WILLIAM  SHARP
ENGRAVER.












WE




WILLIAM SHARP
ENGRAVER
WITH A
DESCRIPTIVE CATALOGUE
OF
HIS WORKS
BY
W. S. BAKER
PHILADELPHIA
GEBBIE & BARRIE PUBLISHERS
1875




Entered according to Act of Congress, in the year 1875, by
GEBBIE & BARRIE,
In the office of the Librarian of Congress at Washington.




TO
JOHN S. PHILLIPS, ESQ.,
FOR WHOSE VARIED INFORMATION, MENTAL VIGOR, AND PERSONAL
CHARACTER, I ENTERTAIN THE HIGHEST RESPECT,
Xhis WoOk
IS MOST SINCERELY INSCRIBED,
BY HIS FRIEND,
WV. S. BAKER.
MAY, 1875.








WILLIAM SHARP
ENGRAVER
F a school of art may be said to secure
a foundation and attain a positive existence, when its disciples, striking out a
new path, follow it successfully step by
step, and gradually develop all its intrinsic
merits, then we may safely say, that the
English school of engraving sprang into
being when the mezzotinto method was
introduced into that country.
This new manner of engraving, practiced
but little on the Continent, seems to have
been at once appropriated by the English
engravers; for to use the words of John
Evelyn, who published the secret in the
year 1662, having received it from Prince
Rupert, to whom it was imparted by the
(7)




8        WILLIAM SHARP, ENGRA VER.
inventor, Ludwig von Siegen, "it set so
many artists to work that they soon arrived
to that perfection it is since come, emulating the tenderest miniatures."
In their hands, beginning with John
Smith and George White (two good English names), the resources of this style were
so fully brought out that it came to be
called the English method, and even in our
own day, the engravers in mezzotinto of
England hold the same relative position in
the art, as those who practiced it in the seventeenth and eighteenth centuries.  What
this development has been is sufficiently
proved by a mere allusion to the works of
such men as McArdell, Houston, Earlom,
Pether, Green and Murphy, of the last century; and Say, Hodges, Ward, Turner and
Cousins, of the present.
Previous to this time (1662), and even
up to the beginning of the last century, the
line engravers of England, limited almost
entirely to portraiture, produced but little
(with the exception of those admirable
artists, Hollar and Faithorne) of sufficient




WILLIAM SHARP, ENGRA VER.     9
merit or consequence to stand the test of
the ripened judgment of the connoisseur of
the present day. But the eighteenth century witnessed the perfection of a branch,
to the English practitioners, of which we
are indebted for some of the finest productions of the art. Francis Vivares, John
Browne, William  Woollett and  others,
have left us worlcs which have never been
surpassed, and place the landscape engravers of the English school at the head of
all others. Not but that the Continental
schools have produced individual examples
of great excellence, but such are only isolated cases, not sufficient, of themselves, to
overcome the aggregate talent of the English.
But the salient point of this period, and
one revealing the fullest strength of the
English school of line engraving, is found
in the works of its historical engravers, the
principal of whom, it is our purpose to
particularly notice, whose works, for simple
dignity, force and directness of purpose,
have rarely, if ever, been equalled. We




I0       WILLIAM SHARP, ENGRAVER.
allude to William Sharp, the greatest historical engraver that England has yet produced.
William Sharp was born in London, on
the 29th day of January, 1749. Evincing
at an early age, an inclination to drawing,
his father, a gun-maker, of some repute, determined to qualify him for that branch of
engraving, which he deemed the most important, the ornamenting of fire-arms.
HIe was accordingly apprenticed to a Mr.
Longmate, who practiced this species of
engraving, technically termed bright engraving, from the attention being drawn to the
work; and not to impressions taken from
it, by filling the incisions with ink.
At the expiration of his engagement, and
with this limited preparation for prosecuting the art beyond mere business purposes,
-having in the meantime married a French
woman,-he commenced for himself.
The early efforts of a man of talent are
always interesting, but in the case of the
subject of our notice, they become of more
than usual importance, inasmuch as there is




WILLIAM SHARP, ENGRA VER.      I
no evidence of his having at any time received any positive or actual instruction in
the higher walks of his profession. He
may be classed among those who have
worked themselves into distinction by
their native powers of observation, perseverance and industry, the progress towards
excellence being regular and certain. The
varied powers exhibited in his works show
a constant desire for improvement, and
great freedom from the constraint of any
regular manner or school. He was the
founder of his own style, the intelligent
pupil of his own labor and experience.
His first attempts at engraving for the
purpose of taking impressions therefrom,
were two business cards, designed for attracting attention to his regular vocation.
The one a vignette of an angel seated
among clouds, wearing a wreath of laurel,
and holding a circular tablet, on which is
inscribed " Sharp, Engraver, No. 9 Bartholomew Lane, Royal Exchange, London;"
the other a small oval, consisting of two
figures, one standing, the other seated on




12       WILLIAM SHARP, ENGRA VER.
a cloud, a wreathed circle is between them,
bearing the same inscription as the former,
and on a ribbon which they hold " History,
Ornamental Writing, Seals, &c." Both of
these cards are well engraved.
His next essay is of much greater interest, both as an evidence of his desire to
become something more than an engraver of
dog collars, and door and card plates, and
as being the first real step towards superior art.  It is a quarto plate, published
1775, and from his own drawing, of an
old lion " Hector," well known at the time
as an inmate of the tower of London, the
prints from which being exposed for sale
in his shop window, attracted considerable
notice, and sold moderately well.  The
drawing offers no evidence of future ability,
but the engraving is well done, and shows
considerable command of the burin.
Encouraged by the sale of the " Hector"
print, he was induced to relinquish his original calling, and seeking more eligible quarters, moved to the neighborhood of Vauxhall, where he began to engrave small plates




