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DEPARTMENT OF ANTHROPOID- 
 
 BRITISH MUSEUM 
 
 GUIDE 
 
 TO 
 
 AN EXHIBITION 
 
 OF 
 
 DRAWINGS AND SKETCHES 
 
 BY OLD MASTERS 
 
 AND 
 
 DECEASED ARTISTS OF THE ENGLISH SCHOOL, 
 
 PRINCIPALLY ACQUIRED BETWEEN 1895 AND 1901. 
 
 PRINTED BY OBDEB OF THE TBUSTEES. 
 1901. 
 
 Price Threepence. 
 
\ 4 . 
 
BRITISH MUSEUM. 
 
 GUIDE 
 
 TO 
 
 AN EXHIBITION 
 
 OF 
 
 DRAWINGS AND SKETCHES 
 
 BY OLD MASTEBS 
 
 AND 
 
 DECEASED ARTISTS OF THE ENGLISH SCHOOL, 
 
 PRINCIPALLY ACQUIRED BETWEEN 1895 AND 1901, 
 
 PBINTED BY OBDEB OF TEE TBUSTEES. 
 1901. 
 
LONDON: 
 
 PRINTED EY WILLIAM CLOWES AND SONS, Limited, 
 
 STAMFORD STKEET AND CHARING CROSS. 
 
 
 %MAJU,n, f-fr 
 

 EXHIBITION 
 
 OF 
 
 DRAWINGS AND SKETCHES BY OLD MASTERS 
 
 DECEASED ARTISTS OF THE ENGLISH 
 SCHOOL. 
 
 The objects placed on view in the Print and Drawing Gallery 
 are changed from time to time. From March 1899 to April 1901 
 they consisted of almost complete series of etchings by Rembrandt 
 chronologically arranged, with a hundred of his drawings, and an 
 extensive selection of examples by other contemporary etchers of 
 the Low Countries, France, and Italy. The etchings and drawings 
 of Rembrandt are now removed. They are replaced by a miscel- 
 laneous selection from the most important drawings which have 
 come into the Department since 1895, whether by gift, bequest, 
 or purchase. The acquisitions made within this period do not 
 include any collection so famous or so extensive as that which 
 was purchased for the nation from Lord Malcolm of Poltalloch 
 in 1895, and in great part exhibited in the Print and Drawing 
 Gallery from that year to 1899. But they have nevertheless been 
 both numerous and interesting. The examples by foreign masters 
 now placed on exhibition number 161 : those by deceased artists 
 of our own school (inclusive of a small number of engravings which 
 are placed for illustrative purposes alongside of the drawings which 
 they reproduce) 324. The only examples not acquired within the 
 period specified are the ten drawings of the German school numbered 
 A 7 2- A 80 ? A 84. These have been taken from the famous album 
 
 b 2 
 
 rknr**> a r*g^k 
 
Exhibition of Drawings and Sketches, 
 
 bound in black, and containing a great collection of the drawings of 
 Diirer and his school, which formed part of the original Sloane 
 Collection. As it is only lately that these particular specimens 
 have been identified, assigned to their respective artists, and 
 removed from the album, they are practically new to students, and 
 have been included in the exhibition accordingly. 
 
 A large number of the most interesting drawings shown, both 
 foreign and English, come from the bequest of a well-known 
 amateur, the late Mr. Henry Yaughan, who died in January 1900, 
 leaving to the Trustees of the British Museum drawings and 
 sketches to the number of nearly 400 (among which those by 
 Elaxman and Stothard count for nearly two-thirds), as well as 
 upwards of a hundred plates from Turner's Liber Studiorum needed 
 to complete the five series already in the possession of the Trustees. 
 Among various minor gifts and bequests special acknowledgment is 
 due for a fine late drawing by Michelangelo, four by Primaticcio, 
 and one by Rembrandt, from the representatives of the late 
 Dr. Radford of Sidmouth. Every drawing acquired otherwise than 
 by purchase is marked on the mount with the name of the person 
 by whom it was given or bequeathed. 
 
 The drawings exhibited are divided into two series. Series A 
 consists of the work of the foreign schools, and occupies all the 
 cases on the floor of the room except one, as well as the central 
 screen. Series B, consisting of the works of English artists or 
 artists of foreign origin working entirely in England, is set out in 
 the wall-cases lining the room, and runs over into one table-case. 
 Both series begin immediately to the left of the visitor as he enters 
 from the Glass and Ceramic Gallery. 
 
 The swing-frames in the middle of the room are for the present 
 still occupied with the collection of seventeenth century etchings 
 which was placed there in 1899 to supplement and furnish com- 
 parisons with the work of Rembrandt. 
 
 The following guide has been compiled for the most part by 
 Mr. Laurence Binyon, assistant in the Department of Prints and 
 Drawings. 
 
 The attributions of two drawings, Nos. A 8 and A 49, have 
 been suggested by Mr. Berenson. 
 
 SIDNEY COLVIN. 
 
 
i DIVISION A: FOKEIGN SCHOOLS. 
 
 ITALIAN. 
 
 SIENESE SCHOOL, early XIV Century. 
 
 A 1. Design for a frieze with subjects from the Passion, divided 
 by projecting figures of Apostles. 
 Pen and bistre on vellum. 
 Drawings of this school and date are extremely rare, and this example 
 is of very fine quality, though unfortunately injured by tearing 
 along the top. 
 
 Maso FINIGUERRA. 
 
 Goldsmith, engraver, and draughtsman: b. 1426, d. 1464: worked at 
 Florence; famous for his work in niello, and traditionally. reported 
 to have invented the art of engraving on copper. 
 
 A 2. Nachor and Melchisedech : with a view of part of a city. 
 
 Pen and bistre and bistre wash. 
 
 From the Schaeffer and Ruskin collections. 
 
 A 3. Cadmus killing the dragon, with the city of Thebes in the 
 background. 
 
 Pen and bistre and bistre wash. 
 
 From the Schaeffer and Ruskin collections. 
 
 A 4. Hector about to go into battle. 
 
 Pen and sepia and sepia wash. 
 From the Schaeffer and Ruskin collections. 
 The above three drawings belong to the "Picture-Chronicle" series 
 purchased from Mr. Ruskin in 1888, and attributed by Mr. Colvin to 
 the famous Florentine goldsmith-engraver Maso Finiguerra. The 
 sheets on which they are drawn, with one other, were missing from 
 the series at the time when it was bought from Mr. Ruskin, and 
 have since his death been recovered and presented to the Museum by 
 his representatives, Mr. and Mrs. Arthur Severn. 
 
 Pietro PERUGINO (?). 
 
 Painter: Umbrian school: b. 1446, d. 1523: pupil of Fiorenzo di 
 Lorenzo : worked chiefly at Perugia, also at Rome and Florence : the 
 most famous master of the Umbrian school. 
 
Exhibition of Drawings and Sketches. 
 
 A 5. Studies for a mother and child, and Christ delivering the 
 keys to Peter, in frescoes by Perugino and Pinturicchio 
 in the Sistine chapel. 
 
 Silver-point, heightened with white : on a grey ground. 
 Bequeathed by the late Mr. Henry Vaughan. 
 This much rubbed and injured drawing is of fine and careful quality, 
 and of special interest as representing figures from two extant 
 frescoes in the Sistine Chapel, viz., the Circumcision of the Sons of 
 Moses and the Delivery of the Keys to Peter. The former of these 
 works is wholly or mainly by Pinturicchio, the latter by his master 
 Perugino. The present condition of these studies renders it difficult 
 to judge whether they are the original and preparatory work of either 
 of these masters, or the after work of a skilled pupil copying from the 
 frescoes themselves. 
 
 Leonardo da YINCI. 
 
 Painter, engineer, musician, mathematician, architect, author, etc. ; 
 the most universal genius of the Italian Renaissance : b. 1452, 
 d. 1519 : pupil of Verrocchio : worked chiefly at Florence and Milan, 
 and during his last years in France. 
 
 A 6. Head of an old man. 
 
 Red chalk. 
 
 From the Lely, Lord Spencer, Thane, Esdaile, Bale, and Vaughan collections. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 Lorenzo di CREDI. 
 
 Painter : Florentine School : b. 1459, d. 1537 : pupil of Verrocchio : 
 worked at Florence. 
 
 A 7. Finished study for the figure of St. Julian in the picture 
 "No. 166 in the Louvre. 
 
 Silver-point, heightened with white, on a grey*blue ground. 
 From the Gigoux and Habich collections. 
 This drawing seems to have suffered to some extent from retouching. 
 
 Giovanni Antonio SOGLIANI. 
 
 Painter: Florentine School: b. 1592, d. 1544: pupil of Lorenzo di 
 Credi : worked chiefly at Florence. 
 
 A 8. Study for a picture of the Coronation of the Virgin. 
 
 Black chalk. 
 
 From the Lawrence collection. 
 
 Andrea del SARTO. 
 
 Painter : b. 1487, d. 1531 : one'of the most accomplished artists of the 
 Italian Eenaissance : pupil of Piero di Cosimo : worked chiefly at 
 Florence, and for a short while in Paris. 
 
 A 9. Sheet of Studies, including two for the infant St. John in 
 the picture at the Wallace Gallery. 
 
 Red chalk. 
 
 From the Grahl and Leighton collections. 
 
Division A. Foreign Schools. 
 
 A 10. Study for the figures of St. Bruno and St. Onuphrius in 
 the picture of the Madonna with Saints at Berlin, 
 No. 2 and 6. 
 
 Red chalk. 
 
 From the Leighton collection. 
 
 MICHELANGELO (Michelangelo BUONARROTI). 
 
 Sculptor, painter, architect, and poet : b. 1475, d. 1564 : the last and 
 most powerful of the great Florentine artists of the Renaissance: 
 worked chiefly at Florence, Bologna, and Rome. 
 
 A 11. Lamentation of the Virgin and disciples over the body of 
 Christ. 
 
 Black chalk. 
 
 From the Warwick collection. 
 This drawing, both in conception and execution one of the most perfect 
 and powerful which exists, was acquired after the sale of the Earl 
 of Warwick's collection in 1896, and was added for a while to the 
 exhibition at that time on view in the gallery. 
 
 A 12. Study for a figure of the Virgin Mary. 
 
 Black chalk. 
 
 From the Buonarroti, Wicar, and Lawrence collections. 
 Presented by the representatives of the late Dr. Radford. 
 A good example of the master's late manner. The figure, with modifi- 
 cations, was used in a picture painted from his designs by Marcello 
 Venusti and engraved by Beatrizet. 
 
 BAPHAEL AND HIS SCHOOL. 
 RAPHAEL (Raffaelo SANTI). 
 
 Painter : the most famous, graceful, and versatile of the Italian Renais- 
 sance : b. 1483, d. 1520 : pupil of and assistant of Perugino : in early 
 years much influenced in turn by Timoteo Viti, Perugino, Pinturic- 
 chio, Leonardo da Vinci, Fra Bartolommeo, and afterwards at Rome 
 by Michelangelo : worked at Perugia, Siena (?), Urbino, Florence, and 
 Rome. 
 
 A 13. Virgin and Child with infant St. John. 
 
 Red chalk. 
 
 From the Lely, Cosway, Barnard, Richardson, Lawrence, and Vaughan collections. 
 Bequeathed by the late Mr. Henry Vaughan. 
 This slight and not very powerful study has always been held to be the 
 work of the master. Another and somewhat more finished drawing 
 by his hand repeats the same composition in pen and ink. 
 
 A 14. Virgin and Child : for the Madonna di Foligno. 
 
 Black chalk on greenish-grey paper. 
 
 From the Wicar, Lawrence, King of Holland, and Vaughan collections. Bequeathed 
 by the late Mr. Henry Vaughan. 
 This very beautiful and delicately felt, somewhat effaced, drawing 
 differs in several particulars, especially in the pose and action of the 
 Child, from the picture as carried out, and is in all probability a 
 genuine first sketch of its design by the master himself. 
 
 A 15. Group of Figures on the left side of the altar in the fresco 
 of the " Disputa *' at Rome. 
 Pen and bistre, washed with Indian ink. 
 
 From the Holditch, Esdaile, Willett, and Vaughan collections. Bequeathed by 
 the late Mr. Henry Vaughan. 
 
Exhibition of Drawings and Sketches. 
 
 The composition of the figures differs from that of the design as 
 ultimately carried out, as well as from that in some other extant 
 sketches. The style and handling approach very nearly to those of 
 Raphael himself. 
 
 A 16. The Separation of Light from Darkness. 
 
 Pen and ink and bistre wash heightened with white over black chalk outlines. 
 From the De la Noue, Jabach, Mayor, Lawrence, and Vaughan collections. 
 Bequeathed by the late Mr. Henry Vaughan. 
 Fine work of a pupil (perhaps Pierino del Vaga) for the series of 
 subjects in the vaultings of the Loggie known as "Raphael's 
 Bible." 
 
 A 17. Two terminal figures, from the antique. 
 
 Bistre wash and white on green prepared paper. 
 Drawings of this class are assigned by some critics to Marcantonio 
 Raimondi, the famous engraver after Raphael and other masters. 
 
 SCHOOL OF NAPLES UNDER THE INFLUENCE OF 
 RAPHAEL. 
 
 CARAVAGGIO (Polidoro CALDARA da CARAVAGGIO). 
 
 Pupil of Raphael and Maturino : b. 1495, d. after 1503 : worked at 
 Rome and Naples, where he founded a school : chiefly distinguished 
 as a designer after or in the spirit of the antique. 
 
 A 18. Group of Warriors after the antique. 
 
 Bistre wash, heightened with white. 
 
 A 19. A sacrifice to Jupiter; 
 
 Pen and bistre and bistre wash. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 Marco CARDISCO (il CALABRESE). 
 
 Painter : b. 1468, d. 1542 : worked at Naples and neighbouring cities. 
 
 A 20. St. Augustine and another Saint inspired by an angel in 
 debate with heretics. 
 
 Pen and sepia wash. 
 
 From the Mariette collection. 
 
 SCHOOL OF BOLOGNA UNDER THE INFLUENCE OF 
 RAPHAEL. 
 
 BAGNACAVALLO (Bartolommeo RAMENGHI). 
 
 Painter: b. 1484, d. 1542: pupil of Francia and Raphael: worked at 
 Bologna and Rome. 
 
 " \ A 21. The Adoration of the Shepherds. 
 Black chalk on blue-grey paper. 
 A characteristic and important example of the work of this dignified 
 imitator and mannerist. 
 
Division A. Foreign Schools. 
 
 Francesco PRIMATICCIO. 
 
 Painter and decorator : b. 1490, d. 1570 : pupil of Innocenzo da Imola 
 and Bagnacavallo : worked at Bologna, Mantua, and Fontainebleau, 
 where he carried out vast pictorial and other decorations for Francis I. 
 and Henri II. 
 
 A 22. Charity. 
 
 Pen and sepia and sepia wash, heightened with white. 
 From the Lawrence collection. 
 
 A 23. Temperance. 
 
 Pen and bistre and bistre wash. 
 From the Lawrence collection. 
 
 A 24. Bacchus. Design for the Ball-room at Fontainebleau. 
 
 Pen and bistre and bistre wash. 
 
 From the Gelosi and Lawrence collections. 
 
 A 25. Apollo and the Muses on Parnassus. Design for the Ball- 
 room at Fontainebleau. 
 
 Pen and bistre and bistre wash, heightened with white. 
 From the Lawrence collection. 
 The above four fine examples of Primaticcio were all presented by 
 Miss Radford in accordance with the wish of her father, the late 
 Dr. Radford of Sidmouth. 
 
 SCHOOL OF PARMA. 
 
 CORREGGIO (Antonio ALLEGRI da Correggio). 
 
 Painter of devotional and mythological subjects : b. about 1494, 
 d. 1584 : pupil of Bartolotti at Correggio : influenced by Lorenzo 
 Costa and Mantegna : worked at Correggio and Parma. 
 
 A 26. Sketches for hovering angels. 
 
 Pen-and-ink. 
 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 Attributed to CORREGGIO. 
 
 A 27. Study for two figures of boys. 
 Red chalk. 
 
 PARMIGIANO (Francesco MAZZUOLI). 
 
 Painter and etcher: b. 1504, d. 1540: worked at Parma, Rome, and 
 Bologna : strongly influenced both by Correggio and Raphael. 
 
 A 28. Judith with the head of Holofernes. 
 
 Bequeathed by the late Mr. Henry Vaughan. 
 There is an etching by the master of this same composition. 
 
 A 29. The Virgin and Child and two saints. 
 Black chalk on blue-grey paper. 
 
 From the Lely, Richardson, Barnard, West and Lawrence collections. 
 An inscription in Barnard's handwriting says that this drawing is : 
 the Madonna della Rosa in the Family of Zani at Bologna." 
 
10 Exhibition of Drawings and Sketches. 
 
 ANONYMOUS. 
 
 A 30. Design for completing the facade of the Church of San 
 Petronio, Bologna. 
 
 Highly finished in pen and bistre wash. 
 From the Lawrence collection. 
 This very fine and important drawing has been attributed to the great 
 Florentine sculptor and architect afterwards domiciled in Venice, 
 Jacopo Tatti, better known as Jacopo Sansovino (from the name of 
 his master, Andrea Contucci da San Savino). But the attribution 
 lacks confirmatory evidence. The artist is evidently an accomplished 
 draughtsman of the first decades of the sixteenth century, who in 
 figure-drawing works with admirable skill in a manner betraying the 
 then universal influence of Raphael, and in architecture and decora- 
 tive forms endeavours to design in accordance with Gothic traditions. 
 But those traditions had already been lost in Italy, and the result is 
 of a somewhat extravagant and baroque character. The drawing 
 reproduces the details of the central doorway as they were left by 
 Jacopo della Quercia and as they remain to this day. More work 
 was added to the other doorways by Alfonso Lombardi about the 
 date when this drawing was made ; and artists were invited to send 
 in plans for the completion of the whole f acade : but none of these 
 were ever executed, and the church presents an undecorated brick 
 frontage to the present day. 
 
 VARIOUS ITALIAN SCHOOLS, XVI CENTURY. 
 
 Giorgio VASARL 
 
 Painter, architeot, and author : b. 1511, d. 1574 : pupil of Michelangelo 
 and Andrea del Sarto at Florence : afterwards a mannered imitator 
 of Michelangelo and Baphael : worked chiefly at Florence, Rome, 
 and Arezzo. 
 
 A 31. Portrait of Cardinal Ferdinando de' Medici, surrounded by- 
 emblematical figures. 
 
 Pen and bistre and bistre wash. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 A 32. Study of heads for a picture of Charles IX. agreeing to 
 the death of Admiral Coligny. 
 
 Black chalk on blue-grey paper. 
 From the collection of Padre Besta. 
 The fresco of this subject was carried out by the artist's pupils in the 
 Sala Regia of the Vatican. 
 
 Federigo BAROCCIO. 
 
 Painter \ b. 1528, d. 1612 : native of S. Angelo in Vado, near Urbino : 
 studied at Venice and afterwards at Borne, in which city he 
 principally lived and worked. 
 
