishing the plate quite smooth in the high lights. In some mezzotints etched lines are used to emphasize the forms (as in Turner's Lil)er Studiorum), and in others a " texture " is obtained by stipple etching or partial rocking with a coarser tool, under the final mezzotint ground. It is often also mixed with machine ruling and other work, and is then called " mixed mezzotint." 55. Copper Plate over which the tool (48 teeth to the inch) has passed in one direction (technically one " way "), the tool used here taking one -third of the width of the plate at each journey. The upper part of the plate has been scraped clear of " burr " to show more clearly the dots or cuts of the points of the tool. 56. Proof of Plate No. 54. 57. Copper Plate with six ways of the tool at six different angles. Burr at the top removed in like manner to No. 55. 58. Proof of Plate No. 57. 59. Copper Plate grounded about 40 ways, making a " full " ground with the tool (60 teeth to the inch) used. On this plate an outline has been transferred from gelatine, the usual way of commencing work. The upper corner of the plate has been partially scraped, to show how the grain of a grounded plate reveals itself, as the velvet-like burr is more or less removed. 60. Proof of Plate No. 59 before outline was transferred. 61. Gelatine Transfer. 62. Mezzotint Grounding Tools : a. Tool attached to a rocking pole of which this is a simple but perfectly efficient form. Sometimes the poles and tool handles are weighted with lead. b. Tool with 28 teeth to the inch. c. Tool with 50 teeth to the inch. d. Tool with 90 teeth to the inch. e. Tool with 105 teeth to the inch. g. Tools in handles used without rocking pole. A. Tool used by Thomas Lupton, in original handle. NoTE.-It will be noticed that the faces of these tools are grooved the whole length, and each of the ridges thus formed makes a point on being ground at an angle from the back. The end of the tool is curved to enable it to ruck over the surface of the plate. 137 b'3. Scale. The "ways " on a plate are laid out in a series of progressive angles so that no two ways come exactly in the same direction. The angle instrument here shown has two scales. The angle of the one repeats itself after the 54th way, and the other after the 84th w T ay. The earliest mezzotinters laid their grounds with a chan- nelled roller. (See the engraving " The Execu- tioner," by Prince Rupert, No. 84.) Later, on, the grounds were laid with the same tools as those which are now used, but without the pole handle. The " ways " were arranged only at four angles, i.e., 45°, and these were continued over and over again at varying distances till the ground was full. Very good grounds can be laid in this manner, but the method of the progressing angles is more certain. 6*4. Mezzotint Scrapers. 05. Roulettes. STIPPLE ENGRAVING. In Stipple Engraving the work is done by an elaborate series of dots, carefully arranged with reference to the planes and modelling of the subject. The dots are usually marked w ith the needle through a ground, and bitten w 7 ith the acid; and are afterwards added to and deepened with the burin. The burin for stipple is bent downwards, this being obviously the best shape for " pecking " into the dots. In Line Engraving the burin is curved upwards at the point. In some Stipple Engraving both bitten and cut lines are used in conjunction with the dots. Chalk Engraving is a coarse kind of stipple, the dots being made to imitate the character of the grain of a chalk drawing ; and the work was often done partly by soft ground etching and partly by roulettes and punches of various kinds. 