WILLIAM SHARP, ENGRA VER.    3
for book publishers, thus commencing his
career as an artist, a career in which, in the
words of a contemporary writer, " he performed some of those grand and laborious
works, which will long remain an honor to
himself, his art and his country." At this
period of his life he is described as a
well-formed, well-looking man, inclining to
corpulence, laboring zealously in his profession, fond of out door exercise, and
indulging in daily ablutions in the Thames,
being a strong and expert swimmer. For
neighbor and occasional associate he had
John Browne, the distinguished landscape
engraver.
The first plate to bring him into notice,
as an historical engraver, was that of
"Alfred the Great, dividing his loaf with
the Pilgrim," after Benjamin West, executed for, and published by Alderman
Boydell, in  1782.  It has considerable
merit, shows good drawing —it is said he
was instructed in this branch by West-and
is well engraved, yet scarcely prepares one
for the admirable production of two years




14        WILLIAM SHARP, ENGRA YER.
later, the "Lucretia" after Dominichino,
also published by Boydell.
The "Lucretia" is a splendid example
of the art, executed in the firmest, freest,
and broadest manner, every stroke clear
and distinct, not a line too much, not a line
too little. Carefully and laboriously engraved, yet free from all appearance of
mechanism, and so consecutive in all its
parts, that it seems almost to be the production of a single sitting.  It was a fit
prelude to his great work of the following
year, I785, "The Doctors of the Church,"
after Guido Reni.
The picture formerly in the Houghton
gallery, now in the Imperial gallery at St.
Petersburg, painted for Paul V., represents
the four Latin Doctors of the Church,
St. Jerome, St. Ambrose, St. Augustine
and St. Gregory, arguing and consulting
their great books for the authorities on the
subject of the favorite doctrine of the
Catholic Church, the "Immaculate Conception," which was confirmed by that
Pope in a bull issued in 1617; with them




W/ILLIAM SHARP, ENGRA VER.  15
are presented St. John Damascene and St.
Ildefonso, who were especial defenders of
the doctrine.
This picture, painted in Guido's early
and more powerful manner, was eminently
suited to the innate vigor of the engraver,
and his translation of it is a work of art in
its truest sense.  Every  part of it is
managed with the most consummate skill,
and in the finest keeping; the drapery well
and nobly arranged, the deep thought and
character of each head admirably rendered,
the anatomy most carefully developed, and
the drawing perfect; a profound sense of
meditation pervades the whole, well fitting
the character of the scene.  Sharp considered it his best work.
It forms the cap-piece of his reputation;
and well might Raphael Morghen say to
its engraver, after exhibiting the choice, reserved proofs of his own numerous fine
productions, well might he say, as he drew
from his folio an impression of the justly
celebrated plate, "' And now, Mr. Sharp, I
will show you a print which is equal to




I 6      WILLIAM SHARP, ENGRA VER.
anything I ever did in my life!"  It is
something when one artist can appreciate
the work of another; but we know that
the Italian never produced its equal.
The exquisite little oval print of this
time, 1786, "The Children in the Wood,"
after a drawing by Benwell, of which he engraved the figures, the landscape being engraved by Byrne and Medland, deserves
more than a passing notice, not alone for
its merits, but for exhibiting a power of
adaptation as well to his subject as to the
treatment of his co-workers. The figures
of the two children asleep in a close wood
are most carefully and delicately engraved,
in a manner suited to their youth and innocence, as it is to the fine sentiment and
execution of the landscape, and did we not
know otherwise, the same hand would
seem to have produced the whole plate.
While thus constantly employed and establishing his reputation as an engraver,
he became dissatisfied with the remuneration which he received from the print
dealers, and becoming possessed of some




WILLIAM SHARP, ENGRA VER.    7
property, by the decease of a brother, he
began to publish his own works.  Soon
afterwards about the year I787, that date
appearing on his print of " Zenobia," he
moved to a larger house in Charles street,
near the Middlesex hospital.
This print, a profile after a picture, by
Michael Angelo, in the possession of Sir
Joshua Reynolds at the time of the engraving, is one of the best efforts of the
engraver. It shows a wonderful command
of the burin, and is fully up to the most
exacting demands of the art. Every portion of it, the flesh, the head attire, the
decorations are executed in the most appropriate manner and with the utmost taste
and ability, while the calm dignity of the
illustrious queen is most happily rendered.
Nothing is slighted, nothing forgotten, and
we are told that it was a great favorite of
the engraver himself.
It was about this time-the removal to
Charles street-that the even tenor of his
life was disturbed, and the serenity of his
mind became unsettled, with those singular
2




I8 W~WILLIAM SHARP, ENGRA VER.
hallucinations regarding the prophet Richard Brothers, and the folly, if not crime, of
Joanna Southcott. The delusion of this
lunatic Brothers consisted in imagining
that he was divinely appointed to gather
the Jews together and to lead them on their
predestined march to recover Jerusalem.
Sharp engraved his portrait, with rays of
light descending upon his head and with
the title of'Prince of the Hebrews,' the
sincerity of his belief in the rhapsodies of
the prophet is made manifest by the sentence
inscribed beneath,'Fully believing this to
be the man whom God has appointed I engrave his likeness, William  Sharp.'  The
would-be Prophet however died in a madhouse leaving his mission unaccomplished.
In his belief in the pretensions of Joanna
Southcott, he was not alone, for it is said
that at one period the number of her converts in London, and its vicinity, amounted
to upwards of a hundred thousand. She
was a woman of humble parentage, born in
175o, and when about forty years of age,
being carried away by the fervor of a heated




WILLIAM SHARP, ENGRAVER.    19
imagination, gave herself out as the woman
mentioned in the I2th Chapter of the Book
of Revelation. In this her assumed capacity, although in the highest degree illiterate, she scribbled much mystic and unintelligible nonsense in the way of vision and
prophecy, and for a while carried on a lucrative trade in the sale of seals, which were,
under certain conditions, to secure the salvation of the purchasers. Her followers
became very enthusiastic, but about the
close of the year 1814, the time of her
death, she herself began to have misgivings, during some comparatively lucid intervals, in which she declared that'if she was
deceived, she was convinced she had at all
events been the sport of some spirit either
good or evil.'
Sharp engraved her portrait from his
own drawing, and is said to have believed
in her till the day of his death. She is
represented sitting, with an open book before her, and wears a large bonnet, somewhat different in shape and size from the
female headgear of the present day. There