 A 33. Study of the head and arms of a child sleeping. 
 
 Coloured chalks. 
 A vigorous piece of realism by an artist whose works commonly incline 
 to the over-mannered and over-sugared. 
 
Division A. Foreign Schools. 11 
 
 Federigo ZUCCHERO. 
 
 Painter : b. 1543, d. 1609 : pupil of his elder brother Taddeo : worked 
 chiefly at Rome, and from 1574= to 1580 in England : also at Venice 
 and in Spain. 
 
 A 34. Taddeo Zucchero in the house of Giovanni Pietro Cala- 
 brese at Rome. 
 
 Sepia wash. 
 
 From the Charles I. and It. Cosway collections. 
 Vasari tells the story of the apprenticeship of Taddeo Zucchero (the 
 elder brother of Federigo) to the miserly Calabrian painter, and how, 
 to prevent the boy helping himself to bread, the bread-basket was 
 hung up and attached to a bell which rang every time it was 
 touched. 
 
 A 35. Musician and lady. 
 Pen and bistre wash. 
 
 SCHOOLS OF VENICE AND VERONA. 
 Vittore CARPACCIO. 
 
 Painter : said to have been born in Istria : supposed to have been a 
 pupil of Gentile Bellini : worked chiefly at Venice, about 1470-1522. 
 
 A 36. Composition of a town and harbour for one of the series 
 of paintings of the life of S. 'Ursula, at Venice. 
 
 Red chalk and pen-and-ink. 
 From the Richardson and Bennett collections. 
 This design has been made up by the artist from two of the woodcut 
 views of harbours in Breydenbach's Sanctce Peregrinationes, and was 
 afterwards modified in the painting. 
 
 Giovanni Battista CIMA da CONGELIAM). 
 
 Painter : b. 1460, d. after 1508 : follower of Giovanni Bellini : worked 
 chiefly at Venice, also at Parma, Bologna, and Rovigo. 
 
 A 37. Study of landscape, for the background of a picture. 
 
 Pen and bistre. 
 
 From the Warwick collection. 
 
 Girolamo da SANTA CROCE. 
 Painter of the School of Giov. Bellini : worked about 1515-1540. 
 A 38. St. Roch, St. Sebastian and St. Christopher. 
 
 Pen and bistre and bistre wash. 
 
 From the Vasari, Mariette, Jabach, Crozat, "Woodburn, and Habich collections. 
 This drawing was formerly ascribed to Bellini himself. It has been 
 reproduced in the selection of drawings from the Habich collection 
 published by O. Eisenmann. 
 
 Domenico CAMPAGNOLA. 
 
 Painter, engraver, and draughtsman: b. about 1485, d. about 1540: 
 worked chiefly at Padua, in imitation of Giorgione and Titian. 
 
12 Exhibition of Drawings and Sketches. 
 
 A 39. Venus reclining in a landscape. 
 
 Pen and bistre. 
 
 From the Lely and His de la Salle collections. 
 This is the drawing engraved with slight modifications by the artist 
 himself (Bartsch 7). 
 
 A 40. Marriage of St. Catharine. 
 Pen and bistre. 
 From the Cosway collection. 
 An example of the artist's later and looser method of drawing. 
 
 School of TITIAN (Tiziano VECELLIO). 
 
 Painter, the greatest and most famous of the Venetian School : b. 1477, 
 d. 1576 : pupil of Giovanni Bellini, and probably also of Giorgione, 
 by whom he was profoundly influenced : worked chiefly at Venice, 
 also at Padua, Rome, and Augsburg. 
 
 A 41. Holy Family in a landscape. 
 
 Pen and Indian-ink wash. 
 
 From the Lely, Richardson and Warwick collections. 
 This drawing was always formerly supposed to be by Titian himself, but 
 is now generally ascribed to his school. 
 
 Francesco BONSIGNORI. 
 
 Painter : b. about 1440, d. about 1519 : worked chiefly at Verona and 
 Mantua : influenced by Mantegna and Leonardo. 
 
 A 42. Studies of one male and two female heads. 
 
 Black chalk. 
 
 From the Wadmore collection. 
 
 Paolo VERONESE (Paolo CALIARI). 
 
 Painter, chiefly of devotional and mythological scenes, pomps, cere- 
 monies, and allegories : Veronese and Venetian Schools : b. 1528, 
 d. 1588 : pupil first of Antonio Badile at Verona : worked from 1555 
 chiefly at Venice : also at Mantua, Vicenza, Padua, etc. 
 
 A 43. St. Gregory, St. Jerome, and another saint. 
 
 Pen and bistre and bistre wash, heightened with white, on grey-blue paper. 
 From the Lawrence and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 Fine and characteristic example. 
 
 Paolo FARINATI. 
 
 Painter : b. 1522, d. 1588 : pupil of Giolfino : influenced by Parmigiano 
 and Paolo Veronese : worked at Verona. 
 
 A 44. The Presentation in the Temple. 
 
 Pen and bistre and bistre wash. 
 A fine, somewhat injured, study for the picture of the same subject 
 at Dresden, formerly attributed to Veronese but now rightly to 
 Farinati. 
 
 A 45. Marriage of St. Catharine, in presence of St. Francis. 
 
 Pen and Indian-ink wash, heightened with white, on greenish-grey paper. 
 
Division A. Foreign Schools. 13 
 
 ZELOTTO (Battista EARINATI). 
 
 Painter : b. 1532, d. 1592 : nephew of Paolo Farinati : trained under 
 his uncle and Paolo Veronese : worked at Venice and Verona, 
 frequently in co-operation with Veronese. 
 
 A 46. Allegorical figure of Autumn. 
 
 Pen and bistre and bistre wash, heightened with white, on greenish-grey paper. 
 
 TINTORETTO (Jacopo ROBUSTI). 
 
 Painter : Venetian School : b. 1519, d. 1594 : pupil "of [Titian, greatly 
 influenced also by Michelangelo : worked at Venice. . 
 
 A 47. The Last Supper. 
 
 Pen and bistre and bistre wash, on greenish paper. 
 
 Prom the Lawrence and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 
 Attributed to TINTORETTO. 
 A 48. The Beheading of St. John. 
 
 Pen and bistre and bistre wash, on greenish-grey paper t ' ' 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 Attributed to TINTORETTO. 
 A 49. Christ disputing with the Doctors. 
 
 Indian-ink wash, on greenish paper. 
 From the Thane collection. 
 The subject of this drawing is not quite certain. Its extreme, and 
 indeed extravagant, energy of scheme and action would stamp it as 
 belonging to the late period of the master's work, or perhaps rather 
 to the hand of a distinguished imitator and exaggerator of his 
 manner, Domenico Theotocopouli (il Greco). 
 
 VARIOUS ITALIAN SCHOOLS, XVII CENTURY. 
 Giovanni Lorenzo BERNINI. 
 
 Sculptor, architect, and painter : b. 1598, d. 1680 : worked chiefly for 
 successive Popes in Rome, also for a time in France : the creator of 
 the baroque style in architecture, and the most famous sculptor of 
 his time. 
 
 A 50. Portrait of the artist as a young man, by himself. 
 
 Red chalk. 
 
 From the Richardson and Somers collections. 1 
 A few years earlier in date than the painting by Bernini of himself in 
 the Uffizi, Florence. 
 
 Ottavio LEONI 
 
 Painter and etcher, especially of portraits : b. 1574, d. 1626 : worked at 
 Rome, under the patronage of Pope Gregory XV. 
 
 A 61. Five portrait heads of the artist's family. 
 Black chalk on greenish paper 
 From the Mariette and Eldon collections. 
 
 Dated I6OI.3 
 
14 Exhibition of Drawings and Sketches. 
 
 Ambrogio FIGINO. 
 
 Painter : b. 1550, d. after 1595 : pupil of Lomazzo : worked in Milan : 
 distinguished as a portrait painter, and also carried out large historical 
 works. 
 
 A 52. (a) Portrait of S. Carlo Borromeo. 
 
 Red and black chalk. 
 Inscribed at the top : si vede che fu tagliato da un libretto. Io lo tagliai. 
 Seb Besta di Ch. N a 1700 ; and below, also in the writing of Resta 
 (a celebrated connoisseur and collector) : ISaltro ritratto di S. Carlo 
 e in morte questo & in vita di mano del ecc mo Pittor Milanese A. Figino. 
 Jo lo levai da un libretto di diversi studij e memorie del med Pittore, 
 che venne a Boma quest' anno 1700 portato da un Pittor Teabino da 
 fiorenza doppo esser caduto in mar e ripescato. 
 
 (b) Portrait of S. Carlo Borromeo, after death. 
 Red chalk. 
 
 Inscribed in the writing of Resta, at the top : S. Caroli effigies vera ; 
 and below : Bitratto di S. Carlo di m d'Ambrosio Figino insigne 
 Pittore di Mil di cui vedi Veccelse Lodi dateli da Gio. Paolo Lomazzo 
 suo Maestro net suo sapientiss libro che dei Precetti delta Pittura 
 stampd doppo che fu cieco, is lo tagliai da un libretto de suoi 
 studij 1700. 
 
 St. Charles Borromeo, b. 1538, d. 1584, Archbishop of Milan, is famous 
 as the great popular and moral regenerator of Roman Catholicism in 
 Italy in the half-century following the troubles of the Reformation. 
 
 Stefano DELLA BELLA. 
 
 Etcher and draughtsman : b. 1610, d. 1664 : pupil of Orazio Vanni and 
 Canta Gallina : worked at Florence and Rome, and in France : 
 famous for his fertility of invention and his exquisite lightness of 
 handling as an etcher and draughtsman. 
 
 A 53-65. A series of fourteen drawings, slightly sketched in pencil, worked 
 up with the pen, and coloured in part with water-colours and gold, 
 representing in the form of a procession the entry of the Ambassador 
 of King Ladislas of Poland into Paris, September 25, 1645, on the 
 occasion of the marriage of the king by proxy with Louise Maria 
 Gonzaga. 
 
 A 53. Chlapowski, Captain of the Heiduks, heading the proces- 
 sion : a group of Spectators to the right, the Bastille and 
 the Porte St. Antoine in the background. 
 
 Pen and bistre over pencil, with water-colour wash. 
 
 A 54. Pieczowski, Captain of the Heiduks of the Bishop of 
 Varmie. 
 
 Pen and bistre. 
 
 A 55. "Accademia de M. del Carnpo." 
 
 Pen and bistre over pencil. 
 
 A 56. " Chouiski, ecuyer et capitain des carabins del ecc no Amb. 
 Palatine" 
 
 Pen and bistre over pencil. 
 
 A 57. "Accademia di M. de Vaux." 
 
 Pen and bistre over pencil. 
 
Division A. Foreign Schools. 15 
 
 A 58. "S r Trecki." 
 
 Pen and bistre over pencil. 
 
 A 59. "24 gentilhomini di Camera del Med mo Amb re ." 
 Pen and bistre over pencil. 
 
 A 60. "S re Scodroski." 
 
 Pen and bistre over pencil. 
 
 A 61. S r Bobolecki, and other nobles. 
 
 Pen and pencil tinted with water-colour, aud heightened with gold. 
 
 A 62. S r Kolucki, and other nobles. 
 
 Pen and bistre over pencil. 
 
 A 63. S r Belzechi, and other nobles. 
 Pen and bistre over pencil. 
 
 A 64. S r Cesklinski, and other nobles. 
 Pen and bistre over pencil. 
 
 A 65. The end of the procession, with numerous carriages, and 
 sketches for two portraits in oval frames, of Ladislaus VTL 
 of Poland, and Louise Maria Gonzaga, his wife. 
 
 Pencil and black chalk, and pen and bistre. 
 
 Giovanni Battista PIRANESI. 
 
 Etcher and architect : b. 1720, d. 1778 : studied in his native Venice, 
 but worked at Rome : etched, chiefly the antiquities of Rome, with 
 extraordinary force and imaginative power. 
 
 A 66. Interior of a large building. 
 
 Pen and sepia, shaded with sepia and Indian ink. Signed Piranesi. 
 Bequeathed by the late Mr. Henry Vaughan.; 
 
 A 67. View in the courtyard of a palace. 
 
 Pen and sepia, with sepia wash. 
 
 Bequeathed by the late Mr. H. S. Ashbee, F.S.A. 
 
 SPANISH SCHOOL.; 
 
 Francisco GOYA. 
 
 Painter, etcher, engraver in aquatint, and lithographer : b. 1746, 
 d. 1828 : pupil of J. S. Martinez : much influenced by the study of 
 Velasquez: worked in Saragossa, Rome, Madrid, and Bordeaux; 
 famous for the imaginative realism of his conceptions, the saeva 
 indignatio of his satire, and the combined fascination and repulsive- 
 ness of his work. 
 
 A 68. A Moorish bivouac. 
 
 Brush, printer's ink, oil-colours, etc. T 
 A masterly drawing belonging to Goya's latest period. There is no 
 record of his having visited Morocco, though he may easily have done 
 so ; but the date of the drawing points rather to its having been done 
 at Bordeaux, and perhaps suggested by a group of Moorish prisoners. 
 
16 Exhibition of Drawings and Sketches. 
 
 GERMAN SCHOOL. 
 
 ANONYMOUS: XV Century. 
 
 A 69. Two flying angels, supporting a representation of the 
 Crucifixion resting on a crescent. 
 
 Pen-and-ink, with water-colour tint on flesh and hair. 
 From the Lawrence collection. 
 This drawing nearly approaches the manner of Martin Schongauer, the 
 celebrated painter-engraver of Colmar in Alsace. 
 
 Hans HOLBEIN I. 
 
 Painter : worked at Augsburg about 1465-1524. 
 A 70. Head of a man laughing. 
 
 Silver-point, on prepared paper. 
 From the Grahl collection. 
 
 ANONYMOUS : early XVI Century. 
 
 A 71. Portrait of a man, in three-quarter face, wearing a wide- 
 brimmed hat. 
 
 Water-colours and body colours. 
 A very spirited example of a class of work rare in early German art ; 
 probably of the school of Burgkmair. 
 
 Hans von KULMBACH. 
 
 Painter and designer for wood-engraving: worked at Nuremburg and 
 Cracow : b. about 1476, d. 1522. 
 
 A 72. Designs for a triptych: the central panel (Coronation of 
 the Virgin), wings (SS. Wolfgang and Mary Magdalen, 
 George and Giles) and part of predella (Death of the 
 Virgin). 
 
 Pen-and-ink and water-colour wash. 
 This drawing has been attributed to Hans von Kulmbach mainly on 
 account of its strong- resemblance to the design at Dresden (Woer- 
 mann, II. 7), dated 1514, for the Margrave's window in St. Sebald's, 
 Nuremberg. 
 
 Hans SPRINGINKLEE. 
 
 Draughtsman : worked at Nuremberg, about 1513-1540 : known chiefly 
 by the woodcuts engraved from his designs. 
 
 A 73. Adoration of the Magi. 
 
 White on dark-green paper. 
 The attribution to Springinklee cannot be regarded as certain, but the 
 work has strong analogies with signed drawings by that artist in a 
 similar technique, of which the Museum collection contains an 
 example. 
 
JDiti'mon A. Foreign, Schools. 17 
 
 Hans Leonhard SCHAUFELELN. 
 
 Painter and designer for wood-engraving : b. about 1480, d. 1539 : 
 worked at Nuremberg, Augsburg and Nordlingen. 
 
 A 74. Coronation of the Virgin, with Prophets and Patriarchs 
 below. 
 
 Pen-and-ink and water-colour wash. 
 
 A 75. Study of a man-at-arms with a halberd: with false sig- 
 nature of Diirer. 
 
 Pen-and-ink. 
 
 A 76. Heraldic design for glass-painting : in central shield, sketch 
 of a woman's head, crowned: in surrounding compart- 
 ments, knights and men-at-arms with badges of Upper 
 and Lower Austria and Burgundy. 
 
 Black chalk and pen-and-ink. 
 
 By or after SCHAUFELEIN. 
 A 77. Siege of Bethulia. 
 
 Pen and bistre. 
 Tbe composition is that of the wall-painting by this master, signed and 
 dated 1515, in the Rathaus at Nordlingen. 
 
 Hans Sebald BEHAM. 
 
 Engraver on copper and designer for wood-engraving : b. 1500, d. 1550 : 
 worked at Nuremberg and Frankfort on the Main : pupil of Albert 
 Diirer and chief of the " Little Masters " : noted for the brilliancy of 
 his execution on copper and the spirited inventiveness of his design 
 for work in both materials. 
 
 A 78. Circular design for glass-painting : St. Laurence, with the 
 arms of Nuremberg. 
 
 Pen-and-ink. 
 Dated 1521. 
 
 A companion drawing to this, representing St. Sebald, has been 
 engraved and published, under the name of Diirer, in " Handzeich- 
 nungen beruhmter Meister aus der Weigel'schen Kunstsammlung," 
 Leipzig, 1854-1861 (no. 19). 
 
 A 79. Circular design for glass-painting: the Virgin and Child 
 and St. Martin, with emblematic groups of SS. Henry and 
 Cunigunda and SS. Ulrich and Afra. 
 
 Pen-and-ink and water-colour tint. 
 Dated (by another hand) 1522. 
 
 The two pairs of saints are the patrons of Bamberg and of Augsburg 
 respectively. Of the two coats-of-arms, that on the r. resembles the 
 arms of the SVabian family of Pflaumer or Pflummer in every 
 respect except the plumes of the crest, which are peacock's instead 
 of cock's feathers. 
 
 o 
 
18 Exhibition of Drawings and Sketches. 
 
 Hans Baldung GRUN. 
 
 Painter, engraver, and designer for wood-engraving: b. 1475-1480, 
 d. 1545 : German School, formed under the influence of Schongauer, 
 Matthias Grunewald, and Diirer : worked chiefly at Strassburg and 
 Freiburg-in-Breisgau. 
 
 A 80. St. Christopher. 
 
 Pen-and-ink heightened with white on dark-grey ground. 
 
 Hans LEU. 
 
 Painter, engraver, and draughtsman for wood-engraving : b. about 1470, 
 d. 1531 : worked at Zurich. 
 
 A 81. Design for glass-painting : the Baptism of Christ. 
 
 Pen and Indian ink and Indian-ink wash. 
 
 Signed and dated 1514. 
 
 From the Fairholme collection. 
 
 Nicolaus Manuel DEUTSCH. 
 
 Painter and designer for wood-engraving : b. about 1484, d. 1530 : 
 worked at Berne. 
 
 A 82. Design for glass-painting : Virgin and Child, with emblems. 
 
 Pen ; washed with Indian ink and blue. 
 
 Signed and dated 1520. 
 
 Prom the Fairholme collection. 
 
 ANONYMOUS (Swiss) : XVI Centuey. 
 
 A 83. Design for glass-painting: the Crucifixion. 
 
 Pen-and-ink and Indian-ink wash, heightened with white, on green prepared 
 
 paper. 
 From the Fairholme collection. 
 