66. Stipple Graver. PRINTING. 68. Set of Proofs to show variations in printing from the same plate, and with the same ink. a. Proof from the plate without ink, showing all the lines standing up in relief ; the damp paper being moulded into the sunk parts of the plate by the pressure of the roller combined with the spring of the blankets. This is a very important point to remember in considering all proofs from engraved plates. 138 b. Proof printed in the simplest manner, the surface of the plate being made as clean as possible with printing muslin or canvas. c. Proof printed as bright as possible (called technically " dry "), the plate being finally cleared with the palm of the hand charged with printing ink and whitening. An ordinary visiting card is printed in this manner. (/. Proof printed fuller. The hand is used in the same manner as in the last example, but with less pressure and a liffle " retroussage " is used. (See Note on No. 76.) e. Proof printed still fuller, or " fat." f. Proof printed still fatter. Much over -printed. Here a certain amount of ink is left on the surface of the plate (either by hand or canvas), and the lines are nearly lost into tone by "retroussage." g. Proof upon India paper. This paper is very thin and is usually cut rather smaller than the size of the plate. In going through the press this adheres to the stouter plate paper placed over it, both papers being previously brushed (with a brush similar to a clothes-brush) on the joining surfaces. In more careful printing, however, a little starch paste is used. li. Counter-proof. Obtained by passing a freshly-printed proof through the printing press in contact with a piece of damped paper. The ink on the true proof " sets off " on the new paper and a " reverse " proof is the result. This is sometimes done by engravers to more readily compare their proof with the plate ; all plates, of course, being " reverse " as regards right and left. i. Ordinary proof from the copper. j. Proof under exactly the same conditions from the same plate steel-faced. k. The copper plate, steel -faced. 69. Etched Plate, partly steel-faced. 70. Etched Plate, one-half steel-faced. 71. Proofs of No. 70. a. Before steel-facing. After partly steel-facing. These two proofs are shewn to demonstrate what slight difference (if any) there may be between the result 139 given in printing from the copper as opposed to the steel surface. The proof No. 71a was printed from the copper before steel-facing, and No. 716 after the plate had been partly steel-faced (as it now is, see No. 70). A steel-faced copper plate must not, however, be confounded with a steel plate, in which the qualities of the work and of the proof are very different. 72. Copper Plate Printing Ink. It is made from any pig- ment with sufficient body, ground rather stiffly with burnt linseed oil. The earth colours, such as the umbers and ochres, are used where possible for colour, and there are three kinds of black pigment in common use, viz., Frank- fort black, heavy French black, and a much lighter pigment obtained from the smoke of burning paraffin. The two former are for giving the " body " to the ink, and the latter is used to mix with either or both of the others where surface tint is required and also when it is intended to use "retroussage." The oil is prepared by first boiling the linseed oil in a cauldron, and then setting fire to it. It is then con- tinuously stirred, and the longer it is allowed to burn, the thicker, or more like varnish, it becomes. In printing a proof, the plate is usually warmed on the heater (and kept warm), so as to assist the manipulation of the somewhat stiff ink. It is applied thickly all over the | plate with a dabber, which drives it into the lines or tones. The surplus ink is then wiped off the surface of the plate with a pad of one of the wiping canvases, and generally finally finished w T ith the palm of the hand. This process has to be repeated for every proof. 