20       WILLIAM SHARP, ENGRA VER.
is a complacent, self-satisfied look in her
broad and fleshy countenance, while the eye
has an unmistakable expression of low cunning.
The last survivor of the followers of
Joanna Southcott, a certain Mrs. Peacock,
on whom the mantle of the prophetess was
supposed to have fallen, died quite recently
at the advanced age of one hundred and
three years.
The simplicity  of his nature which
brought him under the influence of these
delusions, served him  however to much
better advantage on a certain and rather
important occasion, and relieved him from
an unpleasant, and at that time, dangerous
predicament. Dabbling a little (it could be
no more) in the politics of Thomas Paine
and Horne Tooke-both of whose portraits
he engraved-he was brought before the
members of the privy council as one suspected of entertaining revolutionary principles. During his examination, being vexed
at what to him seemed irrelevant questions,
he handed to Pitt and Dundas the prospec



WILLIAM SHARP, ENGRA VER.    21
tus of a work which Tooke had in contemplation, requesting them to have the goodness to put their names to it as subscribers,
and then to give it to the other members of
the council to add theirs. A hearty laugh
at the singularity of the proposal ensued,
and he was soon after liberated.
From the great number of portraits that
are being daily, nay hourly produced, a
large proportion of which it must be admitted are very common place, the majority
of observers, not reflecting that it is given
but to few to attain excellence, fall into the
error of supposing that portrait painting is
an inferior branch of the art. Now the
exact reverse is the truth, for when properly understood and prosecuted it is one of
the highest. The portrait painter, to be
successful, must be a close observer of
nature, possess a keen insight into mind
and character, and a faculty to perceive and,
when perceived, to express all those little
indications and traits of temperament and
habit which, when transferred to the canvass,
impress us with a full sense of individuality.




22        WILLIAM SHARP, ENGRAVER.
All the great painters of history were fine
portrait painters, and their portraits are
prized not wholly as admirable examples
of painting, but also as exponents of life
and character, each furnishing as it were
by masterly interpretations, an epitome of
humanity, an easily read page of history.
Thus something more is needed than
dexterous management of material; mind
must seek mind, so that the "ruling passion" may be discovered and expressed. If
such are the elements of portrait painting,
and if such are the requisites of a portrait
painter, must not the translator possess in
a degree, corresponding faculties, in order
to enable him to convey in his language,
that which the painter expresses in his, the
original.
Portrait engraving is the most usually
practiced form of the art, but portrait
engraving, when prosecuted according to
these rules, and with this intelligence is
one of the highest branches of the art, and
in this William Sharp stands unrivalled in




WILLIAM SHARP, ENGRA ER.     23
the English, and the equal of the best portrait engravers of any school.
His earliest dated portrait (I777), is a
small circular plate of Alderman George
Faulkner, very roughly executed; but his
very earliest, judging from the work itself,
is an unfinished one of Dr. Samuel Johnson,
still smaller. It is engraved in the very
rudest manner, without any  attempt at
middle tint or regularity of line, yet preserves some indications of resemblance to
the well known features of the famous lexicographer.
Of the large portraits engraved by Sharp,
two are always especially referred to and
quoted as fine examples, both of the art
and the artist. The'John Hunter,' of
the year i788, and' Matthew Boulton,'
of I80I.
The former painted by Sir Joshua Reynolds, represents the eminent surgeon and
distinguished anatomist, seated at a table
in an easy and natural position, in the act
of inditing a manuscript, the head slightly
raised, with the eyes turned upwards as in




24       WILLIAM SHARP, ENGRAYER.
thought. With the exception of the hand
holding the pen, the broken lines of which
seem scarcely satisfactory, every part of this
plate is executed in the very best manner,
the drawing perfect, every line in its proper
place to give character and expression, the
face and hair being most delicately engraved.
The striking characteristic of the work being
the faithful rendering of' the pale cast of
thought,' which makes the countenance
one not easily forgotten.  The late Charles
Sumner, a great lover and excellent judge
of prints, terms this' the foremost portrait
in English art, and the co6qual companion
of the great portraits of the past.'
The latter' Matthew  Boulton,' after a
painting by Sir William Beachey, represents
that celebrated engineer, also seated, a threequarter length, with a medallion portrait in
one hand, and an examining glass in the
other. This is engraved with a broader
line, and in a more vigorous manner than
the former, eminently adapted to the character and personality of the successful manufacturer and active partner of James Watt,




WILLIAM SHARP, ENGRA VER.    25
the distinguished improver of the steam
engine. As in the John Hunter, every
part of the plate is carefully engraved and
skilfully managed, conveying the idea of a
strong, healthy organization, coupled with
the markings of firmness and self reliance,
traits of character which he must have possessed. Well do these works deserve the
esteem in which they are held, each different,
yet each remarkable in its way.
Sharp had some eccentric notions on the
subject of physiognomy.  He advanced the
singular doctrine that every man's countenance had depicted on it the appearance
of some bird or beast, to the character of
which his natural disposition bore a resemblance. Thus in those whose dispositions
were generous and courageous, he fancied
he could discover the likeness of a lion; in
those who were fierce, he saw that of tigers
or eagles, whilst the timid and hesitating
betrayed the characteristics of the milder
and more gentle type of animals.  He
made no scruple in the personal appropriation of these resemblances, and his