 A 84. Heraldic design for glass-painting: St. George and the 
 Dragon, with a scutcheon bearing the figure of a toad. 
 
 Pen and water-colours. 
 
 ANONYMOUS (Swiss) : late XVI Century. 
 
 | \ A 85. Large heraldic design for glass-painting, containing the 
 arms of Schaff hausen. 
 
 Pen-and-ink on reddish-brown prepared paper, heightened with white. 
 The drawing bears a monogram (Nagler III. 1855), which has been 
 attributed on insufficient grounds to Jost Amman. 
 
 Daniel LINDMEYER. 
 
 Draughtsman, glass-painter and etcher : worked at Schafihausen : 
 b. 1552, d. after 1600. 
 
 A 86. Design for glass-painting: the Crucifixion. 
 
 Pen and Indian-ink wash. 
 From the Fairholme collection. 
 
Division A. Foreign Schools. 19 
 
 Adam ELSHEIMER. 
 
 Painter : b. 1578, d. 1620 : pupil of Uffenbach : worked at Frankfort on 
 the Maine and Rome. His small pictures of landscape and history, 
 very minutely finished, with novel effects of light, and remarkable 
 for their qualities both of truth and style, had a great effect on many 
 succeeding artists, including two so opposite as Rembrandt and 
 Claude. 
 
 A 87. Diana and Calisto. 
 
 Boldly sketched in bistre with the brush. 
 From the Warwick collection. 
 
 f Franz de Paula FERG. 
 
 Painter and etcher: b. at Vienna 1689, d. 1740: worked at Bamberg 
 and Dresden, afterwards till death in London : employed as painter 
 in the Chelsea China Manufactory : noted for small landscapes with 
 figures. 
 
 A 88. A village fair. 
 k Pen, water-colours, and chalk on greenish paper. 
 
 DUTCH AND FLEMISH SCHOOLS. 
 
 Attributed to Bernaert VAN ORLEY. 
 
 Painter and designer : b. about 1491-2, d. 1542 : studied in his native 
 Brussels, then in Rome under Raphael : worked chiefly in Brussels, 
 painting and making large designs for tapestry (such as the " Life of 
 Abraham" at Hampton Court) in a semi-Italianised Flemish style. 
 
 A 89. Dives and Lazarus. 
 
 Pen-and-ink on dark grey prepared paper, heightened with white. 
 Very elaborate and important drawing of fine quality, in a manner 
 approximating to that of Mabuse and still more closely to that of 
 Van Orley. Formerly attributed in error to Lucas van Leyden. 
 
 Dirk VAN STAR. 
 
 Engraver and draughtsman: worked about 1522-1544, probably at 
 Antwerp. 
 
 A 90. The Virgin and Child and St. Anne, with a kneeling donor 
 under the patronage of St. Barbara. 
 
 Pen-and-ink on lilac prepared paper, heightened with white. 
 Signed with the artist'B mark and initials. 
 
 Hans L1EERINCK. 
 
 Draughtsman, engraver, and publisher: worked about 1540-1580, at 
 Antwerp and Leyden. 
 
 A 91. Portrait of Charles IX. 
 
 Black and red chalk. 
 
 Inscribed Carolns Gallorum Rex and signed Bans Liefrinck tfa t 
 Charles IX., b. 1550, d. 1574, son of Henri II. and Catherine de Medicis, 
 at the age of ten became King of France, then torn in pieces by 
 
 c 2 
 
20 Exhibition of Drawings and Sketches. 
 
 religious faction : was long under the evil domination of his mother : 
 after first discouraging, and then courting the Protestant leaders, he 
 finally consented to the treacherous massacre of St. Bartholomew 
 (1572), the one signal event by which his reign is remembered. 
 
 A 92. Portrait of Henri III. as Due d'Anjou. 
 
 Black and red chalk. 
 
 Inscribed Dux Andegauensis and signed Hans Lief rick Fee. 
 Henri III., b. 1551, d. 1589, younger brother of Charles IX., distin- 
 guished while Due d'Anjou by his military successes in the religious 
 civil wars ; elected 1573 King of Poland, he succeeded Charles IX. as 
 King of France 1574; disgusted all parties by his effeminacy and 
 frivolity; his reign was a long struggle first with* the Protestants, 
 then with the Catholic League ; after causing Henri de Guise to be 
 murdered, he was forced to ally himself with the Protestants, when 
 his own assassination cut short his reign and extinguished the house 
 of Valois. 
 
 Johannes STRADANUS (Jan van der STRAETEN). 
 
 Painter : b. 1523, d. 1605 : worked at Bruges and Antwerp, then at 
 Rome under Salviati, at Naples, and again in the Netherlands : 
 afterwards at Florence, in association 'with Vasari : now better 
 known for the hunting scenes engraved after his designs than for 
 his ambitious and ineffectual religious pictures. 
 
 A 93. A band of music marching. 
 
 Pen and bistre. 
 
 Hendrik GOLTZIUS. 
 
 Painter, engraver, and designer for wood-engraving: Dutch School: 
 b. 1558, d. 1616 : worked at Haarlem and in various parts of Germany 
 and Italy. 
 
 A 94. Bacchus and Ceres. 
 
 Sepia, heightened with white. 
 
 From the collection of William Sharp. 
 
 Petrus Paulus RUBENS. 
 
 Painter: the greatest of the Flemish School: successful in fusing 
 Flemish and Italian traditions into a mixed but highly personal 
 style of extraordinary power : b. 1577, d. 1640 : pupil of T. Verhaegt, 
 Van Noort, and O. van Veen : worked at Antwerp, Paris, and Madrid, 
 and in Italy and England. 
 
 A 95. Mars, Minerva and Iris, with the nymphs of the Trojan 
 rivers. 
 
 Pen and sepia sketch. 
 From the Cosway collection. 
 This seems to belong to a group of early drawings done by Rubens in 
 Italy, in which his manner is not easy to distinguish from that of his 
 pupil Van Dyck. The composition is probably copied from that of 
 some Italian picture of the School of the Garracci. 
 
 A 96. Sketches for the labours of Hercules (Hercules and the 
 Nemean lion, Hercules and Antaeus). 
 
 Red chalk. 
 
 From the Lanckrink and Richardson collections. 
 
Division A. Foreign Schools. 21 
 
 A 97. Rome triumphant ; design for the frontispiece of Jacobus 
 Biaeus' "Numismata Romanorum Imperatorum, Ant- 
 werpiae, 1617." 
 
 Pen and bistre, shaded with Indian ink. 
 
 From the Mariette and Lawrence collections. Bequeathed by the late Mr. Henry 
 Vaughan. Engraved for Biaeus' book by Michael Lasne 
 
 /A 98. Hercules. 
 
 Bd chalk with black chalk. 
 
 From the Barnard and Lawrence collections. 
 
 A 99. Life-sized study of the head of a negress. 
 
 Distemper and oil-colours. 
 
 | ( A 100. The Martyrdom of St. Andrew. 
 
 Black chalk and grisaille painting on greenish-grey paper. 
 From the Lawrence collection. 
 Drawn for the engraver, Alexander Voet, by the master himself, from 
 his painting of the same subject, now in the Flemish hospital at 
 Madrid. The present drawing, and the engraving, contain additional 
 figures in the background, which are not in the picture. 
 
 Anthony VAN DYCK. 
 
 Painter and etcher: the second greatest artist (after Rubens) of the 
 later Flemish School : b. 1599, d. 1641 : pupil of Van Balen and 
 Rubens ; worked at Antwerp, in Italy, and for the last nine years of 
 his life with extraordinary success in England. 
 
 A 101. Portrait of a lady, whole length. 
 
 Pen and bistre, shaded with Indian ink. 
 
 From the Dimsdale, Lawrence, and Vaughan collections. Bequeathed by the late 
 Mr. Henry Vaughan. 
 
 A 102. Portrait of Hubert van den Eynden, sculptor; study for 
 the engraving by Vorsterman. 
 
 Black chalk and Indian ink. 
 
 From the Mariette, Lawrence, and Vaughan collections. Bequeathed by the late 
 
 Mr. Henry Vaughan. Engraved by Lucas Vorsterman for Van Dyck's Icono- 
 
 graphie. 
 
 A 103. Rough sketch for a composition; the Adoration of the 
 Magi. 
 
 Brush and bistre. 
 
 From the Lanckrink and Warwick collections. 
 
 A 103. A landscape study; cottages and trees on a hillside. 
 
 Pen and sepia. 
 
 From the Richardson and Warwick collections. 
 
 Lucas VAN UDEN. 
 
 Painter and etcher of landscapes : b. 1595, d. 1672 : worked at Antwerp : 
 best known by his connection with Rubens, whom he assisted in his 
 landscape backgrounds. 
 
 A 104. View of a road bordered with trees. 
 
 Pen and sepia, with sepia wash. 
 Presented by E. Riggall, Esq. 
 
22 Exhibition of Drawings and Sketches. 
 
 Jacob JORDAENS. 
 
 Painter and etcher : b. 1593, d. 1678 : pupil of Van Noort : strongly 
 influenced by Rubens, whom he rivalled in energy and vitality but 
 not in distinction : worked at Antwerp. 
 
 A 105. Design for the picture of St. Martin of Tours exorcising 
 a demoniac, in the Brussels Gallery. 
 
 Body colours. 
 Fine example of the artist's work, drawn on several sheets of paper 
 joined together, the upper part being pieced out with a fragment of 
 a contemporary engraving, apparently a faint impression or counter- 
 proof of a portrait of a man in a fur-trimmed coat. The picture as 
 finally completed presents a number of considerable modifications of 
 this design, some of the figures being omitted and others added. 
 
 Imitation op JORDAENS. 
 A 106. Study from a picture: "Blowing hot and cold." 
 
 Water-colours and body colours. 
 This very spirited and brilliant drawing had long passed as the original 
 study by Jordaens for one of the various pictures of this subject 
 painted by him (in the public galleries of Brussels, Munich, etc.). 
 Technical and other reasons, however, seem to prove that it is a copy, 
 most probably by the hand of David Wilkie, from a version of the 
 subject which is in the Dulwich Gallery, but which itself does not 
 seem to be by the hand of the master. 
 
 Adbiaen BROUWER. 
 
 Painter and etcher, chiefly of peasant life and drolleries : Dutch and 
 Flemish Schools : b. 1605-6, d. 1638 : pupil of Frans Hals : worked 
 first at Haarlem and Amsterdam, afterwards at Antwerp. 
 
 A 107. Group of boors in a tavern. 
 
 Pen and brush and bistre. 
 A 108. Scene in a tavern. 
 
 - Brush and madder. 
 
 A 109. An offender brought before a magistrate. 
 
 Brush and madder. 
 
 A 110. Boors outside a tavern, with fiddler, and dancing monkey. 
 
 Pen and brush and bistre. 
 
 Leonaed BRAMER. 
 
 Painter : b. 1595, d. 1674 : native of Delft : worked for many years in 
 Italy, afterwards again at Delft : noted for small historical pictures, 
 with strong play of light and shade, in the manner initiated by 
 Elsheimer and developed by Rembrandt. 
 
 A 111. The betrayal of Christ: Peter cutting off the ear of 
 Malchus. 
 
 Sepia wash and brush outline over black chalk. 
 
Division A. Foreign Schools. 23 
 
 REMBRANDT (Rembrandt Harmensz VAN RYN). 
 
 Painter and etcher, the greatest of the Dutch School : b. 1606, d. 1669 : 
 pupil of Swanenburgh, Lastman, and Pinas : distinguished alike in 
 figures and landscape, and unequalled for his effects of light and 
 shade, and for his imaginative rendering of common human nature : 
 worked at Leyden and Amsterdam. 
 
 A 112. Unknown subject : three boys and a group of spectators. 
 
 Pen and bistre. 
 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 A 113. Tobit recovering his sight. 
 
 Pen and bistre. 
 
 From the collection of F. Abbott, Edinburgh. 
 
 A 114. Study from the group of Apostles at Christ's right hand 
 in Leonardo da Vinci's " Last Supper." 
 
 Red chalk. 
 
 From the Cosway, Esdaile, and Lawrence collections. Presented by Miss Kate 
 Radford. 
 Studies by Eembrandt from the whole composition of the " Last 
 Supper " are in the Berlin Print Boom (pen-and-ink) and in the 
 collection of Prince George of Saxony at Dresden (red chalk). 
 
 A 115. The interior of Joseph's house at Nazareth. 
 
 Pen and bistre, with bistre and Indian-ink wash. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 A 116. Judith returning in triumph with the head of Holo- 
 fernes. 
 
 Pen and brush and bistre. 
 From the Woodburn and Abbott collections. 
 Very fine and spirited work of about the year 1555. 
 
 A 117. Sketch of a young man asleep. 
 
 Pen and bistre and red-brown wash. 
 
 Caspar NETSCHER, 
 
 Painter of portraits and conversation pieces : b. 1639, d. 1684 : formed 
 under the influence of Ter Borch : worked at Arnheim, Deventer, 
 and the Hague, also for some time at Bordeaux and in England. 
 
 A 118. Head of a girl. 
 Red chalk. 
 
 Philips WOUWERMAN. 
 
 Painter of landscapes with figures, especially equestrian and hunting 
 scenes : b. 1619, d. 1668 : worked at Haarlem. 
 
 A 119. Children on the ice. 
 
 Indian ink. 
 
 From the Woodburn and Habich collections. 
 
 Herman VAN SWANEVELDT. 
 
 Painter of classical landscapes with figures: Dutch and Roman 
 Schools : b. about 1600, d. 1655-6 : imitator and probably pupil of 
 Claude : worked at Borne and Paris. 
 
24 Exhibition of Drawings and Sketches. 
 
 A 120. Italian landscape with a bridge in the foreground. 
 
 Pen and bistre and Indian-ink wash. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 A 121. Italian landscape with figures on a road in the fore- 
 ground. 
 
 Pen and bistre and Indian-ink wash. 
 
 From the Holditch collection. Bequeathed by the late Mr. Henry Vaughan. 
 
 Jan YAN DER MEER II. 
 
 Painter of cattle and landscape : b. 1656, d. 1705 : pupil of his father, 
 Jan Van der Meer I., and of Nicholas Berchem : worked at Haarlem. 
 
 A 122. Study of sheep. 
 
 Black chalk and water-colours. 
 Signed and dated J. V. der nicer de jonge f. 1687. 
 
 Thomas WYCK. 
 
 Painter and etcher, chiefly of scenes of daily life, shipping and land- 
 scape : b. about 1616, d. 1677 : pupil of his father, Jan Wyck : 
 worked in Italy, in Haarlem, and in London about the time of the 
 Restoration. 
 
 A 123. View of London from Blackheath. 
 
 Sepia and Indian ink over pencil. 
 
 From the Paul Sandby collection. Presented by G. Mayer, Esq. 
 While in England, Wyck drew or painted several views of London 
 before the Great Fire, and of the Fire itself. This view was engraved 
 by Godfrey in 1776. 
 
 Jan SMEES. 
 
 Painter and etcher : d. about 1729 : worked at Amsterdam : known 
 chiefly by his few rare etchings of Italian landscapes with ruins, in 
 the style of Both. 
 
 A 124. Landscape with cottage and haystack. 
 Pen and sepia with water-colour wash. 
 
 Reiniek VINKELES. 
 
 Engraver and draughtsman: b. 1741, d. 1816: worked at Amsterdam 
 and in Paris : a prolific engraver of book-illustrations, chiefly 
 portraits and vignettes, very many after his own designs. 
 
 A 125. View of the Quai de Tournelle, Paris. 
 
 "Water-colours with pen outlines. 
 
 Nicolaas WICART. 
 
 Painter of landscape, chiefly of river scenes : b. 1748, d. 1815 : worked 
 at Utrecht. 
 
 A 126. View of Rotterdam from the Maas. 
 
 Sepia and Indian ink. 
 Signed N. Wicart, Del. 
 
Division A. Foreign Schools. 25 
 
 Lodewijk Gilles HACCOU. 
 
 Painter of marine subjects, especially ships in a calm : b. 1792, d. : 
 
 elder brother of the better known J. C, Haccou : worked in Holland. 
 
 A 127. Shipping off the coast of Holland. 
 
 Indian ink and water-colour tint. 
 Signed and dated L. G. Haccou f. 1822. 
 
 FEENCH SCHOOL. 
 
 Nicolas LAIGNEAU. 
 
 Portrait painter and draughtsman : French School : worked in France 
 about 1590-1610, 
 
 A 128. Head of a young man. 
 
 Bed and black chalk. 
 
 Nicolas POUSSIN. 
 
 Painter of devotional, classical, and historical subjects. French and 
 * Boman Schools: b. 1594, d. 1665: pupil of Q. Varin, F. Elle, and 
 G. Lallemand, and at Rome of Domenichino : further influenced by 
 Eaphael and the antique : worked at Borne, also in Paris. 
 
 A 129. Portrait of the artist, done during recovery from, an 
 illness. 
 
 Red chalk. 
 This curious drawing, well attested both by internal evidence and by the 
 contemporary Italian inscription at foot, is of special interest both 
 artistic and biographical. 
 
 Gaspard POUSSLN (DUGHET). 
 
 Landscape painter : Boman School : b. 1613, d. 1675 : brother-in-law 
 and pupil of Nicholas Poussin : worked at Borne. 
 
 A 130. Landscape with buildings on a rock and peasants fishing. 
 
 Pen-and-ink and water-colour tint. 
 From the Sensier collection. 
 
 Claude LORRATN (GELL^E). 
 
 Landscape painter and etcher : French and Boman Schools : b. about 
 1600, d. 1682: pupil of A. Tassi, influenced by P. Bril, Annibale 
 Carracci, and A. Elsheimer : worked chiefly at Borne, and for a short 
 time at Nancy. 
 
 A 131. Study of willows, with hills in the distance. 
 
 Pen and sepia and sepia wash on blue paper heightened with white. 
 From the Moritz von Fries, Lawrence, and Esdaile collections. 
 
 A 132. Landscape, with man and woman driving a herd of cows, 
 goats, and sheep. 
 
 Pen and bistre and bistre wash. 
 Bequeathed by the late Mr. Henry Vaughan. 
 
26 Exhibition of Drawings and Sketches. 
 
 A 133. The Country Danoe : study for an etching. 
 
 Pen and bistre and bistre wash. 
 
 From the Spencer and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 
 Modified considerably as a composition in the etching (Robert Dumesnil, 
 No. 10). 
 
 A 134. Landscape with a shepherd and his flock at dawn. 
 
 Sepia over black chalk, heightened with white. 
 
 From the Spencer, Richardson, and Vaughan collections. Bequeathed by the late 
 Mr. Henry Vaughan. 
 Signed and dated Roma 1660. Gillee. 
 
 A 135. Landscape with a lake and temple. 
 
 Black chalk, Indian ink, and sepia wash. 
 
 From the Barnard, Richardson, "West, and Vaughan collections. Bequeathed by 
 the late Mr. Henry Vaughan. 
 The two figures of Apollo and the Sibyl seem to have been added by 
 another hand. 
 