73. Inking Dabber. 74. Printing Muslin and Canvas for Wiping. 75. A Pad of No. 74, used. 76. Retroussage Muslin. Merely very soft and fine muslin loosely folded. In using it, the muslin is passed lightly over and over the heated plate (following the hand wiping), but scarcely touching it . The movement of the muslin brings a portion of the ink over the edges of the lines, softening them and making them print darker than they otherwise would. 77. Samples of Printing Papers. 78. Wax for Preventing Tarnish, or Corrosion on Plates. uo CASE No. 5. 79. Ruling Machine and Copper Plate, with Specimens of Ruled Lines. Lent by J. B. Pratt, Esq. "Machine-ruling" is a method by which absolutely accurate parallel and evenly spaced lines can be ruled with a diamond point through an etching ground with any degree of fineness. It is used to a large extent in line engraving; its peculiar quality being the readiness with which perfectly even tints can be obtained. 80. Model of Steel-facing Tank. Copper plates when ready for printing are often covered with an exceedingly thin facing of steel (or iron) by suspending them in an iron solution and passing an electric current through it. The copper is covered, almost instantaneously, with a coating of hard bright iron. From tln-ee to twenty minutes may be needed to obtain a sufficient thickness of iron, according to the plate and the current employed. Many solutions containing iron may be used, but the simplest method is to fill the tank with water, in each gallon of which is dissolved 1 lb. of sal-ammoniac. A large iron or steel plate (the anode) is then placed permanently in it and attached to the positive pole of a battery (or other electric current), and a small piece of steel (generally an old file) is tem- porarily suspended opposite^to it attached to the negative pole, until the bath becomes sufficiently full of iron to cause a deposit on a copper plate when placed in it. The plate to be steel-faced is suspended by a strip of copper, soldered temporarily to the back, which serves both as a support to the plate, and to complete the circle of the electric current by contact with a brass rod connected to the negative pole of the battery. The quantity of the current passing must be pro- portionate to the surface of the plate to be steel-faced, and its intensity may vary from to 6 volts. It is essential that the copper should be chemically clean before it is put in the bath, and it is necessary to remove it from the bath every few minutes to wash, and gently polish the surface with a paste of fine whitening and water applied with a flannel, ui order to keep the coating clear and bright. The steel-facing can be easily removed when desired, by placing the plate in a mixture of nitric acid and water (1 acid to 7 water), which instantly dissolves the steel, leaving the copper untouched. 81. Copper Plate Printing Press. 82. Heater for warming plates whilst being printed. 83. JlOGEB tor supporting plates whilst being wiped. 84. Stone Slab and Muller for grinding ink. Lent by Messrs. Hughes & Kimber. ON THE LANDING. Examples oi the works executed by the Students of the l .i -raving School of the Royal College of Art. 141 INDEX OF ENGRAVERS. PAGE Adlard, H. - - - - - - - -- - - - 94 Agar, John Samuel ----- 61 Allen, James Baylis - - 84, 88, 94 Annis, W. - 87 Ansdell, Richard, R.A. - - - - - 106 Appleton, Thomas G. - - - - - - - - 119 Archer, John Wykeham - 83 Armytage, J. C. - - -90,95 Aumonier, James, R.I., M.E. - - 115 Aviline F. ------------ 28 Bacon, Frederick - - 79, 93 Baillie, Captain William - 35 Baker, J. H. - 62 Baldrey, John .'