26        WILLIAzM SHARP, ENGRA VER.
comparisons were sometimes highly amusing.
Besides the two large portraits already
mentioned, there are others of the same
size, quite, if not equal in merit. Of these
that of'The Right Reverend Samuel Seabury, D. D.' Bishop of Connecticut, after
Thomas Spence Duche, published in I786,
is of interest as being the portrait of the
first Protestant Episcopal Bishop of the
United States, painted by the son of the
Reverend Jacob Duche, so well remembered for his course during our revolutionary struggle. The Bishop, a half-length
in robes, is standing with his left hand extended, as if speaking, while his right rests
easily on a closed Bible placed on some
rocks, the back ground being made up of
a landscape. It is executed in Sharp's best
manner, and is a splendid specimen of portrait engraving.
We may cite also that of' The Right
Hon. Robert Dundas, President of the
Court of Session,' after  Raeburn, published 790o, with the one of a few years




WILLIAM SHARP, ENGRA VER.    27
later of' The Hon. John  Hyde, one
of the Puisne Judges of the Supreme
Court at Calcutta, in Bengal,' after R.
Home, in wig and gown, in which the fair
complexion of the judge is most admirably
rendered, and the engraving in every respect of the finest character.
Of his later period, and fully equal
to anything he has done, is the'Sir
Everard Home,' after Sir William Beechy,
of the year I8Io, nearly a full length sitting, a masterly work; and' Sir Francis
Burdett, Bart,' after James  Northcote
( 8 I), a half length, the head and figure
full of character, and the flesh tints most
admirably given. It is engraved in the
same manner and is as fine as the highly
esteemed one of' Matthew  Boulton.'
Of  his  smaller  portraits  that  of'Kemble,' after Martin  Arthur  Shee,
(1803), may be mentioned; and of his
smallest' The Hon. Thomas Erskine,'
and'George, Prince of Wales,' both
after miniatures by Richard Cosway.  The
latter is an exquisite production, engraved




28        WILLIAM SEARP, ENGRAVER.
in the most tender and delicate manner, and
in a fine early impression is a perfect gem.
We close our reference to his portraits
with one of exceeding interest apart from
its merits as an engraving, which are of
the highest order.  It is from  the portrait
of Charles I., painted by Vandyk for the
purposes of Bernini the sculptor, in which
he is represented in three positions, profile,
three-quarter and full face. No one can
look at this print without being touched
with the sorrowful cast of the countenance,
and being impressed with the innocence of
the unfortunate king. It is a sad, sad page
of English history, brought vividly, almost
painfully before us.
But it is as an historical engraver, that
Sharp's great ability and varied powers are
made manifest, to thoroughly comprehend
which, it is only necessary to examine for a
few moments his two prints, the' Lear,'
after Benjamin West, and'The Doctors
of the Church,' already referred to.  No
two works are more unlike, the one a
representation of the absolute repose of




WILLIAM SHARP, ENGRA VAR.    29
deep thought, the other an expression of
the violent action of overpowering feeling,'the  tempest of the mind.'  The
effect of the one rendered by the boldest
exercise of line and sudden transitions of
light and dark, the other indicating by careful and deliberate markings in all its parts,
the absorption of reflection and absence of
excitement. We have designated one as
forming the cap piece of his reputation, but
the' Lear,' for vigor and originality of execution has never been surpassed, and when
West insisted that it should not be engraved in the chalk manner, but in line,
and by Sharp, he not only asserted the
dignity of his own art, but showed a proper
appreciation of the professional excellence
of the engraver.
Leslie in speaking of Boydell's well
known enterprise, the'The Shakespeare
Gallery,'  for  which  the  picture  was
painted, says' It did also much for engraving; and, among other admirable productions, we owe to it Sharp's transcendent work from  West's' Lear,' a work




30        WILLIAM SHARP, ENGRAVER.
showing that the power of a first-rate engraver, even of other men's designs, does
not lie within the scope of mere talent;
but that it is genius, and of a higher order
than that displayed by many a painter, who
looks upon engravers as artists much below
him.'
For pictorial qualities as well as an example of Sharp's wonderful executive
ability, the print of' Diogenes in search
of an honest man,' after Salvator Rosa, is
justly  celebrated.   The  rugged  countenance of the old cynic is marked with all
the certainty of time itself, while the flowing beard and ample drapery are engraved
in the most admirable manner.
His'St. Cecilia,' after Dominichino,
though stiff and formal in its character,
and displaying perhaps a little too much of
the handicraft of the engraver, is nevertheless a noble production, but as a work of
the painter, it fails in giving that expression of rapt inspiration which of right belongs to the countenance of one who hears' the music which is divine.'




WILLIAM SHARP, ENGRA VER.   3!
Quite different again in subject, but of
exceeding merit as an engraving, and unsurpassed in its truth of translation, is the'Head of Christ,' after a remarkable
painting by Guido. The picture, or rather
sketch in oil-in possession of Benjamin
West at the time of the engraving —is
said to have been produced with unprecedented and almost incredible rapidity.
It represents the Saviour, crowned with
thorns, the hair thick and clammy with
sweat and blood, drops of which have
fallen upon his breast; the expression
which is most wonderfully translated in
the engraving, is that of resignation under
agony.'Behold! and see if there be any
sorrow like unto his sorrow.'  The varied
manner of line, the deep rich tone so ably
imparted, and the entire handling, evincing
the fullest sympathy with the subject, make
this an extraordinary production, in which
the engraver has carried his art to its
highest development, and completest purpose.
Other well known works are the' Infant




32        WILLIAM SHARP, ENGRA VER.
Christ' after Annibale Carracci; the large
plate of'The Holy Family,' after Sir
Joshua Reynolds;'The Witch of Endor,'
after Benjamin West; and the smaller but
very beautiful one of'The Virgin and
Infant Saviour,' after Carlo Dolci.
His largest plates are' The Sortie made
by the Garrison of Gibraltar,' after John
Trumbull, most of the heads in which are
elaborate portraits, and'The Siege and
Relief of Gibraltar,' after J. S. Copley;
the former has been pronounced one of
the finest historical engravings of modern
events that has ever been executed.
But to specify Sharp's best works, is
simply to enumerate all, and a selection is
either a matter of taste or a choice of subject. Few engravers have been so equal,
yet so varied, few translators so true, yet
so original.
His professional fame was widely spread
even in his own time, and in I814 he was
elected a member of the Imperial Academy
at Vienna, and of the Royal Academy of
Bavaria. Sir Joshua Reynolds offered to