 A 136. Coast scene with shipping. 
 
 Sepia over red-chalk outline, heightened with white. 
 Bequeathed by the late Mr. Henry Vaughan. 
 Signed (twice) Claudio in. 
 
 !A 137. Large landscape, with the Holy Family reposing. 
 Pen and sepia with Indian-ink wash, heightened with white. 
 Bequeathed by the late Mr. Henry Vaughan. 
 Signed Claudio Lorrenese. 
 
 Jacques STELLA. 
 
 Painter of devotional and historical subjects, and of wall decorations : 
 b. 1596, d. 1657 : worked at Lyons, Florence, Borne, and Paris. 
 
 A 138. An angelic chorus: study for a decorative wall-painting. 
 
 Sepia wash and pen, heightened with white. 
 From the Moritz von Fries collection. 
 Signed Stella. 
 
 Jean-Baptiste CORNEILLE. 
 
 Painter of religious and mythological subjects : b. 1649, d. 1695 : pupil of 
 his father Michel Corneille : studied at Rome, worked at Paris. 
 
 A 139. The return of the prodigal son; design for a picture 
 (with a separate study of the prodigal). 
 
 Pen and sepia wash. 
 Signed J. B. Corneille with an inscription by the artist (much muti- 
 lated) in the corner, recording the date on which the picture was 
 completed, and the person for whom it was painted. 
 
 Antoine COYPEL. 
 
 Painter and etcher : b. 1661, d. 1722 : pupil of his father Noel Coypel : 
 worked chiefly in Paris, painting large compositions, chiefly of sacred 
 subjects. 
 
 A 140. Two studies for pictures: the infancy of Daphnis; and 
 Christ and the woman of Canaan. 
 Sepia, and red and black chalk, on greenish paper, heightened with white. 
 
Division A. Foreign Schools. 27 
 
 Claude-Joseph VERNET. 
 
 Painter and etcher of marine subjects and landscape : b. 1714, d. 1789 : 
 worked at Avignon, Aix, Eome, and Paris. 
 
 A 141. Coast scene, with fishermen on the rocks. 
 
 Chalk and Indian-ink wash. 
 
 From the Thomas Dimsdale collection. 
 
 Antoine WATTEAU. 
 
 Painter and etcher: French School: b. 1684, d. 1721: native of 
 Valenciennes, whence he removed early to Paris: pupil of Gillot, 
 much influenced by the example of Rubens and Paul Veronese : the 
 most brilliant and original draughtsman and colourist of the century, 
 and founder of a new school of courtly pastoral painting: worked 
 chiefly at and in the neighbourhood of Paris ; also in England, at 
 Greenwich. 
 
 A 142. Heads of four women and a man. 
 
 Bed, black, and white chalks. 
 
 From the Spencer and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 Scarcely any drawing of the master illustrates more completely than 
 this the unrivalled combination of force, delicacy, and animation 
 which characterise his draughtsmanship in dealing with the types 
 and attitudes which were congenial to him. 
 
 A 143. Heads of four women. 
 
 Bed, black, and white chalks. 
 
 From the Lawrence and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 Fine and important example, only a little less exquisite in quality than 
 the last. 
 
 A 144. Portrait of a friar, whole length. 
 
 Bed and black chalks. 
 
 From the Carpenter and Vaughan collections. Bequeathed by the late Mr. Henry 
 Vaughan. 
 
 A 145. Head of a boy. 
 
 Bed and black chalks. 
 
 A 146. Whole-length figures of a gentleman and lady moving 
 away. 
 
 Brush and bistre. 
 
 Bequeathed by the late Mr. Henry Vaughan. 
 
 A 147. Studies of owls. 
 
 Bed chalk. 
 
 From the Carpenter collection. 
 An inscription on the back of the drawing in an old hand attributes it 
 to Sebastian Le Clerc, but with no apparent foundation. 
 
28 Eochihition of Drawings and SJcetches. 
 
 Nicolas LANCRET. 
 
 Painter, chiefly of Court portraits and masquerades: French School: 
 b. 1690, d. 1743 : pupil of Dulin, Gillot, and Watteau : worked in 
 Paris. 
 
 A 148. Study of foliage, for the background of a picture. 
 
 Red chalk. 
 
 From the Uvedale Price collection. 
 
 . Jean-Honore ERAGONARD. 
 
 Painter and etcher chiefly of Court pastorals and love-scenes : h. 1732, 
 d. 1806 : pupil of Chardin and of Boucher : influenced by the study of 
 Tiepolo in Italy : worked chiefly in Paris. 
 
 A 149. Landscape with cattle at a watering-place. 
 
 Sepia. 
 
 From the de Goncourt collection. 
 
 Francois BOUCHER. 
 
 Painter and etcher: b. 1703, d. 1770: pupil of F. Lemoine and Carle 
 Vanloo : famous as a painter of mythological and allegorical decora- 
 tions, produced with extraordinary facility and abundance: worked 
 chiefly in Paris, also at Rome. 
 
 A 150. Portrait of a lady seated, whole length. 
 
 Red, black, white and blue crayons. 
 
 Charles-Joseph NATOIRE. 
 
 Painter and etcher chiefly of sacred and mythological subjects : b. 1700, 
 d. 1777 : pupil of Galloche and Lemoine : worked at Nlmes, Paris, 
 and Rome. 
 
 A 151. Head of a girl. 
 
 Coloured chalks. 
 Signed C. Nat&ire f. 
 
 Gabriel-Jacques DE ST. ATJBIK 
 
 Painter and etcher, chiefly of domestic subjects : b. 1724, d. 1780 : pupil 
 of Boucher : worked in Paris. 
 
 A 152. (a) Sheet of studies of women. 
 
 Red and black chalk, touched with white. 
 
 (b) Sheet of studies, group of four men, woman with 
 baby. 
 
 Black chalk. 
 
 A 153. Portrait head in profile. 
 
 Black chalk touched with carmine on lips and cheek. 
 
Division A. Foreign Schools. 29 
 
 Jean-Baptiste GREUZE. 
 
 Painter, chiefly of scenes of bourgeois life, and portraits and fancy 
 heads of girls: French School: b. 1725, d. 1805: worked chiefly at 
 Paris. 
 
 A 154. The return of the Shepherd. 
 
 Black chalk and Indian-ink wash on greenish paper, heightened with white. 
 From the Warwick collection. 
 Fine and important sketch for the composition of one of the master's 
 favourite subjects of pastoral life and drama. 
 
 Pierbe-Alexandre WILLE. 
 
 Painter and etcher, chiefly of domestic subjects : b. 1748, d. 1821 : son 
 of the well-known engraver J. G. Wille : pupil of Vien and Greuzd : 
 Court painter to Louis XVI. : worked in Paris. 
 
 A 155. Scene in the Paris Fishmarket 1797. 
 Pen-and-ink and water-colours. 
 Signed and dated dessintpar P. A. Wille fils en 1797, an 5. 
 Probably intended for reproduction in coloured aquatint by Janinet. 
 
 Eugene DELACROIX. 
 
 Painter and lithographer : b. 1798, d. 1863 : pupil of Guerin and Gros : 
 leader of the French romantic movement of 1830 : famous for his 
 splendid gifts as a colourist : worked chiefly in Paris, also in Spain, 
 Algiers, and Morocco. 
 
 A 156. "Women of Algiers. 
 
 Chalks and water-colours. 
 From the Christophe collection. 
 A very fine example of the artist's numerous studies of Algerian and 
 Moorish interiors, preparatory to the celebrated " Femmes d' Alger " 
 (1833) now in the Louvre. 
 
 Jean-Francois MILLET. 
 
 Painter and etcher : b. 1814, d. 1875 : pupil of Langlois and Delaroche : 
 famous for his serious and penetrative power in the delineation of 
 peasant, life and labour, and as one of the greatest of French 
 draughtsmen: worked (tentatively and under great hardships) at 
 Cherbourg, Paris and Havre ; afterwards, from 1849 till his death, at 
 Barbizon, near Fontainebleau. 
 
 A 157. "Les Becheurs." 
 
 Black chalk. 
 Study for one of the finest and most oelebrated of Millet's etchings, and 
 superior to it in economy and force, the etching needle being both 
 less familiar and less intimate than the black chalk as an instrument 
 of the master's nervous energy of expression. 
 
 A 158. Woman at the Window. 
 
 Black chalk. 
 The attitude of the figure in this study recalls, and was possibly 
 suggested by, an Italian engraving of the school of Marcantonio, 
 
30 Exhibition of Drawings and Sketches. 
 
 known as the Femme Pensive, the design of which was repeated 
 more exactly by Paul Veronese in the St. Helena of the National 
 Gallery. 
 
 A 159. "Woman with Cow. 
 
 Black chalk. 
 
 A 160. Peasants at work. 
 
 Black chalk. 
 
 Charles-Francois DAUBIGNY. 
 
 Landscape painter and etcher : b. 1817, d. 1878 : pupil of Delaroche : 
 worked in Paris and various parts of France, especially on the banks 
 of the Oise; but associated in popular fame with the "Barbizon 
 School," in whose aim and temper he shared. 
 
 A 161. Landscape; view along a mountain valley and road. 
 
 Pencil, strengthened with black chalk. 
 
DIVISION B: ENGLISH ARTISTS OR 
 ARTISTS OF FOREIGN ORIGIN 
 SETTLED IN ENGLAND. 
 
 Richard GIBSON. 
 
 Portrait painter : b. 1615, d. 1690 : a dwarf ; page to Charles I. and 
 patronised by Cromwell and Charles II. ; an imitator of Lely, well 
 known in his day for his chalk portraits and miniatures ; worked in 
 London. 
 
 B 1. Portrait of a girl holding a doll and a pack of cards. 
 Crayons. 
 
 B 2. Portrait of a girl with a basket of flowers. 
 
 Crayons. 
 Signed with the artist's monogram ; and dated 1669. 
 
 Bernard LENS, Junior. 
 
 Miniature-painter and copyist in water-colours : b. 1682, d. 1740 : limner 
 to George I. and George II. : very successful as a drawing-master ; 
 worked in London. 
 
 B 3. Portrait of William III. in the Robes of the Garter. 
 
 Water-colours. 
 Inscribed, The King of Great Britain, Robed as Sovereign of ye most noble 
 Order of ye Garter. 
 
 Jonathan RICHARDSON, Junior. 
 
 Painter : b. 1694, d. 1771 : only son of the portrait painter, critic, and 
 collector, Jonathan Richardson I. ; drew and painted portraits, but 
 was hampered by weak sight; associated with his father in his 
 literary work ; worked in London. 
 
 B 4. Portrait of the artist. 
 
 Black and red chalk on grey paper, heightened with white. 
 From the Richardson and Thane collections. Dated 10 Aug. 1734. 
 Dated 10 Aug. 1734. 
 
 William HOGARTH. 
 
 Painter and engraver ; b. 1697, d. 1764 : began as an engraver ; son-in- 
 law and pupil in painting of Sir James Thornhill ; painted portraits 
 and conversation pieces, but most famous for the numerous series of 
 satirical paintings which were in turn engraved by. his hand or 
 under his direction ; worked in London. 
 The following series of sixteen drawings (successively in the Horace 
 Walpole, Gye, and E. Cheney collections) are for the famous set of engravings 
 called " Industry and Idleness," published 30 Sept. 1747. Some represent first 
 
32 Exhibition of Drawings and Sketches. 
 
 thoughts, others more developed studies, others again the final design prepared 
 for transference to the copper. A comparison with the corresponding prints 
 also exhibited shows a number of minor differences and (in one or two cases) 
 important changes. 
 B 5. Drawing for "Industry and Idleness," Plate I; the Fellow 
 
 'Prentices at their Looms. 
 
 Indian ink. 
 B 6. "Industry and Idleness," Plate I; the engraving. 
 
 B 7. Drawing for " Industry and Idleness," Plate II ; the Indus- 
 trious 'Prentice performing the Duty of a Christian. 
 Indian ink. 
 
 B 8. " Industry and Idleness," Plate II ; the engraving. 
 
 B 9. Sketch for "Industry and Idleness," Plate III; the Idle 
 'Prentice at Play in the Churchyard during Divine 
 Service. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 10. Finished drawing for "Industry and Idleness," Plate III. 
 
 Indian ink. 
 B 11. "Industry and Idleness," Plate III; the engraving. 
 
 B 12. Sketch for "Industry and Idleness," Plate IV; the Indus- 
 trious 'Prentice a Favourite and Entrusted by his 
 Master. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 13. Finished drawing for "Industry and Idleness," Plate IV. 
 Indian ink. 
 
 B 14. "Industry and Idleness," Plate IV; the engraving. 
 
 B 15. Drawing for "Industry and Idleness," Plate V; the Idle 
 'Prentice turned away and sent to sea. 
 
 Indian ink. 
 
 B 16. "Industry and Idleness," Plate V; the engraving. 
 
 B 17. Sketch for " Industry and Idleness," Plate VI ; the Indus- 
 trious 'Prentice out of his time and married to his 
 Master's Daughter. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 18. " Industry and Idleness," Plate VI ; the engraving. 
 
 B 19. Sketch for "Industry and Idleness," Plate VII; the Idle 
 'Prentice returned from sea and in a garret with a 
 Common Prostitute. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 20. " Industry and Idleness," Plate VII ; the engraving. 
 
 B 21. Sketch for " Industry and Idleness," Plate VIII ; the Indus- 
 trious 'Prentice grown rich and Sheriff of London. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 22. "Industry and Idleness," Plate VIII; the engraving. 
 
 B 23. First sketch for "Industry and Idleness," Plate IX; the 
 Idle 'Prentice betrayed by his whore and taken in a 
 TsTight Cellar with his Accomplice. 
 
 Pen-and-ink, with Indian-ink wash. 
 
Division B. English Artists. 33 
 
 B 24. "Industry and Idleness," Plate IX; the engraving. 
 
 B 25. First sketch for " Industry and Idleness," Plate X ; the In- 
 dustrious 'Prentice Alderman of London, the Idle one 
 brought before him and impeached by his Accomplice. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 26. Finished drawing for' '* Industry and Idleness," Plate X. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 27. "Industry and Idleness," Plate X; the engraving. 
 
 B 28. Drawing for " Industry and Idleness," Plate XI ; the Idle 
 'Prentice executed at Tyburn. 
 Indian ink. 
 The name Thomas Fowler given here and in the unengraved drawing, 
 No. 31, as that of the worthless 'Prentice, was afterwards changed to 
 Idle. 
 
 B 29. "Industry and Idleness," Plate XI; the engraving. 
 
 B 30. Sketch for " Industry and Idleness," a subject not engraved; 
 the Industrious 'Prentice when a Merchant giving money 
 to his Parents. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 B 31. Sketch for "Industry and Idleness," a subject not en- 
 graved; the Idle 'Prentice stealing from his mother. 
 
 Pen-and-ink, with Indian-ink wash. 
 
 John ASTLEY. 
 
 Portrait painter : b. about 1730, d. 1787 : pupil of Hudson and com- 
 panion of Reynolds and Wilson in Rome, where he lived in poverty ; 
 afterwards married a rich widow, and inherited several fortunes which 
 he spent fantastically ; known as " Beau Astley " : worked principally 
 in Dublin and London. 
 
 B 32. Portrait of Sir Joshua Reynolds at the age of 27. 
 
 Black chalk and stump on grey paper, heightened with white. 
 Inscribed Borne, May 1750. 
 
 Sir Joshua REYNOLDS, P.R.A. 
 
 Painter : b. 1723, d. 1792 : native of Plymouth ; pupil in London of 
 T. Hudson ; studied in Italy for some years ; from 1752 worked in 
 London ; original member and first President of the Royal Academy ; 
 the greatest portrait-painter and one of the greatest colourists of the 
 English School. 
 
 B 33. Study for a portrait: three-quarter view of the head of a 
 gentleman. 
 Red and black chalk. 
 Chalk drawings of heads of this scale and importance are rare in the 
 English art of the time ; the present example was anonymous when 
 it came into the collection, and is attributed on internal grounds to 
 Reynolds. 
 
 D 
 
34 Exhibition of Drawings and Sketches. 
 
 Thomas GAINSBOROUGH, R.A. 
 
 Painter : b. 1727, d. 1788 : native of Sudbury, Suffolk ; pupil in London 
 of Gravelot, and afterwards, for three years, of Francis Hayman; 
 worked at Ipswich, at Bath, and from 1774 in London ; original 
 member of the Royal Academy ; the brilliant rival of Reynolds in 
 portraiture, and founder of the native English School of landscape. 
 
 B 34. Study for portrait of a lady, seated with arms folded at a 
 table. 
 
 Charcoal on grey paper, heightened with white. 
 
 B 35. Study for portrait of a lady, whole length, standing in a 
 garden. 
 
 Black chalk and pencil. 
 
 B 36. Study for portrait of Lady Clarges, playing a harp. 
 
 Charcoal on grey paper, heightened with white. 
 In the picture, now belonging to Sir Charles Tennant, Bart., the dog 
 seen through the harp strings was omitted. 
 
 B 37. Study for portrait of a lady seated, whole length, with her 
 hand on her chin. 
 
 Pencil sketch. 
 
 B 38. Study for portrait of a lady walking in a landscape, with 
 large plumed hat. 
 
 Charcoal and stump on drab paper, heightened with white. 
 From the collection of the Earl of Warwick. 
 
 B 39. Group of girls, one grown-up and three children. 
 
 Charcoal and chalks on drab paper, heightened with white. 
 
 From the Esdaile and Vaughan collections. Bequeathed by Henry Vaughan, E3q. 
 Signed T. Gainsborough. 
 
 B 40. "Wooded landscape, with cattle going home. 
 
 Black chalk touched with white. 
 Bequeathed by Henry Vaughan, Esq. 
 
 B 41. Landscape with waggon on a road through a wood. 
 
 Water-colours over black chalk. 
 
 B 42. View of a lane, with boy riding in a cart. 
 
 Sepia and Indian-ink wash and pen. 
 
 John Robekt COZENS. 
 
 Landscape painter, chiefly in water-colours : b. 1752, d. 1799 : son and 
 pupil of Alexander Cozens, the earliest of English water-colour 
 painters ; .mentally deranged from 1794. Cozens was a landscape 
 draughtsman of remarkable feeling and power, a true classic in the 
 power of design and composition, and a great master of the water- 
 colour medium within the limited scale of colours then in use. He 
 was the chief forerunner of Turner, by whom his works were much 
 copied and studied. Worked in England, Switzerland, Italy, Sicily 
 and the Tyrol. 
 The following numbers, 43-64, form part of a set of drawings made by 
 Cozens in Switzerland in August, 1776, on a tour to Italy undertaken in 
 company with R. Payne Knight, afterwards celebrated as a collector and 
 
Division B. English Artists. 35 
 
 connoisseur. They represent the early manner of the artist in working from 
 nature, when he was twenty-four years old. 
 
 B 43. On the Lake of Lucerne. 
 