-53 Barber - - - - * - - 91 Barlow, Thomas Oldham, R.A. - - 74 Barney, William Whiston - 48 Baron, B. - : . . - - 29 Barry, James, R.A. - - 33 Bartolozzi, Francesco, R.A. 31, 53 Basire, James -85 Bate, M. N. ... - - . : . . . . 1 63 Bauerle, Miss Amelia, A.R.E. - - . - - - - 121 Bay^s, ^, W., R.E. ' - - - - 124 Beckett, Isaac - - 24 Bennett, W. J. - - - 67 Bewick, Thomas - - 34 Blackmore, Thomas - 39 Blake, William - 91 Blenkinsop, W. - - *60 Blooteling, Abraham " : ' 22 Bolingbroke, Miss Minna, R.E. - ... - - * 121 Bond, William 61 Bovi, Mariano - - - - 58 Bowles, Thomas - - , - ... 32 142 PAGE Boydel', John ------ 33 Boydell, Josiah 35 Brandard, Robert - - - # 82 Bridgwater, H. Scott 119 Bromley, William, A.E. - - - - - 59, 77 Brookshaw, Richard 38 Brown, John - - 81 Browne, Alexander 22 Browne, John, A.E. 29 Bryden, Robert, R.E. 100, 1 1 5, 122 Burgess, Walter W., R.E. 127 Burnet, J. - - 98 Burke, Thomas - - - - 55 Burridge, Frederick V., R.E. 126 Bush, Reginald E. J., A.R.E. 125 Caldecott, Randolph 108 Calderon, Philip Heimogenes, R.A. 108 Caldwall, James 33, 56 Cameron, David Young 112 Canot, Pierre Charles 32 Cardon, Anthony 58, 66 Carter, James - - - - - - 92, 96 Cecill, Thomas 16 Challis, E. 95 Chambers, Thomas, A.E. - 33 Charlton, Edward W., A.R.E. - - - - - - - - 127 Chattock, R. S. - 109 Cheesman, Thomas 54 Clark, J. Benwell 109 Clint, George, A. R.A. 71, 87 Cochran, J. 81 Collyer, Joseph, A.E. 54 Conde, John 60 Cooke, Edward William, R.A. - - - 105 Cooke, George 80, 82, 92 Cooke, William Bernard 82 Cooke, William John - 93 Cooper, J. 23 Cooper, Richard 75 ( 'ope, Charles West, R.A. 106 Cotman, John Sell - - 104 Cousen, C. -99 Cousen, John 82, 90, 95 Cousins, Samuel, R.A. 61, 73 Cousins, Henry 74 Creswick, Thomas, R.A. - - - - * - 106 143 r/GE Cro:ne, John 103 Cruikshank, George 79, 9G Dalgliesh, Theodore Irving, RE. - - 124 Danforth, M. J. - - - 77 Daniell, Edward Thomas 102 Daniell, W. 62 Daniell, William, R.A. - - 67 Da we, Henry - 72, 87 Dawe, Philip 37 Dayes, Edward -.-..44 Dean, John - - - 45 Delamotte, William - 101 Delaram, Francis 15 Delattre, Jean Marie ---- 51 Dickinson, William - - - - 42, 56 Dicksee, Herbert, R.E. 120 Dixon, John - -- ---38 Dobie, James - - - - - 12o Doo, George Thomas, R.A. - - - - - - - - - 63, 79 Doughty, William ---------- 44 Downman, H. - ^6 Dubourg, M. (jg Du Maurier, George - - - - - - - - . - 108 Dunkarton, Robert - - - - - - - - - 14, 44, 86 Dupont, Gainsborough 49 Easling, J. C. - - - - 87 Earlom, Richard - - - - - - - - - 41, 52, 64 Edwards, Edwin- Einslie, S. ---- . _ 37 Ellis, W. 30 Elstracke, Renold _ ------ 14 Engleheart, Francis - - - - - - - - . - 77, 94 Eve, George W., A. R.E. - - - 126 Evershed, Arthur, R.E. - - - - - - - . - 114 Faber, John, the younger -27 Facius, George Sigmund --------- 56 Facius, John Gotlieb ---------- 56 Faed, James - - - - - H8 Faithorne, William, the elder ' - _ . 18 Faithorne, William, the younger - - 22 Fielding, Theodore Henry Adolphus - . (57 Finden, Edward Francis 93 Finden, William - 78 Finlayson. John - 37 144 PAGE 116 Finnie, John, R.E., M.E. - - " 36 Fisher, Edward - . - 96 Fisher, L. - ... 76 Fittler, James A. E. - _ 108 Foster, M. Birket - - . . 101 Francia, Francois Louis T. % Freebairn, Albert Robert - .36 Frye, Thomas - 21 Gascar, Henri - ... 