WILLIAM SHARP, ENGRA VER.   33
recommend him as an associate engraver of
the Royal Academy, London, but he rejected the offer, warmly espousing the opinions of Sir Robert Strange, Woollett, Hall,
and other eminent engravers who considered
their art slighted by their not being allowed
to become Royal Academicians.
His last important plate was the' Mary
Magdalene,' after Guido, the finished print
being dated i822, the seventy-fourth year
of his age, a beautiful work which shows
but little evidence of failing powers, the
defective execution of the chin, and the
drapery on the right shoulder being the
most apparent; a large fine plate of the
same year, I822,'The Women at the
Sepulchre,' from a picture by Annibale
Carracci, was left unfinished.
He died at Chiswick on the 25th day of
July, 1824, and lies buried in the Church
yard at that place with Hogarth and De
Loutherbourg, for the latter of whom, he
at one time entertained much mystic reverence, for possessing as a follower of Mesmer,
a half-physical, half-miraculous power of
3




34        WILLIAM SHARP, ENGRA VER.
curing diseases and imparting the thoughts
and sympathies of distant friends. Sharp
left no descendants, his wife having died at
an early period of their married life without
issue.
What a singular contradiction is presented
in the life and works of England's celebrated engraver, and what a forcible illustration of the alternate strength and weakness of our nature do they reveal to us.
His works, are the exponents of prolonged
energy and mental dignity, every line a
thought, and every thought clothed in the
noblest language of the art.
The life, how different! The engraver of
"c John Hunter" and "The Doctors of the
Church," is found to be a superstitious believer in the wild prophecies of a lunatic,
a blind devotee to the cunning devices of
an ignorant woman. We rise from contemplating his works, feeling that we have
been in communication with an earnest,
honest man; our ideas have been enlarged,
and our reverence for truth has been increased. We peruse the record of his life,




WILLIAM SHARP, ENGRA VER.    35
and are saddened and humiliated with its
story of weakness and credulity.
" What thin partitions sense from thought divide i"
But the life of a man of genius, the life
of William Sharp, must be sought for in his
works. Throughout all may be discovered
a simple earnestness and determined integrity of purpose, a resolve to do that
which was allotted him, and to do it well,
which carries instant conviction of moral
strength and purity of life; that he may
have been practiced on, but could not
practice on others, and that an unsuspecting faith in the honesty of his own nature,
precluded him from suspecting that of
others.
Long after the names of Richard Brothers
and Joanna Southcott, shall have been forgotten, and the folly of their adherents remembered only with wonder and regret,
will the productions of the engraver be
sought for and prized, and his character as
truly exhibited in them, be perceived and
appreciated.




36        WILLIAM SHARP, ENGRA VER.
That which man feels, that only he expresses-; the truth or error which is within
becomes apparent in the handiwork.




DESCRIPTIVE CATALOGUE
OF
THE WORKS
WILLIAM SHARP
ENGRAVER,








PREFACE.
The following catalogue is claimed to be
a full record of the life work of "William
Sharp, Engraver," whose career exemplifies
in the most striking manner, the fact that
talent is simply labor intelligently directed.
It was compiled with but two exceptions,
the portrait of " Sir William  Hamilton,"
and the " Entrance Ticket for a Vauxhall
Regatta," from the singularly complete collection of that artist's productions in the
possession of John S. Phillips, Esq., of
Philadelphia, from which source most of
the different states of the plates were obtained, some from one or two other collec(39)




40               PREFA CE.
tions, and a few  from  good  authorities
being included.
While not as complete in this direction,
as could be wished, it may be considered
reliable as far as it goes, and is thus offered
to those interested in the subject, and as
being really the first descriptive catalogue
of the works of one whose prints must
always form an important feature in every
well selected general collection.
The measurements, which are in English
inches, refer to the engraved portions of
the plate, the margins not being included,
except in one instance, which is noted.
W. S. B.




SCRrPTURAL SUByECTS.              41
SCRIPTURAL SUBJECTS.
1. THE ANGEL DESTROYING THE ASSYRIAN CAMP. 2 Kings, xix., 35. J. P. DE
LOUTHERBOURG, R. A. PINXT.
Height, I2 inches; width, 9 8-1oth inches,
x. Before all letters, unfinished.
2. Before the title, the engraver's name only, in
traced letters.
3. Title in open letters, with the scriptural reference.  London, Published  Oct'r 5, 1792,
by  Thos. AMacklzb, Poets' Gallery, Fleet
Street.
2. JUDITH ATIREING. Judith, Ch. 10, Ve. I, 2, 3.
J. OPIE, R. A. PINXT.
Height, x2 inches; width, 9 8-soth inches.
I. Before all letters.
2. Title in open letters, with the scriptural reference.  London, Publish'd July 2rst,'794,
by Thos. Miack~in, Poets' Gallery, Fleet
Street.




42             SCRIPTURAL SUBYECTS.
3. THE WITCH  OF ENDOR.  Vide the Ist Book of
Samuel, 28th Chapter & I4th verse. PAINTED BY
B. WEST, HISTORICAL PAINTER TO HIS MAJESTY.
Height, x6 8-Ioth inches; width, 23 i-ioth inches.
I. Before all letters, unfinished.
2. Before the title, the artists' names, and Eondon, Publish'd June  20, z788, by  Thos.
Macklin, No. 39  Fleet Street, in traced
letters.
3. Title in finished letters, with the scriptural
quotation and reference, and the dedication to Daniel Daulby, Esq.
4. Title in finished  letters.  London, Publish'd
by J  &J. B. oydell, No. 90 Cheapside, &' at
the Shakespeare Gallery, Pall Mall.
4. INFANT  CHRIST. ANN. CARACCI, PINXT.
Height, 9 inches; width, 7 inches.
I. Before all letters.
2. Before the title, the engraver's name only in
traced letters.
3. Title in open letters.  London, Published by
Willzia  Miller, MD CCCX.
4. Title in finished letters, without the address.
5. THE VIRGIN AND  INFANT SAVIOUR.
CARLO DOLCI, PINXT. Up. oval in rectangle.
Height, 9 6-loth inches; width, 7 7-ioth inches.
I. Before all letters, unfinished.