 Water-colours and pen. 
 
 B 44. Lower part of the Valley of Oberhasli; from the South 
 East. 
 
 Water-colours and pen. 
 
 B 45. Lesser Valley of Oberhasli ; upper part from the North. 
 
 Water-colours and pen. 
 B 46. Lake of Thun near Spiez. 
 
 Water-colours and pen. 
 
 B 47. View on the Linth. 
 
 Water-colours and pen. 
 
 B 48. Lake of Klonthaloner from the East. 
 
 Water-colours and pen. 
 
 B 49. On the Lake of Lucerne. 
 
 Water-colours and pen. 
 B 50. IPluelen, Lake of Lucerne. 
 
 Water-colours and pen. 
 
 B 51. South Gate of Sargans. 
 
 Water-colours and pen. 
 
 B 52. Benedictine Convent of Engelberg. 
 
 Water-colours and pen. 
 
 B 53. Waterfall between Martigny and Bex. 
 
 Water-colours and pen. 
 Dated on the back of the drawing August 31, 1776. 
 
 B 54. The Reichenbach, near Grindelwald. 
 
 Water-colours and pen. 
 
 B 55. Boats on the Lake of Lucerne. 
 
 Water-colours and pen. 
 
 B 58. Between Sargans and Coire. 
 Water-colours and pen. 
 
 B 57. The Arve near Sallenches. 
 
 Water-colours and pen. 
 
 B 58. On the Lake of Lucerne. 
 
 Water-colours and pen. 
 
 B 59. Mont Blanc from the banks of the Arve near Sallenches. 
 
 Water-colours and pen. 
 Dated on the baok of the drawing August 27, 1776. j * 
 
 B 80. The Reichenbach near Meiringen. 
 Water-colours and pen. 
 
 B 61. Pall of the Reichenbach. 
 
 Water-colours and pen. 
 
 B 62. View on the Reichenbach. 
 
 Water-colours and pen. 
 
 D 2 
 
36 Exhibition of drawings and Sketches. 
 
 B 63. View on the Linth. 
 
 Water-colours and pen. 
 
 B 64. Pall of the Linth. 
 
 Water-colours and pen. 
 
 From the Allanson-Winn and Payne-Knight collections. 
 
 John Singleton COPLEY, R.A. 
 
 Painter : b. 1737 at Boston, Massachusetts, d. 1815 : worked in America 
 till 1774, afterwards in London ; one of the best historical painters of 
 the English School, and excellent in portraiture; elected A.R.A. 
 1776, RA. 1779. 
 
 B 65. Study for " The Death of Chatham." 
 
 Black and white chalk on grey paper. 
 The finished painting in the National Gallery shows very considerable 
 differences from this study, the principal one being that the main 
 group round the dying Chatham is removed farther into the picture 
 and placed less in the centre. Two preparatory oil studies for the 
 picture are also in the National Gallery. 
 
 Benjamin WEST, P.R.A. 
 
 Painter: b. 1738 in Pennsylvania, d. 1820: worked and studied in 
 New York and Italy ; settled in London 1763 ; original member of 
 the Royal Academy, and elected President on the death of Eeynolds, 
 1792 ; greatly esteemed in his day for his " Death of Wolfe " and other 
 historical pictures, and for his sacred subjects. 
 
 B 66. Belinda's Toilet; an illustration to Pope's "Rape of the 
 Lock." 
 
 Pen and Indian ink touched with water-colours. 
 "West shows himself here an imitator of the extravagant and tasteless 
 style of Fuseli. 
 
 B 67. A west-country landscape, with the story of Palemon and 
 Lavinia from Thomson's " Seasons." 
 
 Distemper. " 
 
 An example of West's excellent and unaffected manner in landscape, 
 Signed B. W. 
 
 Henry William BUNBTJRY. 
 
 Painter and caricaturist : b. 1750, d. 1811 : worked in Suffolk as all 
 amateur ; popular for his drawings of humour and sentiment, many 
 of which (including all the examples here shown) were engraved. 
 
 B 68. The Blind Beggar of Bethnal Green. 
 
 Black chalk, pen and bistre, and water-colour wash ; varnished. 
 From the Peel collection. 
 
 B 69. Love and Hope. 
 
 Black chalk, touched with red chalk. 
 From the Peel collection. 
 
 B 70. Love and Jealousy ; companion to the preceding. 
 
 Black chalk and red chalk. 
 From the Peel collection. 
 
Division B. English Artists. 37 
 
 B 71. Blaok George (from " Tom Jones "). 
 
 Black chalk and water-colours. 
 
 From the Moltens, Esdaile and Peel collections. 
 
 B 72. A Girl of Dauphine\ 
 
 Pen and bistre with bistre and water-colour wash. 
 From the Esdaile and Peel collections. 
 
 B 73. A Girl in a Red Cloak, with a dog. 
 
 Water-colours. 
 
 From the Peel collection. 
 
 Lady Diana BEAUCLERK. 
 
 Amateur painter and etcher: b. 1734, d. 1808: daughter of the 2nd 
 Duke of Marlborough; wife of Topham Beauclerk, Dr. Johnson's 
 friend, whom she survived many years ; best known by Bartolozzi's 
 engravings after her drawings. 
 
 B 74. Group of mother and two children. 
 
 Pencil, pen and bistre, and water-colour wash. 
 This drawing, though not in the usual manner of the artist, and very 
 closely resembling Bunbury's hand, has always borne Lady Diana's 
 name and is probably her work. 
 
 Richard COSWAY, R.A. 
 
 Painter : b. 1740, d. 1821 : studied under Hudson ; worked in London ; 
 famous for his miniatures and small portraits ; elected A.R.A. 1770, 
 R.A. 1771. 
 
 B 75. Portrait of a lady ; whole length. 
 
 Pencil, highly finished with water-colours on head and hands. 
 Signed Richard Cosway, B. A. Primarius Pictor Serenissimi Wallia 
 Principis Fecit Londini 1795. 
 
 B 76. Portrait of Mrs. Plowden. 
 
 Head highly finished in water-colour stipple, figure lightly pencilled. 
 Inscribed Mrs. Plowden. 
 
 John HOPPNER, R.A. 
 
 Painter : b. 1758, d. 1810 : of German parentage ; worked in London ; 
 distinguished as a portrait painter, the brilliant imitator of Reynolds 
 and rival of Lawrence ; elected A.R.A. 1792, R.A. 1795. 
 
 B 77. Portrait of a Lady in a plumed hat; probably Mrs. 
 Elliott. 
 
 Black and red chalks. 
 Signed I. Hoppner. Comparison of this drawing with a portait of 
 Mrs. Elliott by Gainsborough and another by Cosway renders the 
 presumption of identity probable, though not certain. Grace Dal- 
 rymple, wife of Dr. John Elliott, eloped first with Lord Valentia, 
 was afterwards mistress of the Prince of Wales, and then of Philippe 
 Egalite ; lived through the Revolution and died in France 1823. 
 
38 Exhibition of Drawings and Sketches. 
 
 B 78. Portrait of a Lady in a plumed hat, with landscape back- 
 ground; probably Mrs. Hoppner. 
 
 Black, red, and white chalks on huff-tinted paper. 
 Signed J. Hoppner, Probably a study from the artist's wife, Phoebe 
 Wright (daughter of the American sculptress Patience Wright), who 
 frequently sat both to him and to other painters in various fancy 
 characters. 
 
 The Rev. Matthew William PETERS, R.A. 
 
 Painter : b. 1742, d. 1814 : worked in Dublin and London ; painted 
 some of the subjects for Boydell's " Shakespeare Gallery " ; well known 
 for his portraits and fancy subjects, many of them very popular 
 through engravings ; elected A.R.A. 1771, R.A. 1777. 
 
 B 79. Two heads in an oval; portraits of Maria and Charlotte 
 Fortescue. 
 
 Pencil and chalks touched with body-colour. 
 Portraits of the two daughters of the Rt. Hon. James Fortescue : Maria 
 Catherine, married 1781 to Captain John Sloper, and afterwards to 
 Colonel George Francis Barlow, died a widow about 1853 ; Charlotte 
 married 1796 Sir Henry Goodricke, of Ribston Hall, Yorkshire. 
 
 John Raphael SMITH. 
 
 Painter, draughtsman, and mezzotint engraver : b. 1752, d. 1812 : worked 
 chiefly in London and Yorkshire ; one of the most brilliant of the 
 great school of engravers who worked after Reynolds ; later also 
 distinguished as a portrait-painter and crayon draughtsman ; one of 
 Morland's and Rowlandson's boon companions. 
 
 B 80. A Lady coming from the Circulating Library. 
 
 Black and red chalk on prepared grey paper. 
 This subject is engraved in mezzotint. 
 
 George DANCE, R.A. 
 
 Architect and draughtsman : b. 1741, d. 1825 : succeeded his father as 
 Surveyor to the City of London ; one of the original members of the 
 Royal Academy ; rebuilt Newgate ; after 1798 devoted himself chiefly 
 to chalk portraits, 72 of which were engraved by W. Daniell. 
 
 B 81. Portrait of Mrs. Opie. 
 
 Pencil, touched with carmine. 
 Signed and dated Geo. Dance Febr. 16th 1794. Portrait of Mary Bunn, 
 first wife of John Opie, R.A. ; the marriage was unhappy, and she 
 eloped in 1795, the year after this drawing was made. Opie after- 
 wards made a more fortunate marriage with the charming and gifted 
 Amelia Alderson, of Norwich. 
 
 B 82. Portrait of Chevalier D'Eon. 
 
 Pencil and water-colour tint. 
 
 Engraved hy W. Daniell. 
 Signed and dated May 26th 1793 Geo. Dance. Charles Genevieve Louis 
 Auguste Andre Timothee D'Eon de Beaumont, b. 1728, d. 1810, 
 famous for the violent controversies waged about his sex, great sums 
 being staked upon the point : served in female attire on political 
 missions for Louis XV., and in male attire as a Captain of dragoons ; 
 
Division B. English Artists. 39 
 
 in England 1762-1777, when ordered back to Paris and compelled to 
 dress as a woman till his death; in England again from 1785, 
 supporting himself by exhibitions of fencing ; buried in St. Pancras 
 Churchyard. 
 
 B 83. Portrait of the Revd. Daniel Lysons. 
 
 Pencil touched with carmine. 
 Signed and dated Deer, lith 1793 Geo. Dance. Daniel Lysons, b. 1762, 
 d. 1834, Chaplain to Horace Walpole, is remembered by his admirably 
 compiled " Environs of London." 
 
 B 84. Portrait of Samuel Lysons, F.S.A. 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance July 11th 1793. Samuel, brother of Daniel 
 Lysons, b. 1763, d. 1819 ; Keeper of the Records in the Tower of 
 London, a celebrated antiquary and skilful draughtsman. 
 
 B 85. Portrait of Thomas Banks, R.A. 
 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance July 18th 1794. Thomas Banks, b. 1735, 
 d. 1805 ; the first English sculptor, according to Reynolds, to produce 
 works of classic grace ; worked in London, Rome and St. Petersburg. 
 
 B 86. Portrait of John Julius Angerstein. 
 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance Fehr. 9th 1795. I. I. Angerstein, b. 1735, 
 i d. 1823 ; of Russian extraction, well known in his day as a merchant 
 
 and philanthropist ; now remembered by his collection of pictures, 
 which formed the nucleus of the National Gallery. 
 
 B 87. Portrait of Joseph Planta. 
 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance, July 8th 1794. Joseph Planta, b. 1744, 
 d. 1827, Principal Librarian of the British Museum, 1799-1827. 
 
 B 88. Portrait of Robert Brettingham. 
 
 Pencil touched with carmine. 
 Signed and dated Novr. 3rd 1793, Geo. Dance. Robert Furze Bretting- 
 ham, b. 1750, d. about 1806, one of the most successful classical 
 architects and antiquarian dealers of his time. 
 
 B 89. Portrait of Dr. Richard Brocklesby. 
 
 Pencil, slightly touched with carmine. 
 Signed and dated Geo. Dance, May 15, 1795. Richard Brocklesby, 
 physician, b. 1722, d. 1797 ; the beloved friend of Burke and Johnson ; 
 author of a work on music as a cure for diseases. 
 
 B 90. Portrait of John Wolcot ("Peter Pindar"). 
 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance July 1th 1793. John Wolcot, b. 1738, 
 d. 1819 ; practised medicine in Jamaica and Cornwall, where he dis- 
 covered the painter Opie ; best known by his satirical odes, published 
 under the name of Peter Pindar, on the artist of the day. 
 
 B 91. Portrait of Charles Burney, D.D. 
 
 Pencil touched with carmine. 
 Signed and dated Geo. Dance April 12th 1794. Charles Burney, b. 1757, 
 d. 1817 ; son of the musician and brother of Madame d'Arblay ; 
 famous in his day as a classical scholar; formed a fine library, 
 bought by the nation at his death. 
 
40 Exhibition of Drawings and Sketches. 
 
 B 92. Portrait of William Daniel], R.A. 
 
 Pencil touched with carmine on the lips. 
 Signed and dated Geo. Dance, Deer. 1th 1794. William Daniell, b. 1769, 
 d. 1837 ; painter, known chiefly by bis pictures of Indian Scenery, 
 and bis " Voyage round Great Britain," a series of engravings of coast 
 views ; elected A.R.A. 1807, R.A. 1822. 
 
 B 93. Portrait of General Pasquale Paoli. 
 
 Pencil. 
 
 Engraved by W. Daniell. 
 Signed and dated Geo. Dance, July 18th 1797. Pasquale Paoli, b. 1726 
 in Corsica, entered tbe service of tbe King of Naples ; governed 
 Corsica with conspicuous success till defeated by the French ; lived 
 in England 1769-1790; returned and led his countrymen for 
 another five years, was forced to retire again to England, where 
 he died. 
 
 B 94. Portrait of Bennet Langton, LL.D. 
 
 Pencil. 
 
 Engraved by "W. Daniell. 
 Signed and dated Geo. Dance, April 28th 1798. Bennet Langton, 
 b. 1736, d. 1801, a distinguished Greek scholar ; succeeded his friend 
 Dr. Johnson as Professor of Ancient Literature at the Royal Academy, 
 
 B 95. Portrait of Thomas Girtin. 
 
 Pencil, touched with carmine. 
 Engraved by W. Daniell. 
 Signed and dated Geo Dance August 28th 1798. Thomas Girtin, b. 1775, 
 d. 1802; one of the greatest of English landscape-painters, com- 
 panion in boyhood of Turner, whom he strongly influenced by his 
 powerful and original style ; worked almost entirely in water-colours, 
 in various parts of England, Wales and Scotland. 
 
 B 96. Portrait of Nicholas Revett. 
 
 Pencil, slightly touched with carmine. 
 Signed and dated Geo. Dance Novr. 29th 1800. Nicholas Revett, b. 1721, 
 d. 1804 ; architect, best known as the companion of " Athenian " Stuart 
 at Athens, later of D. Chandler and William Pars in Ionia, where he 
 made a prolonged study of classical remains. 
 
 Guy HEAD. 
 
 Painter : b. 1753, d. 1800 : worked at Rome, and in England ; painted 
 portraits and classical subjects, but best known as a copyist. 
 
 B 97. View of the Lateran from the Palatine Hill. 
 
 Pen and sepia, with sepia and Indian-ink wash. 
 Signed and dated G. Head 1795. 
 
 B 98. A Corridor of the Coliseum. 
 
 Water-colours. 
 Signed G. Head. 
 
Division B, English Artists. 41 
 
 Joseph NOLLEKENS, R.A. 
 
 Sculptor : b. 1737, d. 1823 : worked in London ; the most popular 
 sculptor of his day, best known for his portrait busts ; an eccentric 
 character of miserly habits ; elected A.R.A. 1771, R.A. 1772. 
 
 B 99. Sketch for the statue of Pitt in the Senate House, Cam- 
 bridge. 
 Black chalk. 
 
 B 100. Sketch for a composition of Laocoon. 
 
 Black chalk. 
 
 John FLAXMAN, R.A. 
 
 Sculptor and draughtsman : b. 1755, d. 1826 : first employed as a 
 modeller of designs for Wedgwood ware ; famous for his several 
 engraved series of designs to Homer, Aeschylus, Dante and Hesiod, 
 for his beautiful sepulchral monuments in many English churches in 
 town and country, and for drawings and sketches, in illustration both 
 of literature and daily life, executed in a style unequalled for spon- 
 taneous classical purity and natural feeling ; worked in Rome 1787- 
 1794, for the rest of his life in London. 
 The following numbers (101-128) are a selection from the fine and repre- 
 sentative collection of Flaxman drawings bequeathed to the Museum in 1900 
 by the late Mr. Henry Vaughan. 
 
 B 101. Design for monument, "with two angels floating over the 
 the sea and ' holding a book inscribed " The Sea shall 
 give up its dead." 
 
 Indian ink and indigo. 
 
 B 102. Design for monument, with a boy-angel holding a book 
 inscribed " Blessed are the Dead which die in the Lord." 
 
 Indian ink and indigo. 
 Inscribed on the back Worthy, esq. Perhaps for a church near Wortley 
 Hall, Yorkshire. 
 
 B 103. Design for monument; two women embracing over a 
 
 tomb. 
 
 Pen and Indian ink, with Indian-ink wash. 
 B 104. (a) Design for monument, with two seated figures. 
 
 Sepia wash and pen. 
 
 (b) Design for monument to Sir William Jones, the 
 
 Orientalist. 
 
 Indian-ink wash and pen. 
 
 (c) Design for monument to Sir William Jones, a modifi- 
 
 cation of the preceding. 
 
 Indian-ink wash and pen. 
 
 B 105. (a) Faith, Hope and Charity; design for a relief. 
 
 Indian-ink wash and pen. 
 
 (b) Design for monument; St. George with Faith and 
 Charity; above, figures mourning over a dead 
 warrior. 
 
 Indian-ink wash and pen. 
 
42 Exhibition of Drawings and Sketches. 
 
 B 106. (a) Christ raising Jairus' daughter; design for a monu- 
 ment to a lady in Chertsey Church, 1822. 
 Pen-and-ink with slight sepia wash. 
 (b) The Good Samaritan ; design for a relief. 
 
 Pen-and-ink. 
 
 B 107. (a) Design for monument; four girls weeping over a 
 tomb. 
 
 Pen-and-ink and neutral tint. 
 
 (b) Hope encouraging a praying child; design for a 
 relief. 
 
 B 108. (a) A girl fastening another's dress. 
 Indian-ink wash and pen. 
 (b) A mother with two children. 
 
 B 109. "The Sisters and Mother of Phaeton transformed into 
 Poplars and Cycnus into a Swan"; design for metal 
 work. 
 
 Pen-and-ink with slight sepia wash. 
 Inscribed with the above title. 
 
 B 110. The Transformation of Cycnus and the Sisters and 
 Mother of Phaeton; a modification of the last design 
 with pedestal added. 
 
 Pen-and-ink with slight sepia wash. 
 