114 Gascoyne, George, R.E. - .59 Gaugain, Thomas ^ Geddes, Andrew, A.R.A. - Geller, William Overend - Gemini, Thomas Gibbon, Benjamin Phelps Goff, Colonel 11,, R.E. ^ Goldar, John - ^ Golding, Richard - " " » ^ Goodall, Edward 13 74, 91, 97 - 121 Graves, Robert, A.R.A. - - «• JJ Greatbach, William - ' Green, Valentine, A.E. - 28 Greenwood, John ' . 29, 57 Grigniony, Charles • ^ Grozer, Joseph - Haden, Sir Francis Seymour, P.R.E. - - - - 110 Haig, Axel Herman, R.E. - 114 Hall, Oliver, R.E. - - - ' " Harding, E. 115 Hardy, Heywood - Hardy, J. - am Hardy, Thomas - " 1 * "V " Harris, John - 31 Hartley, Alfred 124 Havell, R. D. - - - - 66 Havell, D. - - . - 66 Haward, Francis, A.E. - - 55 Haws Miss Gertrude, A. U.K. ------ 115 Heath, Charles - - 62,76,93 Heath, James, A.E. 52 Herkomer, Professor Hurbert Von, C.V.O., R.A. - - - - 116 Heseltine, J. P., R.E. 109 Heydemann, Willie - 123 Higham, Thomas 84 Hodges, Charles Howard - - 50 145 IVu.l- Hodgetts, T. - - 73 Hodgson, John Evan. R.A. - 107 Hoefnagel, Georg - 13 Hogarth, William - - 28, 29 Hogenberg, Francis 13 Hole, William - I S Hole, William B., R.W.S., U.K. - 108 Holl, Francis, A.R.A.- 99 Holl, William - - 63, 80 Hollar, Wenceslaus - 1 7 Holloway, Thomas - 75 Holroyd, Charles, R.E. 123 Hook, J. C, R.A. - - - - - 107 Bopwood, W. - - 65 Horsburgh, John 84 Horsley, John Callcott, R.A. 107 Houbraken, J. - - 20 Houston, Richard - 35 Hudson, Henry - 42 Hnmphrys, William - 78 Hunt, William Holman - - 107 Huth, Frederick - - 125 Jackson, John Richardson - 73 Jacolx's Johann 35 Jacomb-Hood, George Percy, R.E. ... - 115 Jeavons, Thomas .... - - 85, 91, 95 Jones, John - - 46, 55 Judkins, Eliza) >eth ----- 49 Kaoffmann, Maria Anna Angelica, R.A. - 34 Keating, George - - - - - 48, 55 Keene, Charles, S. - - - 108 Kemp-Welch, Miss Margaret, A. R.E. - 123 Kernot, James H. - 84,92,95 Kingsbury, Henry ... - 48 Kip, Jan - - 32 Kirkley, Caroline - - 38 Knight, Joseph, R.I., R.E., M.E. - 116 Kyte, Francis ... - 28 Landseer, Sir Edwin Henry, K.A. - r 104 Landseer. John 95 Landseer, Thomas - 97, 104 Lane, William - 58 Laurie, Robert - :\\) Law, David - - 1 1 7 7258 K 1 m; PACUB Lens, Bernard - - -'' Legros, AJphonse - ■ 112 Le Kenx, Henry ' _ 78 » ^3 Lemon, Henry - 99 Lewis, Charles George 99, 104 Lewis, Frederick Christian - 62, 71 Linnell, John - - - 72,102 Loggan, David - - - - 19, 21 Lombart, Peter - - - 16 Lovelace, James- .... 33 Lucas, David - - - - 75 Lumley, George - - 26 Lupton, Thomas Goff - - - 69,87,89 Lntterel, Edward - - - 23 MacArdeli, James - - 36 Macbeth, Robert Walker, 1 LA. - - 114 Macwhirter, J., R.A. - 109 Maile, G. - - 61 Major, Thomas, A.K. 33 Mango - - - - 57 Marchi, Joseph Philip Liberati - - 47 Marshall, William - - 14, 15 Martin, David - - 40 Martin, John - - 72 Marty 11, Miss Ethel King, R.E. - - 123 Mason, James - - 33 Meadows, Robert Mitchell - - - 59 Menpes, Mortimer, ILL, ILK. - - - - 114 Meyer, Henry - . 00, 71 Middiman, S. ... - 83 Millais, Sir John Everett, P.R.A. 107 Miller, Andrew - ------- 26 Miller, John Douglas, M.E. 120 Miller, William - - - ' ..... 81,84,88 Monk, William, K.E. - - - 126 Mosley, Charles 29 Murray, Charles O., R.E. i2(j Nugent, Thomas - ^7 Nutter, William 57 Ogborne, John •« O'Neill, G. B. 106 Outrim, John ^ Palmer, Samuel ^q- l J ark, John - - 19 . 147 T*AGE Passe, Crispin Van De 14 Passe, Simon Van De - ... 14 Passe, William Van De - -18 Payne, John Hi Peak, James 30 Pelham, Peter - - - - 27 Pether, William - 37 Petitt, J. - - 58 Pettie, John, R.A. - . - - - 107 Phelps, James - 77 Phillips. Charles 42 Phillips, G. H. - «9 Picart, Charles - 63 Place, Francis - ... - 22 Pope, Alexander 61 Pott, Miss Constance M., B.E. - - - 118 Powell, John - - 77 Pratt, Joseph B. 100,119 Preston, Thomas - - - 26 Prior, Thomas Abeil - . . 