SCRIPTURAL SUBRECTS.              43
2. With the scriptural quotation in cursive letters,
and  with  the artists' names.  From  the
original Picture in the possession of Rich'd
Sullivan, Esq. Publish'd by Wm. Sharp,
London, Dec. 15, 1797.
3. With the date in the address, x798.
6. THE  HOLY  FAMILY.  SIR  JOSHUA  REYNOLDS, PINXT.
Height, 22 inches; width, 17 9-both inches.
z. The etching, with engraver's name in traced
letters.
2. Before all letters, unfinished, engraver's name
only in traced letters.
3. Before the title.  London, Publish'd Aug. 12,
X792, by Thzos. Miackhin, Poets' Gallery,
Fleet Street.
4. Title in open letters.
5. Title in finished letters.  From  an origInal
Picture in the collection of Sir Peter Burrell.
7. THE HOLY  FAMILY.  SIR  JOSHUA  REYNOLDS, PINXT. The smaller plate.
Height, 12 inches; width, 9 8-soth inches.
i. Before all letters, unfinished.
2. Before all letters.




44             SCRIPTURAL SUBE CTS.
3. Title in open letters.  Frontispiece to the New
Testament, in open letters. Published Feb'y
12th, 1793, by Thos. Macklin, Poets' Gallery, Fleet Street, London.
4. Title in finished letters.  The address, Frontispiece, &c., omitted.
8. THE AGONY OP CHRIST. St. Luke, Ch. xxii.,
V. 4z. RICHARD COSWAY, PINXT.
Height, I2 inches; width, 9 8-ioth inches.
I. Before all letters.
2. The title "Christ's Passion," in open letters
and with the scriptural reference. Published
March I, x79z, by   ho. Macklin, Fleet
Street.
3. The title in finished letters.
9. HEAD OF CHRIST, crowned with thorns. GUIDO,
PINX. Up. oval with border, in rectangle.
Height, 9 6-ioth inches; width, 7 6-xoth inches.
i. The etching, before the rectangle, the border
indicated with a single line.
2. With the inscription in cursive letters; in
the border at the top in Roman letters,
"Behold, and see if there be any sorrow
like unto his sorrow."  From the orizginal
Picture in the possession of B. West, Esqr.
Published by W. Sharp, London, Dec. 25,
1797.
3. With the date in the address, March z8, z798.




SCRIP2TURAL SUByECTS.            45
10. THE MARYS AT THE SEPULCHRE. Mark
Ch. xvi., V. 5. R. SMIRK, PINXT.
Height, I2 inches; width, 9 8oioth inches.
i. Before all letters unfinished.
2. Before all letters.
3. Before the title, engraver's name only in traced
letters.
4. Title in open letters, with the scriptural reference. London, Published July x6, I791,
by Thos. JMacklin, Fleet Street.
11. THE WOMEN AT THE SEPULCHRE.
Height, 20 inches; width, 23 3-xoth inches.
I. Before the title, unfinished.  Publish'ld by
Will'm Sharp, London, Feb'y Io, 1822, in
dotted letters.
2. Title in open letters,with the address in dotted
letters.  From  the Picture by Annibale
Carracci, in the collection of the Earl of
Carlisle. To the extreme right, beneath the
print the words Holoy 7Vhursday, in dotted
letters.  Engraved by Tilliam Sharp, and
printed in the state in which it was left at
his decease.
3. Title " The three Maries and the dead Christ,"
in open letters, with the dedication to
the Earl of Carlisle.  Engraved by  4rnm.
Sharje.  Finished by E. Bacon.  London,




46            SCRIPTURAL SUBDECTS.
published by Herring &' Remninglon,'37
Regent Street, London, Jan'y I, 185o, C&
Goupil &' [ibert, Paris; Artaria &6  Eontaine, Mannheim.
12. MARY MAGDALENE. " Mary hath chosen that
good part, which shall not be taken from her," Luke
10., V. 43. GUIDO, PINXT.
Height, g 5-o0th inches; width, 7 7-ioth inches,
I. Before the border at the bottom  of the print
and the scriptural quotation. Artists' names
in traced letters.  Publish'd by WilZiam
Shayp, London, May z6, 1820.
2. Before the border and quotation, the artists'
names in dotted letters, date in address,
May z6, 1821.  -From  fze original pzic/ure
in the possession of Sir Simona  I. Clark,
Bart, in dotted letters.
3. The border indicated by a single line, artists'
names, address and reference to ownership
of picture in dotted letters.
4. With the border filled in, and the scriptural
quotation and reference introduced. The
title, in the inscription in the margin
in open letters. Date in the address,
z6 nMay, 1822.
5. Title in inscription in finished letters.




HISTORICAL SUB yCTS.               47
HISTORICAL SUBJECTS.
13. THE DOCTORS OF THE CHURCH, Consulting upon the Immaculateness of the Virgin. St.
Luke, Chap. I, verse 49. GUIDO RENI, PINXIT,
GEORGE FARRINGTON, DELINT.
Height, 22 9-xoth inches; width, 15 4-ioth inches,
I. Before the arms and all letters.
2. Before the motto in the arms and before all letters.
3. Before the title, artists' names only in traced
letters.
4. Before the title, the artists' names, and PubZish'd Se}t. z, z785, by John Boydell, Engraver in Cheapside, London, in traced letters.
5. Title in open letters.
6. Title in finished letters, with the scriptural
reference.  In the Gallery at Zoughton.
14. A  CHERUBIM.  From  "The Doctors of the
Church." Up. oval, unfinished.
Height, 7 5-ioth inches; width, 6 4-loth inches.