 B 111. Venus in her sea-chariot attended by Tritons and a 
 Nereid; design for silver. 
 
 Pen-and-ink and sepia wash. 
 
 B 112. Venus in her sea-chariot attended by Cupids, a Triton, 
 and a Nereid; design for a circular plaque. 
 
 Pen-and-ink and slight sepia wash. 
 
 B 113. Hercules, protected by Pallas Athene, carrying off Cer- 
 berus. 
 
 Pen-and-ink and sepia wash. 
 Inscribed Hercules and Cerberus. 
 
 B 114. A Fisherman hauling a net, and a boy seated under a 
 vine; design for vase decoration. 
 
 Pen-and-ink. 
 
 B 115. (a) Harvesters; part of a design for a plate. 
 
 Pen-and-ink. 
 
 (b) Design for plate ; a shield with the last subject on 
 
 one side and a genius crowning a warrior on the 
 other. 
 
 Pen-and-ink. 
 
 (c) Design for plate; a circular border; goblet, dish and 
 
 jugs. 
 
 Pen-and-ink with sepia wash. 
 B 116. (a) Two subjects; Girls playing with Cupid; and a 
 group listening to a player on the lyre. 
 
 Pen-and-ink. 
 
 (b) Design for a vase decoration with the former of the 
 
 two preceding subjects. 
 Pencil and sepia. 
 
Division B. English Artists. 43 
 
 B 117. Prometheus chained by Hephaestus, Strength and Force; 
 illustration to Prometheus Bound of Aeschylus. 
 Pen-and-ink. 
 
 B 118. Ulysses conversing with Eumaeus ; study for illustration 
 to Homer's Odyssey, Book XIV. 
 
 Pen-and-ink. 
 
 B 119. Satan retiring before Gabriel and his host; illustration 
 to Milton's Paradise Lost; design for a bas-relief. 
 
 Pen-and-ink and sepia wash. 
 The bas-relief of this subject was commissioned by the Duke of Bedford 
 but finally not accepted. 
 
 B 120. Hector chiding Paris; illustration to Homer's Iliad, 
 Book VI; rejected design. 
 Pen-and-ink. 
 
 B 121. Sleep and Death bearing the body of Sarpedon to Lycia 
 at the bidding of Apollo ; illustration to Homer's Iliad, 
 Book XVI; rejected design. 
 Pen-and-ink. 
 In the engraved design the figure of Apollo is omitted. 
 
 B 122. Thetis and Eurynome receiving the infant Hephaestus; 
 illustration to Homer's Iliad, Book XVIII. 
 
 Pen-and-ink. 
 
 B 123. Two studies for an illustration to Hesiod's Theogony. 
 
 (a) Hesiod taught by the Muses. 
 
 Pen-and-ink. 
 
 (b) Hesiod listening to the Muses. 
 
 Pen-and-ink. 
 
 B 124. (a) Tritons battling for a Nereid. 
 
 Pen-and-ink and sepia wash. 
 Inscribed Sports of Tritons. 
 
 (b) Two designs for friezes ; '* Amphitrite " ; and the 
 "Pour Continents." 
 
 Pen-and-ink. 
 
 B 125. (a) The Battle : study for part of " The Shield of Achilles." 
 
 Pencil and pen-and-ink. 
 
 (b) The Battle : a study for the same subject, differently 
 treated. 
 
 Pen-and-ink and sepia wash. 
 Studies for the shield executed in 1818 by the goldsmiths Rundall and 
 Bridge after Flaxman's design, following Homer's description in the 
 Iliad. 
 
 B 126. Satan rousing his legions; illustration to Milton's Paradise 
 Lost, Book I. 
 Indian-ink wash and pen. 
 
 B 127. Satan rousing his legions ; study for the same subject as 
 the last, differently treated. 
 Indian-ink wash and pen. 
 
 B 128. Nude study of a young boy reclining. 
 
 Pencil and Indian-ink wash. 
 
44 Exhibition of Drawings and Sketches. 
 
 William BLAKE. 
 
 Painter, engraver, poet and visionary : b. 1757, d. 1827 ^ famous for the 
 series of books of imaginative designs engraved by himself in a variety 
 of methods and materials ; exerted a great influence both on con- 
 temporaries and on later artists by the vividness and power of his 
 conceptions ; worked chiefly in London. 
 
 B 129. Sketch for the "Dedication to Queen Charlotte " designed 
 for Blair's " Grave " but not engraved. 
 
 Pen-and-ink and slight water-colour tint. 
 Inscribed in the artist's handwriting To the Queen, below which are 
 just decipherable the first words of Blake's dedicatory verses : 
 " The Door of Death is made of Gold 
 That mortal eyes may not behold," etc. 
 
 B 130. Sketch for the first of the series of engraved illustrations 
 to the Book of Job : M Thus did Job continually." 
 
 Pencil and Indian ink. 
 
 B 131. The Valley of Death : an illustration to Blair's " Grave," 
 not engraved. 
 
 Indian ink and pen, with water-colour tint. 
 
 B 132. "Pity": (from Shakespeare's Macbeth.) 
 
 Pencil sketch. 
 Suggested by the lines in Macbeth : 
 
 "Pity, like a naked new-born babe 
 Striding the blast, or Heaven's Cherubim, horsed 
 Upon the sightless couriers of the air." 
 
 B 133. "Pity ": the same subject as the last. 
 
 " Monotype " colour-print, finished by hand. 
 A specimen of a kind of work, half drawing, half print, which Blake 
 was fond of producing. He roughly painted in his design in oils on 
 millboard, then took a print or counterproof from it and coloured up 
 this impression in water-colours. A similar process was employed by 
 G. B. Castiglione (1616-1676). 
 
 Thomas STOTHARD, R.A. 
 
 Painter and draughtsman : b. 1755, d. 1834 : produced a vast number of 
 designs for book illustration (many of which he also carried out in 
 oils) ; distinguished by rhythmic grace of line and pleasant harmony of 
 tint ; comrade of Flaxman and Blake ; elected A.R.A. 1785, R.A. 1794 ; 
 worked in London. 
 The following numbers,.selected from the Vaughan bequest, represent abun- 
 dantly Stothard's career as a book illustrator, from the designs to the " Clarissa 
 Harlowe" of 1784, which still follow the tradition established in England by 
 Gravelot, to the vignettes made im association with Turner and engraved by 
 Finden and others for the.celebrated editions of Rogers' "Italy" and "Poems," 
 at the end of the artist's life two books which mark the culmination of a 
 special phase of English book-illustration. Stothard's decorative gift is also 
 well represented in the designs for goldsmith's work (Nos. 164, etc.) and for 
 friezes at Buckingham Palace (Nos. 171, etc.). 
 
 B 184. (a) A Boy asleep with a flower in his hand. 
 
 Water-colours and pen outline. 
 
Division JB. English Artists. 4o 
 
 (b) Studies for a vignette; boy watched by cherubs. 
 
 Pen-and-ink. 
 
 (c) Studies for the same subject as the last. 
 Pen-and-ink. 
 
 B 135. (a) Boys playing with the arms of a knight; part of a 
 design used as a frontispiece to Bowyer's "British 
 Coins." 
 
 Indian ink. 
 
 (b) The same subject; the complete design. 
 
 Pen-and-ink with water-colour tint. 
 
 B 3 36. (a) Floating cupids with a basket of flowers. 
 Water-colours. 
 
 (b) Eve and the serpent : design for Pickering's " Milton." 
 
 Pen and sepia with water-colours. 
 
 (c) The Origin of Painting: the daughter of Dibutades 
 
 drawing her lover's shadow on the wall. 
 
 Water-colours and pen outline. 
 
 B 137. "Nurs'd at Home," study; said to be from the artist's 
 wife and child, for a design engraved in stipple by 
 J. Strutt, 1795. 
 
 Water-colour sketch. 
 
 B 138. Walfret "Webber ; illustration to " Tales of a Traveller." 
 
 Water-colours and pen outline. 
 
 B 139. The Turban of Cogia Hassan carried off by the eagle : 
 illustration to the Arabian Nights. 
 
 Water-colours and pen outlines. 
 This drawing was formerly in the collection of Samuel Rogers, the poet, 
 who lent it to C. R. Leslie to illustrate a lecture at the Royal 
 Academy. 
 
 B 140. "The Young Italian": illustration to " Tales of a 
 Traveller." 
 
 Water-colours. 
 
 B 141. The Lute-Player: illustration to a poem. 
 
 Water-colours. 
 
 B 142. (a) Bride and bridegroom: illustration to Gessner's 
 Poems. 
 
 Water-colours. 
 
 (b) Phillis with Daphnis and her mother : illustration to 
 Gessner's "Daphnis." 
 
 Water-colours. 
 
 B 143. (a) Melida and her mother welcoming the youth : illustra- 
 tion to Gessner's poem "The First Navigators." 
 
 Water-colours. 
 
 (b) Melida and the youth led to the bower by Cupids. 
 
 Water-colours. 
 
 B 144. (a) The Vicar of Wakefield and his family at breakfast 
 in their garden: illustration to Goldsmith. 
 Water-colours and pen-and-hik.. 
 
46 Exhibition of Drawings and SJcetclies. 
 
 (b) Olivia's home-coming: illustration to Goldsmith's 
 " Vicar of Wakefield. 
 
 Water-colours. 
 
 B 145. (a) " The Infant Otway " : illustration to Charlotte Smith's 
 poems. 
 
 "Water-colours. 
 
 (b) A girl reading " on some rude fragment of the rocky 
 shore": illustration to Charlotte Smith's poems. 
 
 Water-colours. 
 
 B 146. (a) " The Passions " : illustration to Collins' Ode. 
 
 Water-colours. 
 
 (b) "Wide o'er the foaming billows She cast a wistful 
 look " : illustration to Gay's poems. 
 
 Water-colours. 
 
 From C. It. Leslie's collection. 
 
 B 147. (a) Faith triumphant; illustration to Pope's "Essay on 
 
 Man." 
 Water-colours and body-colours. 
 (b) The dying Indian comforted by Hope; illustration to 
 
 Pope's " Essay on Man." 
 Water-colours. 
 
 B 148. "Hush, my dear, be still and slumber;" illustration to 
 Watts' s Cradle Hymn. 
 
 Water-colours. 
 
 B 149. The Bride at the Altar; illustration to Spenser's "Epith- 
 alamion." 
 
 Water-colours. 
 
 B 150. Una and the Bed Cross Knight; illustration to Spenser's 
 "Faerie Queene," Book I, Canto 1. 
 
 Pen-and-ink and water-colours. 
 
 B 151. The Palmer called by the Angel to help Guyon in his 
 swoon ; illustration to Spenser's " Faerie Queene," Book II, 
 Canto 8. 
 
 Water-colours and pen. 
 
 B 152. Britomart disarming ; illustration to Spenser's " Faerie 
 Queene," Book III, Canto 9. 
 
 Water-colours and pen. 
 
 B 153. Serena and the wounded Sir Calepine rescued from Sir 
 Turpine by a wild man ; illustration to the " Faerie 
 Queene," Book VI, Canto 4. 
 
 Water-colours and pen. 
 
 B 154. (a) The Emigrants ; illustration to Goldsmith's "Deserted 
 Village." 
 
 Indian ink. 
 
 (b) The Perishing Traveller; illustration to Thomson's 
 
 " Seasons " (Winter). 
 
 Indian ink. 
 
 (c) The Gleaner; illustration to Thomson's "SeasonB." 
 
 Indian ink. 
 
Division B. English Artists. 47 
 
 B 155. (a) Design for transparency : the Peace of Amiens : France 
 and Britannia clasping hands. 
 
 Indian ink. 
 Signed and dated Stothard delt 1802. 
 
 (b) Design for transparency : the Victory of the Nile ; 
 
 Britannia attended by sea-gods. 
 Indian ink. 
 
 (c) Britannia Triumphant, attended by Tritons with 
 
 captured tricolours. 
 
 Indian ink. 
 
 B 156. Two illustrations to Bichardson's " Clarissa Harlowe." 
 
 (a) Lovelace supplicating Clarissa in the presence of 
 
 Miss Rawlins and Mrs. Moore. 
 Indian ink. 
 
 (b) Clarissa visited in the sponging house by Sally and 
 
 Polly. 
 
 Indian ink. 
 
 B 157. Two illustrations to Richardson's " Clarissa Harlowe." 
 
 (a) Clarissa surprised by Lovelace at the wood-house. 
 
 Indian ink. 
 
 (b) Miss Howe in the garden, writing to Clarissa. 
 
 Indian ink. 
 
 B 158. The Swing: illustration to the Pleasures of Memory 
 (Rogers' " Poems," edition of 1838). 
 
 Indian ink. 
 
 B 159. "An Italian Song": illustration to a poem by Rogers 
 ("Poems," 1838). 
 
 Indian ink. 
 
 B 160. "The Tear"; illustration to a poem by Rogers ("Poems," 
 1888). 
 
 Indian ink. 
 
 B 161. Lady Jane Grey at her studies ; illustration to Rogers' 
 
 "Human Life" ("Poems," 1838). 
 
 Indian ink. 
 B 162. A Fountain: tailpiece to "An Epistle to a Friend" 
 
 (Rogers' "Poems," 1838). 
 
 Indian ink. 
 
 B 163. The portrait of Ginevra and the chest in which she was 
 imprisoned; illustration to Rogers' "Italy" (edition of 
 1830). 
 
 Indian ink. 
 
 B 164. Bacchus and Ariadne in a car drawn by Centaurs, from 
 
 an antique cameo ; design for the centre of a salver. 
 
 Sepia. 
 B 165. Design for silver chalice, with centaurs on the pedestal ; 
 
 made for the goldsmiths Rundell and Bridge. 
 
 Sepia. 
 
 B 160. (a) A young cavalier at the head of a troop. 
 
 Sepia. 
 
 (b) Group of mother and three children. 
 
 Sepia. 
 
48 Exhibition of Drawings and Sketches. 
 
 B 167. Five designs used for Pickering's edition of Thomson's 
 " Seasons." 
 
 (a) Frieze of Bacchants and children. 
 
 (b) A companion frieze to the last. 
 
 (c) Children plucking fruit. 
 
 (d) Bacchants and children at the Vintage. 
 
 (e) Companion frieze to the last. 
 All in sepia. 
 
 B 168. Five designs used for Pickering's edition of Thomson's 
 
 (a) Two boys with panthers under a vine. 
 
 (b) Children with a youth and a panther under a vine. 
 
 (c) Girls vintaging. 
 
 (d) Bacchant and children under a vine. 
 
 (e) Girls bathing. 
 
 All in sepia. 
 
 B 169. (a,) Frieze of children disturbed by Cupid with an old 
 man's mask (from one of the Marlborough Gems). 
 Sepia wash and pen. 
 
 (b) Frieze of Cupids gathering fruit, one wearing an old 
 
 man's mask. 
 Sepia. 
 
 (c) Frieze of Cupids gathering grapes. 
 
 Sepia. 
 
 B 170. Design for silver-work in relief; two Cupids choosing 
 flowers from a vase for two seated nymphs. 
 
 Sepia. 
 
 B 171. Two designs for friezes at Buckingham Palace. 
 
 (a) The Wedding of Venus : " Spring." 
 Sepia. 
 
 (b) The Triumph of Apollo : " Summer." 
 
 Sepia. 
 
 B 172. Two designs for frie2es at Buckingham Palace. 
 
 (a) Ceres and harvesters : " Autumn." 
 
 Sepia. 
 
 (b) "Winter." 
 
 Sepia. 
 
 B 173. Two designs for reliefs. 
 
 (a) Reclining Faun, Boy and Panther. 
 
 Sepia. 
 
 (b) Sleeping Bacchant, with a boy beating a goat from 
 
 the grapes. 
 
 Sepia. 
 
 B 174. Two designs for reliefs, 
 
 (a) Children pressing grapes for a seated nymph. 
 
 Sepia. 
 
 (b) Bacchant and Faun, with children pressing grapes. 
 
 Sepia. 
 
 B 175. Design for silver: a circular plaque with border of 
 trellis-work and Cupids gathering fruit. 
 
 Sepia. 
 
Division B. English Artists. 49 
 
 B 170. Two designs for a salver border. 
 
 (a) Faun and Bacchant with children. 
 
 Sepia and pencil. 
 
 (b) Boy pouring wine for a Bacchant seated by a Faun. 
 
 Sepia. 
 
 B 177. (a) Design for relief, Buckingham Palace : the Poets on 
 Parnassus, crowned by floating genii. 
 Sepia. 
 (b) A less finished variation of the same design. 
 
 Sepia. 
 
 B 178. (a) Design for salver-border : boys and panthers under a 
 vine. 
 
 Sepia. 
 
 (b) Design for salver-border : Bacchant and Faun with 
 children. 
 
 Sepia. 
 
 B 179. Design for frieze, Buckingham Palace: Angels and arch- 
 angels with palms and wreaths. 
 Sepia. 
 
 B 180. Four designs for friezes at Buckingham Palace. 
 
 (a) A shepherd's dance, and a rustic family. 
 Pen and sepia, with sepia wash. 
 
 (b) The marriage of Henry VII. and Elizabeth of York. 
 
 Pen and sepia, with sepia wash. 
 
 (c) Margaret of Anjou and her son taken prisoners at 
 
 Tewkesbury. 
 
 Pen and sepia, with sepia wash. 
 
 (d) The Wars of the Roses, with Bellona in the centre. 
 
 Pen and sepia, with sepia wash. 
 
 Sir Thomas LAWRENCE, P.R.A. 
 
 Portrait painter : b. 1769, d. 1830 : distinguished from boyhood by his 
 precocious gifts, winning fame and success by his portraits before his 
 twentieth year ; elected A.R.A. 1791, R.A. 1794, P.R.A. 1820 ; his 
 work expresses with brilliant accomplishment and vivacity the spirit 
 and the pose of the English aristocratic world during the last years 
 of George III. and those of George IV. : from 1810, when Hoppner died, 
 he was without a rival ; worked chiefly in London ; well known also 
 for his vast collection of drawings by the Old Masters, unfortunately 
 dispersed after his death. 
 
 B 181. Portrait of Samuel Rogers. 
 
 Red and black chalks, highly finished. 
 
 Engraved in stipple by W. Pinden for Rogers's M Poems" : also on a larger scale by 
 H. Meyer. 
 Samuel Rogers b. 1763, d. 1855 ; poet, equally noted for his sharp tongue, 
 his kind heart, and his fine taste ; author of the " Pleasures of Memory," 
 and other poems very popular in their day ; well known as a collector 
 and connoisseur, and famous as a host, his house in St. James' Place 
 being the centre of literary society in London for a long period of 
 years. 
 
 E 
 
50 Exhibition of Drawings and Sketches. 
 
 B 182. Portrait of the Countess Bozalia Rzewuska. 
 
 Black chalk and stump, touched with red chalk and water-colour tint, highly 
 finished. 
 