84 Protit, Samuel - - - -67, 103 Pye, John - - 78,83,88 Quilley, J. P. - - 72, 73 Radclyffe, William - 85 Raddon, W. - - 81 Raimbach, Abraham - - 54,79 Ravenet, F. S. - - 29 Rawle, Samuel - - 83 Read, Richard - 51 Redgrave, Richard, C.B., R. A 1 05 Reynolds, Samuel William < ». 68, 69, 89 Rhead. G. Wooliscroft, R.E. - 122 Robertson, H. R., P. E. - - 122 Robins, William - - " 27 Robinson, Gerald, P.M.R - " 119 t, , • _ tt 61,93,94 Robinson, H. RobinsoD, John Henry, R.A. - 80 > 93 Robinson, R. " 24 Rogers, William - - 13 Rolls, C. - * 94 Romney, John - Rooker, Edward Rowlandson, Thomas - - 06 Rupert, Prince - " ( ^ Ryall, Henry Thomas- - -79,99 148 PAGE 52 Ryder, Thomas - - llvland, William Wynne - Sadler. William - - * Sandby, Paul, R.A. ' ^ J Sangster. Samuel - » 47 Saunders, J. 20 Savage, John ^ . 49,86 Say, William - Scharf, George - ' ' Schiavonetti, Lewis - - - !!° Schiavonetti, Niccolo - - " 59 ' 76 Scotin, L. G. Scott, John Sharp, William - " 34 Sharpe, Charles W. - ' 100 Shenton, Henry Chawner - ;>s Sherborn, Charles William, R E. ' °°, ™$ Sherwin, John Keyse - 34 > 65 Sherwin, William 19 > 21 Short, Frank, R.E. - - , - 117 Simms, P. - " 2 ° Simon, Jean - 27 Simon, Peter - - 57 Skelton, William 70 Slann, B. - 75 Sloane, Miss Mary A., A.R.E. - - - 120 Slocombe, CP. - . - " 108 Slocombe, Edward, R.E. - - 122 Slocombe, Frederick, R.E. - - 122 Smith, Anker, A.E. - ... 75 Smith, John - - 25 Smith, John Raphael - t5, 61, 64, 65 Smith, John Thomas - 101 Smith, W. R. - - - 85 Smythe, Lionel C., P. R.A. - - - - 117 Spence, Robert - ------ 121 Spilsbury, Jonathan - -------- 37 Stacpoole, Frederic, A.R.A. - 100 Stadler, J. C. - - - - 66 Btannard, Joseph - - 102 Stocks, Lumb, h\A. - - 99 Stodart, E. 63 Strang, William, R.E. - - - 113 Strange, Sir Robert - - - 31 Stubbs, George Townley " - - ------ 35 Strutt, Jacob George - - 103 140 PAGE Strutt, Joseph - - 56 Sullivan, Luke - - 29 Synm-, Edward M., A.R.E.- - - 123 Taylor, Frederick - - 106 Taylor, Luke, A. R.E. - - - 125 Taylor, Samuel - - 27 Tempest, Pearce- - 22 Thomas, Percy - - - 124 Thomson, James- ... ------ (52 Tombleson, W. - - 85 Tomkins, Peltro William - ... :r, Tompson, Richard - ... - - 22 Townley, Charles - - 43 Trotter, Thomas - - - - 54 Turner, Charles, A.E. - 70, 86, 87, 89 Turner, J. M. \\\, R.A. - - 87 Valck, Gerard - 24 Van Bleeck, Peter - 26 Vandervarrt, John - 23 Van do Velde, Jan, the elder - - 21 Van Somer, Paul - - - - - 23 Varrall, J. C. ..... 83 Vaughan, Robert - ... ...](; Vendramini, Giovanni - 58, 66 Verkolje, John - 23 Vertue, George - - - - - 20, 28 Vincent, George - - 104 Vincent, W. - - 24 Vivares, F. 30 Walker, H. F. 98 Walker, James - - - - - - 43 Walker, William 72 Waller, R. - - 16 Wallis, Robert - - - 85,90,91 Wallis, W. - 92 Ward, James, R.A. - 50, 64 Ward, William, A. H E. - - - 50,53,65 Ward, William James - - - 74 Waterson, David, A.R.E. - - - - 116 Watson, Caroline - - - 59 Watson, Charles J., R.E. - - - - 113 Watson, James - - ... . 40 Watson, Thomas .... .... 43 Watt, James Henry - - ^8 150 PAGE Watt, W. H. - 77 Webb, T. S. - - 75 Wehrschmidt, Daniel A., M.E. - ... - - 120 Whistler, J. A. McNeill - - - 111 White, George - - - 25 White, Robert - 19 Wilkie, Sir David, J I .A. - 103 Wilkin, Charles - 58 Williams, EL - - 24 Williamson, Peter - - 20 Willmore, James Tibbitts, A.E. - 81, 84, 92, 90 Wilson, Benjamin - 32 Wilson, Daniel - - - 81, 94 Woodman, Richard - <> ( > Woollett, William - 30 Woolnorth, T. - 02 Worlidge, Thomas - 32 Wright, .John - 38 W.vllic, William Lionel, A.R.A. - -118 Young, -loli ii - - - 47 Zobel, George J. 71