48             HISTORICAL SUB 7ECTS.
15. ST. CECILIA. Three-quarter length, crowned with
roses, and attended by two angels, in her right hand
the palm of martyrdom. PAINTED BY DOMINICHINO.
Height, xg inches; width, 14 9g-oth inches.
I. The etching.
2. The title, " Cecilia," in open traced letters,
and before the border, artists' names in
traced letters.  Published May    1790, by
W  Sharp, No. 8 Charles Street, Midd'x
Hasp' 1.
3. With the border, the day of the month, xo,
introduced in the address.
4. The title, "' St. Cecilia," in open letters. From
apicture in thepossession of Rob' t Udny, Esqr.
Date in the address, May 20, 1790, with the
addition of Winm. Skelton, Haymarket, &d
Chr. Towes, 19g Cheapside.
5. The title, in finished letters.
16. ST. CECILIA. The same picture engraved in 8vo.
Height, 6 inches; width, 4 5-xoth inches.
I,. The etching, artist's names only, in dotted
letters.
2. Title "Subscribers' ticket to the second series
of the select work of engravings, under
the direction of William Buchanan, Esq.,"
in open letters.  London, z Feb'y, i8z4,
Pub'd by Ar. Slone, 87 Pall Mall.




HISTORICAL SUBJECTS.             49
17. BOADICEA HARANGUING THE BRITONS.
OPIE, R. A. PINXT
Height, II 4-roth inches; width, 8 2-xoth inches.
I. The etching.
2. Before all letters.
3. Title in open letters. Pzublished by R. Bowyer,
Historic Gallery, Pall Mall, Nov'r, z7q5.
1S. BOADICEA THE BRITISH QUEEN, ANIMATING THE B 3RITO.NS TO DEFEND TIEIR
COUNTRY AGAINST THE ROMANS. T.
STOTHARD, R. A. DELT. Arched top with
ornamented spandrils.
Height, lo 8-Ioth inches; width, 13 4-xoth inches.
i. Before the title.  Engraved &- pub'd by TVJ.
Sharp, from a drawing by T. Stothard, R.
A., Dec. 20, z8iI, in traced letters.
2. Title in open letters, dated in address, altered
to January 28, 1812.
A. Title in finished letters.
19. ALFRED  THE  GREAT, DIVIDING   HIS
LOAFP  WITH  THE   PILGRIM.   PAINTED
BY B. WEST, HISTORICAL PAINTER TO HIS
MAJESTY.
Height, I7 inches; width, 23 4-o0th inches.
I. Before the arms and all letters.
2. Title in open letters with arms.  Publishedr as
the act rdirects, November 9hz, 1782, by John
Eboydell, Engraver in Cheapside, London.
4




50            HISTORICAL SUBYECTS.
3. Title in finished letters, with the dedication
"To the Master Wardens," &c.
20. THE  INTERVIEWV   OF  CHARLES  THE
FIRST WITH  HIS CHILDREN, during his
misfortunes, in the Presence of Oliver Cromwell.
SAM'L WOODFORDE, R. A. PINXIT.
Height, x9 inches; width, 23 inches.
I. The etching.  Published by H9Wi'm Sharp,
London, May   i8z, in traced letters.
2. Before the title, with the artist's names, the
address in dotted letters, the date altered to
May I6, z820.
3. Title in open letters.
4. Title in finished letters, with the dedication to
His Most Gracious Majesty, George the
Fourth.  London, Published Jan'y 29th,
1821, by Wi/i'm  Sharp, Member of the
imperial &' Royal Academy at Vienna, &'
of the Royal Academy of Bavaria.
21. KING CHARLES THE 2nd, LANDING  ON
THE BEACH  AT DOVER. PAINTED BY B.
WEST, HISTORICAL PAINTER TO HIS MAJESTY.
Height, z 6 3-ioth inches; width, 23 3-xoth inches.
I. The etching.
2. Before all letters, with the four white Flags.
3. Before all letters, the Flags finished.




HISTORICAL SUB yECTS.            51
4. The title "Restoration" in open letters, with
the name of William Sharp as engraver.
Etch'd by Win. Woollett, Historical Engraver
to his Majesty. Published as the act directs,
April 5, T789, by B. West, E. W'Voollett, &
f. Hall, London.
5. Title in finished letters.  From  the original
Picture in the possession of 5The Right Honzourable the Earl Grosvenor.
22. Q. MARY'S ESCAPE FROM  LOCHLEVEN
CASTLE. PAINTED BY R. SMIRKE, R. A.
Height, II 4-ioth inches; width, 8 3-ioth inches.
x. Before all letters.
2. Title in open letters. Published by R. Bowyer,
Historic Gallery, Pall Mall, Jan'y, 1795.
23. THE SORTIE MADE BY THE GARRISON
OF GIBRALTAR, in the morning of the 27th
of November, I781. PAINTED BY JOHN TRUMBULL, ESQ.
Height, x9 8-ioth inches; width, 30 2.1oth inches.
r. The etching.
2. Before the title, the artist's names only in
traced letters.
3. Title in open traced letters.
4. Title in open letters.  Published Jan'y x,
x799, by J. Trumbull, W. Sharp, d& A. C.
dePoggi, No. 9z New Bond Street.