 The drawing was originally labelled Portrait de La Comtesse Rosalie 
 Rzewuslca ne'e Princesse Lubomirska; dessine" par le chevalier 
 Lawrence d Vienne. 
 
 Alexandra, daughter of Prince Alexander Lubomirski, b. 1788, was 
 arrested with her mother in Paris, 1794 ; the mother was guillotined, 
 and the child left in the care of a woodcutter and his wife ; discovered 
 by her father, she was taken to Berlin and her name changed, in 
 memory of her mother, to Rozalia ; married Wenceslaus Rzewuski, a 
 famous Orientalist, who was sent to Arabia to get horses for Alex- 
 ander I. of Russia and returned to spend the rest of his days in Arab 
 garb tending horses on the steppes of Poland. Rozalia died in 
 Warsaw, 1865. 
 
 Richard WESTALL, R.A. 
 
 Painter : b. 1765, d. 1836 : one of the most popular book-illustrators in 
 the taste of his time, painting many of his subjects in oil and in 
 water-colours ; elected A.R.A. 1792, R.A. 1794 ; worked in London. 
 
 B 183. The Death of Ophelia. 
 
 Water-colours and pen outlines. 
 Engraved. 
 
 William Marshall CRAIG. 
 
 Painter and wood-engraver : worked about 1788-1828 ; worked in Man- 
 chester and London ; painting chiefly miniature, landscape and rustic 
 scenes in water-colours. 
 
 B 184. Landscape with a boy and girl and cattle. 
 Indian ink and sepia. 
 
 Hugh William WILLIAMS. 
 
 Water-colour painter : b. 1773 in Wales, d. 1849 : worked in Edinburgh, 
 Greece and Italy ; published " Views in Greece," and was known as 
 " Grecian " Williams. 
 
 B 185. Rosslyn Castle. 
 
 Water-colours. , 
 
 B 186. A ruined castle. 
 
 Water-colours. 
 Signed H. W. 
 This artist, though using few pigments, worked in a fuller and deeper 
 
 way of colour'than most of his contemporaries: the present examples 
 
 are remarkable for their fine unfaded condition. 
 
 R. SPEARE. 
 
 Water-colour painter ; worked in London about 1799-1812 : painted 
 landscapes in a style following that of Girtin, exhibited at the Royal 
 Academy. 
 
 B 187. Landscape with an old wooden building, and a church 
 in the distance. 
 
 Water-colours. 
 Signed B. Spear e. 
 
Division B. English Artists. 51 
 
 B 188. A water-mill. 
 
 Water-colours. 
 Signed B. Sjpeare. 
 
 [Nos. 189-240.] The following specimens of English water-colour art, 
 with the exception of No. 208, form part of the bequest of Mr. Henry Vaughan. 
 
 Henry EDRIDGE, A.R.A. 
 
 Painter, chiefly of miniatures : b. 1769, d. 1821 : drew and painted small 
 portraits with great skill and success ; painted landscapes in water- 
 colours ; worked chiefly in London ; elected A.R.A. 1820. 
 
 B 189. View on a river, with a man in a punt, and cattle. 
 
 Water-colours. 
 
 B 190. The "Weald of Kent. 
 
 Water-colours. 
 
 B 191. Hillside with birches and a distant view of a house. 
 
 Water-colours. 
 
 John CONSTABLE, R.A. 
 
 Painter : b. 1776, d. 1837 : famous as one of the greatest and most 
 influential of modern landscape painters ; elected A.R.A. 1819, R.A. 
 1829 ; worked chiefly in the Stour Valley, Suffolk, also in various 
 other parts of England and in London. * 
 
 B 192. Hampstead Heath. 
 
 Water-colours. 
 
 David COX (the Elder). 
 
 Landscape painter : b. 1783, d. 1859: worked in water-colours, less often 
 in oils, in various parts of England and the Continent, and especially 
 in North Wales; one of the most celebrated masters of English 
 water-colour art. 
 
 B 193. Hay-field, with stream in the foreground. 
 
 Water-colours. 
 Signed and dated David Cox 1849. 
 
 B 194. Wharfedale, with Bolton Abbey in the distance. 
 
 Water-colours. 
 
 B 195. A haystack and hay-makers. 
 
 Water-colours. 
 Signed and dated David Cox 1849. 
 
 B 196. The Strid, Wharfedale. 
 
 Water-colours. 
 
 B 197. The Brocas, Eton. 
 
 Water-colours. 
 B 198. Shakespeare's Cliff, Dover. 
 
 Water-colours. 
 
 E 2 
 
52 Exhibition of Drawings and SJcetches. 
 
 Anthony Vandyke Copley FIELDING. 
 
 Landscape painter : b. 1787, d. 1855 : worked in various parts of 
 England, especially Sussex : member, and from 1831 till his death, 
 President of the Old Water-Colour Society ; well known for his scenes 
 of storm and effects of light and mist on the South Downs. 
 
 B 190. Fishing boat in a breeze ; a man-of-war in the distance. 
 
 Water-colours. 
 Signed and dated Copley Fielding 1833. 
 
 B 200. Boats near a jetty; with sunset over the sea. 
 
 Water-colours.- 
 
 William BENNETT. 
 
 Water-colour painter : b. 1811, d. 1871 : said to have been a pupil of 
 David Cox ; painted landscapes and coast scenes ; worked in various 
 parts of England. 
 
 B 201. Holywell, Flintshire. 
 
 Water-colours. 
 
 George CHAMBERS. 
 
 Painter : b. 1803, d. 1840 : son of a Whitby seaman ; went to sea in 
 early life ; well known for his marine pictures, both in oils and water- 
 colours ; worked chiefly in London. 
 
 ,B 202. River scene with a hulk. 
 
 Water-colours. 
 
 B 203. Dort, from the river. 
 
 Water-colours and pencil. 
 
 B 204. Boats off Amsterdam. 
 
 Water-colours. j 
 
 Signed and dated G. Chambers 1839. 
 
 William Clakkson STANFIELD, R.A. 
 
 Painter : b. 1794, d. 1867 : began life as a sailor ; painted scenery for 
 the theatre, an influence which tinged all his later productions : one 
 of the best known of English marine painters ; elected A.R.A. 1832, 
 Pt.A. 1835 ; worked in London, in Italy and other parts of Europe. 
 
 B 205. The Dogana and Church of the Salute, Venice. 
 
 Water-colours. 
 
 B 206. A Frigate in a storm. 
 
 Water-colours and body-colours. 
 
 B 207. A Windmill near F<camp, Coast of Normandy. 
 
 Water-colours. 
 
 Richard Parkes BONINGTON. 
 
 Painter and lithographer : b. near Nottingham 1801, d. 1828 : worked 
 almost entirely in France ; pupil of Francia at Calais, and of Gros in 
 Paris, where he worked in companionship with Delacroix, and greatly 
 
Division B. English Artists. 53 
 
 influenced French landscape art and the painters of the romantic 
 movement ; equally brilliant in oils and water-colours. 
 
 B 208. A street in Havre. 
 
 "Water-colours and body-colour. 
 Signed B. P. B. 
 
 Samuel PROUT. 
 
 Water-colour painter and lithographer : b. 1783, d. 1852 : first employed 
 as a topographical draughtsman, afterwards well known for his foreign 
 architectural and street scenes, very many of which were published 
 as lithographs ; worked chiefly in London, 
 
 B 209. Church at St. Lo, Normandy. 
 
 Water-colours with pen outlines. 
 
 B 210. A Gothic well. 
 
 "Water-colours with pen outlines. 
 
 B 211. View in Ghent. 
 
 "Water-colours with pen outlines. 
 
 David ROBERTS, R.A. 
 
 Painter : b. 1796, d. 1864 : worked first as a scene painter ; afterwards 
 celebrated as a painter of picturesque architecture and landscape in 
 in France, Germany, Spain, Syria, and later Italy; best known by 
 his eastern subjects ; elected A.R.A. 1839, R.A. 1841. 
 
 B 212. Interior of the Cathedral, Xeres. 
 
 "Water-colours and body-colours. 
 Signed and dated D. Boberts 1834. 
 
 B 213. Burgos Cathedral. 
 
 "Water-colours. 
 Signed and dated D. Boberts 1836. 
 
 B 214. Plasencia, with the monastery of St. Just, the retreat of 
 Charles V. 
 
 "Water-colours. 
 Signed and dated Boberts 1837. 
 
 John Frederick LEWIS, R.A. 
 
 Painter and etcher : b. 1805, d. 1876 : distinguished first as an animal 
 painter, afterwards as a painter of Spanish and Oriental scenes.; 
 worked chiefly in England, Spain, Rome, and Egypt ; President of 
 the Water-Colour Society from 1855 till 1858, after which he painted 
 only in oils ; elected A.R.A. 1859, R.A. 1865. 
 
 B 215. Italian peasant with goats. 
 Water-colours and body-colours. 
 
 Daniel MACLISE, R.A. 
 
 Painter: b. 1806 in Cork, d. 1870: worked chiefly in London; well 
 known for his portraits of literary characters published in Fraser's 
 Magazine, afterwards for his oil pictures of historical and romantic 
 
54 Exhibition of Drawings and Sketches. 
 
 subjects, his later years being occupied with large compositions for 
 the decoration of the House of Lords; elected A.RA. 1836, R.A. 
 1840. 
 
 B 216. A harper playing to two lovers by a fireside. 
 
 Water-colours. 
 Signed D. Maclise R.A. 
 
 Geoege CATTERMOLE. 
 
 Painter and lithographer : b. 1800, d. 1868 : one of the best known 
 English representatives of the romantic movement in painting and 
 book-illustration ; active towards the middle of last century and 
 inspired from mediaeval sources ; worked in London, chiefly in water- 
 colours. 
 
 B 217. "The Fair Geraldine." 
 
 Water-colours and body-colours. 
 Signed with monogram and date 1850. 
 
 B 218. Strafford receiving Laud's benediction on his way to 
 execution. 
 
 Water-colours and body-colours. 
 
 B 219. A Knight in an armourer's shop. 
 
 Water-colours and body-colours. 
 
 Paul Falconer POOLE, R.A. 
 
 Painter : b. 1807, d. 1879 : worked in London ; distinguished as a 
 painter of idyllic and domestic subjects ; elected A.R.A. 1846, R.A. 
 1861. 
 
 B 220. A girl with a pitcher at a well. 
 
 Water-colours. 
 Signed and dated P. F. Poole '37. 
 
 Henry LIVERSEEGE. 
 
 Painter: b. 1803, d. 1832: painted chiefly subjects from Scott and 
 Shakespeare ; worked in Manchester and London. 
 
 B 221. Don Quixote. 
 
 Water-colours. 
 
 Frederick TAYLER. 
 
 Water-colour painter : b. 1802, d. 1889 :- popular and successful as a 
 painter of sporting scenes, often with eighteenth century costumes 
 and accessories ; member and subsequently President (1858-71) of the 
 Old Water-Colour Society. 
 
 B 222. Hunting. 
 
 Water-colours over pencil. 
 B 223. Hawking. 
 
 Water-colours over pencil. 
 
 B 224. Hawking; a boy with a horse and dogs. 
 
 Water-colours over pencil. 
 
Division B. English Artists. 55 
 
 B 225. Cluny McPherson, chief of the Clan Chattan. 
 
 Water-colours. 
 Painted 1873. 
 
 B 226. Huntsman in eighteenth century costume. 
 
 Water-colours over pencil. 
 
 B 227. The Vicar of Wakefield on horseback with his daughter 
 riding behind him. 
 
 Pencil and monochrome wash. 
 
 Thomas Sidney COOPER, R.A. 
 
 Painter, chiefly of cattle in landscape ; b. 1803 ; still living ; has worked 
 chiefly at Brussels, London, and Canterbury. 
 
 B 228. Sheep in a barn. 
 
 Edward William COOKE, R.A. 
 
 Painter and etcher : b. 1811, d. 1880 : painted coast scenes and ship- 
 ping ; worked chiefly in England, Holland and France ; elected 
 A.R.A. 1851, R.A. 1864. 
 
 B 229. Weirs near Oxford; Magdalene College tower in the 
 distance. 
 
 Water-colours. 
 Signed E. W. Cooke. 
 
 B 230. Schooner entering Dover Harbour. 
 
 Water-colours. 
 Signed and dated F. W. Cooke April 1837. 
 B 231. River at Redleaf. 
 
 Water-colours. t 
 
 B 232. Mill near Penshurst, Kent. 
 
 Water-colours. 
 Signed E. W. C. 
 
 Alfred Gomersal VICKERS. 
 
 Painter : b. 1810, d. 1837 : painted both in oils and water-colours ; 
 noted for his sea-pieces ; worked chiefly in London and in Russia. 
 
 B 233. Falls of the Rhine at Schaffhausen. 
 
 Water-colours. 
 
 B 234. Lake of Zug, Switzerland. 
 
 Water-colours. 
 
 James HOLLAND. 
 
 Painter : b. 1800, d. 1870 : distinguished first as a painter of flower 
 pieces, later better known for his landscapes, especially his rich 
 Venetian scenes, both in oils and water-colours ; worked in England, 
 France, Italy, Switzerland, and Portugal. 
 
 B 235. Stocks and roses in a vase. 
 
 Pencil and water-colour sketch. 
 
56 Exhibition of Drawings and Sketches. 
 
 Louis HAGHE. 
 
 Water-colour painter and lithographer : h. 1806 at Tournai, d. 1885 : 
 bred in Belgium, but worked in England ; well known for his litho- 
 graphs of foreign scenery, afterwards by his water-colours of historical 
 subjects with interiors. 
 
 B 236. Interior of Cologne Cathedral. 
 
 Water-colours. 
 
 B 237. Interior of the Archbishop's Palace, Hohen-Salzburg ; 
 with figures in early 16th century costume. 
 
 Water-colours. 
 
 Joseph NASH. 
 
 Water-colour painter and lithographer : b. 1809, d. 1878 : worked in 
 and near London ; member of the Old Water-Colour Society ; painted 
 picturesque architecture and subjects from history and romance ; 
 best known by his lithographed ' Mansions of England ' and other 
 publications. 
 
 B 238. Ock wells, Surrey; interior with figures in 17th century 
 costume. 
 
 Water-colours and body-colours. 
 Signed and dated Joseph Nash, 1839. 
 
 B 239. Chapel at Ightham Mote; with a lady and her page in 
 costume of the 16th century. 
 
 Water-colours and body-colours. 
 Signed and dated Joseph Nash 1839. 
 
 B 240. Chimney-piece in the Drawing-room, Speke Hall, Lanca- 
 shire. 
 
 Water-colours and body-colours. 
 Signed Jos. Nash. 
 
 Henry WALTER. 
 
 Painter : b. about 1790, d. 1849 : worked in London ; painted pastoral 
 subjects ; one of the group of artists who sat at the feet of Blake in 
 his old age ; a companion of Samuel Palmer, Linnell, P. 0. Finch, 
 and George Richmond. 
 
 B 241. Portrait of Samuel Palmer. 
 
 Pen and ink, water-colours and body-colours on bluish paper. 
 
 Inscribed with memoranda relating to Walter and Palmer by George 
 Richmond, R.A. 
 
 Samuel Palmer, b. 1805, d. 1881 : painter of idyllic and romantic land- 
 scape, best known by his water-colours and by his etchings, both 
 aiming at elaborate richness of sunset and foliage effects ; worked 
 chiefly in London and in Surrey. 
 Presented by the family of the late George Richmond, R.A. 
 
 Edward Ellerker WILLIAMS. 
 
 Amateur draughtsman : b. 1793, d. 1822 : was in the navy for a time, 
 then a cavalry officer in India ; remembered as the friend of Shelley, 
 with whom he built the yacht Don Juan, in which both were drowned 
 off Lerici, 
 
 
Division B. English Artists. 57 
 
 B 242. Portrait of the artist, writing at a table. 
 
 Water-colours. 
 Signed E. W. Se ipse pinx. This drawing was recovered from the wreck 
 of the Don Juan. 
 Presented by J. W. Williams, Esq. 
 
 Samuel LAWRENCE. 
 
 Portrait painter : b. 1812, d. 1884 : well known by his numerous portraits, 
 mostly of literary men ; worked in London. 
 
 B 243. Portrait sketch of W. M. Thackeray. 
 
 Pen-and-ink with slight wash. 
 From the Barry Delany collection. 
 Signed and dated S. L. Dr. 48. At the date of this sketch Thackeray 
 was thirty-seven, and had just won his first real fame by 'Vanity 
 Fair.' 
 
 Sir Edwin Henry LANDSEER, R.A. 
 
 Painter : b. 1802, d. 1873 : distinguished by precocity of gift ; celebrated 
 for his pictures of animal subjects, and the most popular artist of his 
 time ; elected A.R.A. 1826, R.A. 1831 ; knighted 1850. 
 B 244. Study of a Pomeranian dog. 
 
 White and black chalk on brown prepared paper. 
 
 Inscribed on the back Lady Rancliffe's Swedish dog. Sketch from 
 nature by Edwin Landseer. Joseph Crawhall 1861. 
 
 Frederick Lord LEIGHTON, P.R.A. 
 
 Painter and sculptor : b. 1830, d. 1896 : distinguished by his multifarious 
 accomplishments and sympathies: painted many pictures inspired 
 chiefly by classical poetry and art, some large wall decorations, and 
 a few portraits ; produced also important statues, and designed wood- 
 cut illustrations to books; worked chiefly in London, earlier in 
 Frankfort (where he was a pupil of Steinle), Florence, Rome and 
 Paris. Elected A.R.A. 1864, R.A. 1868, P.R.A. 1879. 
 
 B 245. The Death of Brunellesehi ; study for the picture painted 
 about 1851 and now in the Steinle Institute, Frankfort. 
 Charcoal. 
 
 B 246. Study of an Italian waiter in Rome. 
 
 Black chalk on warm grey paper heightened with white. 
 
 B 247. Lantern of the Strozzi Palace, Florence, by Niccolo Caparra. 
 
 Pencil. 
 Signed with monogram and dated Firenze 1852. 
 B 248. Head of Macchiavelli. 
 
 Pencil. 
 Signed with monogram and inscribed Nicolo Machiavelli, Florence, 
 1854. 
 
 B 249. Study of knapweed. 
 
 Pencil. 
 
 B 250. Study for the head of Giotto in the picture of "The 
 Madonna of Cimabue carried in Procession" (1855).* 
 
 Pencil, highly finished. 
 Signed with monogram and inscribed Agostino, Roma 1853 (study for 
 Giotto). 
 
 * The dates in brackets after the titles of pictures refer to the year of exhibition. 
 
58 Exhibition of Drawings and Sketches. 
 
 B 251. Three studies of hands. 
 
 Pencil, highly finished. 
 Signed with monogram and inscribed Carlo Roma, 1854 : at the top 
 tropjpo tozzo ilpalmo (the palm too stumpy). 
 
 B 252. (a) Mother and child with a cat. 
 
 Black and white chalk on blue paper. 
 
 (b) Mother and child with tambourine. 
 
 Black and white chalk on blue paper. 
 
 (c) Mother and children. 
 
 Black and white chalk on blue paper. 
 These designs, dating from about 1859, were not carried further. 
 
 B 253. Studies of hands, and slight study of a girl's head ; for 
 Lieder Ohne Worte (1861). 
 
 Black and white chalk on blue paper. 
 
 B 254. (a) Study for a picture ; " Ariadne abandoned by Theseus," 
 with an elaborate frame. 
 Pencil on tracing paper. 
 
 (b) Study for the same picture and frame. 
 
 Pencil on blue paper heightened with white. 
 
 B 255. Sheet of studies ; Italian youth playing a guitar ; Diana ; 
 an old man, etc. 
 
 Black and white chalk on blue paper. 
 Presented by the Fine Art Society. 
 
 B 256. Study for knapweed, thistles, and teazles. 
 
 Oil-colours on canvas. 
 
 B 257. Two studies of "Hit" (1893). 
 
 Black and white chalk on brown paper. 
 
 B 258. Studies for the "Bath of Psyche" (1890), "Farewell" 
 (1893), and Perseus and Andromeda (1891). 
 
 Black and white chalk on brown paper. 
 
 B 259. A group of two girls asleep; study for "Cymon and 
 Iphigenia" (1884). 
 Black and white chalk on brown paper. 
 
 B 260. Helen and her two handmaids on the Walls of Troy; 
 study for " Helen of Troy " (1865). 
 
 Black and white chalk on blue-grey paper. 
 
 B 261. Study of a man slinging, and two smaller studies of the 
 same figure in a different attitude; for "The Egyptian 
 Slinger" (1875). 
 Black and white chalk on blue paper. 
 The completed picture carried out the conception embodied in the 
 principal study on this sheet. 
 
 B 262. The Suppliant ; study of a man's arms with hands 
 clasped on his breast ; and a small study of the figure. 
 
 Black and white chalk on brown paper. 
 
 B 263. Nude study of a girl examining stuffs; study for 
 "Phoenicians bartering with Britons," wall decoration of 
 the Royal Exchange (1895). 
 
 Black and white chalk on brown paper. 
 
Division B. English Artists. 59 
 
 B 264. A chair with a robe thrown over it ; study for decoration 
 at No. 1, South Audley Street. 
 Black and white chalk on brown paper. 
 
 B 265. Two studies for " Wedded " (1892) ; nude study of the 
 bride's figure, and study for the complete design. 
 
 Black and white chalk on brown paper. 
 
 B 266. The Tragic Poetess; study for the picture (1890). 
 
 Black and white chalk on brown paper. 
 Presented by the Fine Art Society. 
 
 B 267. Study of a woman seated, looking over her shoulder ; for 
 "'Twixt Hope and Fear" (1895). 
 Black and white chalk on brown paper. 
 
 B 268. Study of drapery for a seated figure. 
 
 Black and white chalk on brown paper. 
 Presented by the Fine Art Society. 
 
 B 269. Study for portrait of A. B. Freeman-Mitford, Esq. (1891). 
 
 Black and white chalk on brown paper. 
 
 B 270. Study for portrait of Lady Sibyl Primrose (1885). 
 
 Black and white chalk on brown paper. 
 B 271. Study for decoration made for Mr. Marquand in New 
 
 York. 
 
 Black and white chalk on brown paper. 
 Presented by the Fine Art Society. 
 
 B 272. Study of a child seated on the ground holding a mirror ; 
 for "The Bracelet" (1894). 
 Black and white chalk on brown paper. 
 
 B 273. Study for " The Spirit of the Summit " (1894). 
 Black and white chalk on brown paper. 
 
 B 274. Two studies (side and front view) for the draped statue 
 in the background of " Summer Slumber " (1894). 
 
 Black and white chalk on brown paper. 
 
 B 275. Rizpah defending the hanged body of one of her sons ; 
 study for the picture (1893). 
 
 Black and white chalk on brown paper. 
 
 B 276. Clytie kneeling to the setting sun, study for the picture 
 (1896). 
 
 Black and white chalk on brown paper. 
 
 B 277. Persephone restored to Demeter from Hades; study of 
 the figure, and study of part of the drapery ; for " The 
 Beturn of Persephone " (1891). 
 
 Black and white chalk on brown paper. 
 
 Sir John Everett MILLAIS, P.R.A. 
 
 Painter and designer of book-illustrations : b. 1829, d. 1896 : famous in 
 the early part of his career as one of the chief of the Pre-Raphaelite 
 Brotherhood; afterwards adopted a style of greater breadth and 
 freedom, with less poetical intensity of sentiment ; designed a number 
 of woodcut illustrations, containing some of his finest conceptions ; 
 elected A.R.A. 1858, R.A. 1863, P.R.A. 1896 ; worked in London and 
 Scotland. 
 
60 Exhibition of Drawings and Sketches. 
 
 B 278. Lorenzo and Isabella. 
 
 Pencil. 
 This is a study for the figures in the famous picture exhibited in 1849 
 and now in the Liverpool Art Gallery. 
 
 B 279. Girl and young boy, the girl gathering jasmine: sketch 
 for an etching intended for the Germ, 1849. 
 
 Pencil. 
 
 B 280. The Deluge. 
 
 Pen-and-ink over pencil outlines ; highly-finished in parts. 
 This drawing, perhaps the finest of the artist's Pre-Raphaelite period, is 
 variously dated by Mr. J. G. Millais as 1849 and circa 1850. It 
 proceeds from.- the same inspiration as the picture of the " Return of 
 the Dove from the Ark," and is intended to illustrate Matt. xxiv. 38, 
 39 : " As in the days that were; before the flood they were eating and 
 drinking, marrying and giving in marriage, until the day that Noah 
 entered into the ark, and knew not until the flood came." The vaguely 
 defined object in the foreground is meant to be an annular or horse- 
 shoe table. The dog climbing on to it has scented disaster, and the 
 guests to the left endeavour to pacify him. 
 
 B 281. Jephthah's Daughter. 
 
 Sepia wash over pencil outlines, heightened with white. 
 Sketch for the picture exhibited 1867. 
 
 B 282. Two studies for the Parable of the Good Samaritan, 
 1857. 
 
 Pencil and pen-and-ink. 
 
 B 283. Parable of the Pearl of Great Price. 
 
 Pen-and-ink with slight water-colour wash. 
 
 Sm Edward BURNE-JONES, Bart., A.R.A. 
 
 Painter and designer : b. 18S3, d. 1898 : much influenced at the outset 
 of his career by Rossetti ; very prolific as a painter, both in oil and 
 water-colour, of subjects Ghiefly taken from mediaeval romance or 
 classical mythology ; distinguished for poetical feeling, with extra- 
 ordinary fertility of decorative invention and richness of colour; 
 designer for every kind of artistic craft, especially stained glass ; 
 exercised with William Morris the most potent influence on the 
 general taste of his time ; worked in London. 
 
 [B 284-B 290.] The Seven "Works of Mercy; series of circular 
 
 designs. 
 B 284. Feeding the hungry. 
 
 Pencil. 
 B 285. Giving drink to the thirsty. 
 
 Pencil. 
 
 B 288. Clothing the naked. , 
 
 Pencil. 
 
 B 287. Visiting the sick. 
 
 Pencil. 
 
 B 288. Visiting the prisoners. 
 
 Pencil partly shaded in red chalk. 
 
 B 289. Leading the blind. 
 
 Pencil. 
 
Division B. English Artists. 61 
 
 B 290. Teaching the young. 
 
 Pencil. 
 B 291. Study of a girl's head in profile. 
 
 Gold on purple prepared paper. 
 
 B 292. Study of a girl seated playing a citole. 
 
 Gold on purple prepared paper. 
 
 John RUSKIN. 
 
 Author, artist, and collector : b. 1819, d. 1900. Pupil of Prout. One 
 of the most celebrated and eloquent writers of his age, principally on 
 art in its relation to nature : also an indefatigable and very accom- 
 plished draughtsman of architecture, landscape, and the objects of 
 natural history: Slade Professor of Fine Art at Oxford for several 
 periods between 1870 and 1884. His impassioned advocacy both of 
 Turner and of the Pre-Eaphaelites had a vast effect upon opinion 
 in his time ; his miscellaneous writings on social and ethical subjects 
 have exercised a stimulating influence yet far from exhausted ; worked 
 in England, France, Italy, and Switzerland. 
 
 B 293. Detached sculptured columns in front of St. Mark's, 
 Venice. 
 
 Water-colours, purple and blue picked out with white on purple paper. 
 A very characteristic example of Mr. Ruskin's remarkable power of eye 
 . and hand in expressing the detail and character of sculptured orna- 
 ment. He loved the colour purple, and has translated the material 
 of these columns into that colour for his pleasure. 
 
 B 294. The Deluge : sculptured relief, Bourges Cathedral. 
 
 Pencil picked out with white on paper of two tints. 
 Very fine workmanship : inscribed in printed characters by the artist's 
 hand : 
 " Sculpture, Cathedral of Bourges, France. 
 Women and birds sinking in the waters of the Flood." 
 
 B 295. Study of still life : a dead wild duck. 
 
 Water-colours. 
 Probably the finest of several similar drawings of dead birds made by 
 the artist at various times for purposes of study. 
 
 B 296. (a and b) Two drawings of landscape from the heights 
 above Verona. 
 
 Pencil. 
 " Two meritorious studies at Verona" was the artist's own note on this 
 drawing. 
 
 B 297. View of Interlaken, with a storm gathering in the 
 mountains. 
 
 Body-colour on grey paper. 
 
 B 298. View of Pribourg, Switzerland. 
 
 Pen-and-ink and water-colours on grey paper. 
 Very characteristic in its minute attention to the forms and details of 
 
 buildings and roofs in relation to those of rock and landscape, and its 
 
 disregard of atmosphere and of pictorial arrangement. 
 Inscribed Fribourg. Sketch for etchings of Siviss towns, 1859, signed 
 
 (1879) J. Buskin. 
 
62 Exhibition of Drawings and Sketches. 
 
 William SIMPSON. 
 
 Draughtsman, water-colour painter, traveller, and war-correspondent: 
 b. 1823, d. 1899. Native of Glasgow: worked for a firm of litho- 
 graphers until the Crimean war, to which he went out as draughtsman : 
 afterwards to Circassia with the Duke of Newcastle's expedition; then 
 to India and Cashmere : in 1866 entered service of Illustrated London 
 News, for which paper he drew and corresponded during the Abyssinian 
 campaign, the opening of the Suez Canal, the Franco-German wa r 
 in 1870, the Prince of Wales' tour in 1876, the Afghan war, etc., etc. 
 
 B 299. Illuminations at Benares in honour of the King when 
 travelling as Prince of "Wales in 1876. 
 Water-colours and body-colours. 
 Inscribed Illuminations, Benares, 5th Jan 1876 Wm Simpson. 
 
 B 300. Crocodiles on the Ganges. 
 
 Water-colours and body-colours. 
 Inscribed The Ganges Wm Simpson 1875. 
 B 301. Illuminations at Gibraltar. 
 Water-colours and body-colours. 
 Inscribed Illuminations and fire-works in honour of H.R.H. The Prince 
 of Wales at Gibraltar Ylth April. 
 B 302. Aurungabad. 
 
 Water-colours and body-colours. 
 Inscribed Aurungabad, Wm Simpson 1875. 
 B 303. Mangalore, from the sea. 
 Water-colours. 
 Inscribed Mangalore 23 Nov. 1875. Wm Simpson. 
 B 304. View from Xerxes' Seat 'near Athens. 
 
 Water-colours. 
 Inscribed The Piraeus, Phalerum, and the Bay of Salamis from Xerxes' 
 Seat. Wm Simpson 1880. 
 B 305. Distant view of Magdala, Abyssinia. 
 
 Water-colours. 
 Inscribed Magdala, Abyssinia. 
 
 George DU MAURIER. 
 
 Caricaturist, book-illustrator and water-colour painter: b. in Paris 
 1834, d. 1896 : studied in Paris and Antwerp, but settled in London 
 for life, working on the staff of ' Punch ' from 1860 till his death, and 
 illustrating the society of the period with happy and graceful satire ; 
 illustrated a number of books, including his own novels, which were 
 the success of his later life. 
 B 306. In the Metropolitan Railway. 
 
 Pen-and-ink. 
 Design for 'Ptmch' (1878) : " 1 1 beg your pardon, but I think I had 
 the pleasure of meeting you in Borne last year.' ' No, I've never 
 been nearer Borne than St. Alban's.' ' St. Alban's where is that?' 
 ' Holborn.' " 
 B 307. Happy Thought. 
 
 Pen-and-ink. 
 Design for 'Punch' (1889). Inscribed on the margin (inscription 
 covered by the mount) : " Angelina : ' You seem depressed, darling. 
 Have you had a pleasant dinner ? ' Edwin : ' Oh, pretty well ; Bosse 
 
.'Division B. English Artists. 63 
 
 was in the chair, of course. He praised everybody's work, except mine.' 
 Angelina, : ' Oh, I'm so glad. At last he is beginning to look upon you 
 as his rive 7 and his only one.' " 
 
 308. Honeyxu boning in Italy. 
 Pen-i : .-in;,. 
 
 h' (1891). Inscribed: " Fair American Bride : ' Oh 
 
 ink that perhaps Virginius stabbed Jiis daughter on this 
 
 very spot, fold that just over tliere Tullia drove over Jier poor fatJicr's 
 
 . dead body If John : ' Ah, very sad ! but say, Matilda ! I guess we'd 
 
 better let byigones be bygones and let's go and have a look at the new 
 
 post office if " 
 
 309. Under Control. 
 
 Pen-a. 
 Design for i Punch ' (1886). 
 
 310. A Venial Impostor. 
 
 Pen-and -ink. 
 Design for ' Punch ' (1879). Inscribed : " Sketch of a certain bold major 
 just homie from India on sick leave, taking (as he declares) his first 
 lesson] in the art of skating. (We recollect the B.M. in days gone by. 
 He mas the champion of at leasf, three different skating clubs.)" 
 
 311. Different Points of View. 
 
 Pen-Jand-ink. 
 
 ' l for Punch ' (1875) : " Maud (with much sympathy in her 
 
 Y94ce) : ' Only fancy, mamma, Uncle Jack took us to a picture gallery 
 
 foi Bond Street, and there we saw a picture of a loi of early Christians, 
 
 poor dears ! wJio'd been thrown to a lot of lions end tigers, who were 
 
 / devouring them.' Ethel (with still more sympathy) : ' Yes ; and, 
 
 ' / mamma dear, there was one poor tiger that hadn't got a Christian.' " 
 
 Si 2. Standing on Ceremony. 
 
 Pen-and-ink (with a pencil study for the girl's figure). 
 Design for Punch ' (1883) : " ' That was a funny story Mr. Dixon told, 
 Aunt Jessie, the one that made you laugh so much, you know.' 
 ' Yes! Why didn't you laugh, Ida?' 'Oh, I don't know him well 
 enough.' " 
 
 313. Not to be Beaten. 
 
 Pen-and-ink. 
 Design for 'Punch' (1878). Inscribed: "'My papa's Jwuse has got a 
 
 conservatory.' ' My papa's house has got a billiard-room.' 'My 
 
 papa's house has got a mortgage.' ". 
 Engraved in ' Punch ' with a different legend. 
 
 314. Kes Augusta Domi : in a Children's Hospital. 
 
 Pen-and-ink. 
 Design for 'Punch' (1894): " ' My poor rabbit's dead!' ' Hew sad!' 
 ' Dadda killed my pore rabbit in back kitchen ! ' ' Oh dear ! ' 'I had 
 taters wiv my pore rabbit.' " 
 \ 315. Window studies, a harmony in London Smut. 
 Pen-and-ink. 
 ignfor 'Punch' (1889). 
 J 316. Bang! Bang! 
 Pen-and-ink. 
 Design for 'Punch' (1885). Inscribed: '"Confound t)ic dog, putting 
 up the birds like, that ! ' ' Onay, but it was na the dog that missed 
 them, whatayver ! ' " Dated Drumnadrochit, Aug. 1885. 
 
64 Exhibition of Drawings and Sketches. 
 
 B 317. It is Always Well to be Well Informed. 
 
 Pen-and-ink. 
 Design for 'Punch' (1884). Inscribed: "She: l Wlio's my sistt 
 partner, vis-d-vis, with the star and riband ? ' He : ' Oh, hz av 
 Sir Somebody Something, who went somewhere or oilier to \oo\ 
 some scientific fellow who was murdered, or something, by some one 
 
 B 318. A Nasty One. 
 
 Pen-and-ink. 
 Design for 'Punch' (1890). Inscribed: "PrigSon: **.Oh, as fo 
 Brown, he's the most dogmatic and conceited little %*rig in ad E 
 but his sistah's quite the only girl I ever met whK* worth looking at 
 and listening to at the same time.'' Mrs. Quiverfyl ' ' Dear me, you 
 might have the decency to make the usual exceptions\^ in favour o) 
 p>resent company ! ' Maud : ' Yes in both instances), I think), 1 " 
 
 B 319. Tout sst perdu fors l'honneur. 
 
 Pen-^ind-ink. 
 Design for 'Punch' (1896) : " ' Yes, my lady, every singafi picture burnt 
 to ashes ! But I've one thing to tell you that will wease you I 
 managed to save all last year's jams.' " 
 
 B 320. Things one would rather have expressed differently. 
 
 Pen-and-ink. 
 Design for 'Punch' (1895): "She: ' I am surprised to see VOUr wife 
 in such a very low gown this cold evening, Baron ! I heard, she was 
 delicate.' He : ' Ach, no. She vos. But noiv, sank Hedvem she is 
 quite indelicate again.' " 
 
 B 321. Not such a fool as he looks. ' 
 
 Pen-and-ink. 
 Design for 'Punch' (1877). Inscribed: "Parson: 'Better fed than 
 taught, I fancy, boy ? ' Boy : ' Ees I be, 'cos I feeds myself an 
 teaches me.' " 
 
 B 322. Easy for the Judges. 
 
 Pen-and-ink. 
 Design for 'Punch' (1890). Inscribed: "Geoffrey (to. rejected candi- 
 date for honours at the dog-show) : ' Never mind, Smut, we'll have a 
 dog-show that shall be all cats except you, and then you'll nave it all 
 your own way I ' " 
 
 B 323. A Powerful Quartet. 
 
 Pen-and-ink. 
 Design for ' Punch ' (1881). . 
 
 B 324. Two on a Tower. 
 
 Pen-and-ink. 
 Design for 'Harper's Magazine' (Jan. 1894). Inscribed: "Jones (a 
 rising young British architect) : ' Yes, it's a charming old castle you' ve 
 bought, Mrs. Prynne, and I heartily congratulate you on being its 
 
 possessor.' Fair Californian Widow (just settled in tho old country) : 
 ' Thanks ; and now you must find me a, legend for it, Mr. Jones ! ' 
 Jones : ' I'm afraid I can't manage that, but I could add a storey, if 
 that wotdd do as well.' " 
 
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