5 2            HISTORICAL SUByECTS.
5. Title in  German text.  London, Published
Jan'y I, 1799, by J. Trumbull, Esq'r, No.
72 Welbeck Street, A. C. dePoggi, No 9I
New Bond Street, and by W. Sharp, 2Vo. 8
Charles Street, AMiddlesex Hospital.
24. THE SIEGE AND RELIEF OF GIBRALTAR,
(in two compartments), J. S. COPLEY, ESQ., R.
A. & F. A. A. PINXT.
Height, 22 8-soth inches; width, 32 2-ioth inches.
i. Before all letters, unfinished.
2. Title in open letters, before the dedication.
3. Title in finished letters, with the dedication
"To the King's most excellent Majesty,
&c."   London, Published  A/arch  27th,.rzo, by J. S. Copley, George Street, Hanover Square.
25. VIGNETTE, for Bowyer's edition of Hume's England. Three Nereides at the foot of a high rock,
hung with medallion portraits of naval heroes. R.
SMIRKE, DEL.
Height, Io 5-ioth inches; width, 7 5-ioth inches.
2d April, 8soo, by R. Bowyer, London, in
traced letters.
26. LOUIS VII., KING  OF  PRANCE, BEFORE
BECKETT'S TOMB. MARIA COSWAY,
PINXT.
Height, ix l-xoth inches; width, 8 3-yoth inches.




HISTORICAL SUBr7ECTS.              53
i. Before all letters.
2. Title in open letters.  London, Published by
R. Bowyer, Hiistoric Gallery, Pall Mall,
Marchz, z8oo.
27. DIOGENES IN SEARCH OF AN HONEST
MAN. SALVATOR ROSA, PINXT.
Height, x6 5-ioth inches; width, x3 4-ioth inches.
i. Before all letters.
2. Before the title, the engraver's name only in
traced letters.
3. Before the title and before the painter's name.
The engraver's name, and Publish'd Ist
Ajpril, 1792, by Wm. Sharp, London, in
traced letters.
4. Title in open letters.
5. Title in finished letters. "' From an original
Picture in the possession of Edw'd Knight,
Esq'r."  Published Atpril I8, 1792, by Win.
Sharp, London.   Sold by John  Murray,
Fleet Street, B. B. Evans, Poultry, Molteno &' Co., Pall Mall, W. Skelton, Hay
Market.
28. LUCRETIA. Three-quarter length, in the act of
stabbing  herself.   DOMENICHINO,  PINXT.
Oblong oval in a rectangle.
Height, Ix 7.-oth inches; width, 17 inches.
I. Before all letters, the flesh parts unfinished.
2. Before all letters.




54. HISTORICAL SUB yECTS.
3. Before the title, with the artist's names. John
Boydell, excudit, London, 1784.  Published
June ist, x784, by John Boydell, Eingraver
in Cheapside, Londion, in traced letters.
4. Title in open letters.
5. Title in finished letters, with the inscription reciting the story.  In the collection of The
Rizght Hon. Welbore Ellis.
29. ZIENOBIA.  Profile head and bust.  MICHEL
ANGELO BUONAROTA, PINXT. Without inclosing lines or background. Size of plate,
Height, Io 7-xoth inches; width, 8 2-xoth inches.
I. Before the title, artist's names, and Pubished
March I, r787, by Wi'l'm Sharp, London,
in traced letters.
2,. Title in  Greek letters.  Engraved from  an
orzizal Pictutre in the possession of Sr. Jos'a
Reynolds, in heavy cursive letters.  London,
Publish'd, istJan'y, 1788, by W. Sharp, NVo.
8 Charles Street, Middlesex Hospital, B. B.
Evans, corner of old Jewry, Cheapside, &'
W. Skellton, No. 23 Haymarket.
3. Title in Roman letters.  Published Jan'y  I,
1799, by Wiilliam Sharp, London.
30. HERO AND LEANDER.
Height, g 9'xoth inches; width, 7 9-xoth inches.
I. Before all letters, unfinished.




HISTORICAL SUBJECTS.              55
31. KING LEAR. Act I., Scene I., PAINTED BY R.
SMIRKE.
Height, lo 7.xoth inches; width, 6 5-ioth inches.
x. Before all letters.
2. Title in open letters.
3. Title in finished letters. Publish'd Oclo. 6,
Z792, by J. & J. Boydell, Shakspeare Gallery, Pall M2all, &  No. go Chleapside.
32. KING LEAR. Head and bust. Up. oval in rectangle.
Height, 6 4-xoth inches: width, 5 5-xoth inches.
Title in finished letters.  "Engraved by Wm.
Sharp from a Picture of Sr. Joshua Reynolds."  Publish'd May ist, I783, by Jo/n
Boydell, Engraver, an Cheapside, London.
33. SHAKSPEARE.   KING  LEAR.   Act III.,
Scene IV. PAINTED BY B. WEST, ESQIR, R.
A., & PRESID'T OF THE ROYAL ACADEMY.
Height, I7 5-ioth inches; width, 23 4-icth inches.
I. The etching, with the title "Shakspeare," in
open letters, artist's names, and PPuzbish'd
June 4, 1792, by J. & J. Boydell, at the
S/hakspeare Gallery, Pal/ Mall, &  No. go
Clicapside, in traced letters.




56             HISTORICAL SUB7E~CTS.
2. Finished impression without the title or painter's name..E/ch'd by Sharp, in traced
letters. The latter part of the address
only with difficulty perceived.
3. Title in open letters, with the artist's names
and address, the date altered to Marchi 25,'793.
4. Title in finished letters, with the quotation,
off, off, you lendings, &c.
34. RCZOMEO AND JULIET. Act III., Scene VII.
"' ENGRAV'D BY W. SHARP, FROM A PICTURE OF
B. WEST, ESQ'R."
Height, 5 x-Ioth inches; width, 6 5-Ioth inches.
P2ubis/z'd June 24, 1783, by John Boydell, Engraver, in Cheaopsidle, Loanan.
35. MERRY  WIVES OF WINDSOR. Dr. Caius
discovering Simple in his closet. "ENGRAVED BY
WILLIAM   SHARP, FROM  A  DRAWING  BY
ROBERT SMIRKE. Up oval.
Height, 6 inches; width, 4.5-oth inches.
London, Pub/ish'd Feb'y z, z784, by Chzarles
raylor, No. 8 Dyer's BuildziZgs,  lob/born.
36. MERRY  WIVES  OFm WINDSOR.  Act V.,
Scene V. "' Falstaff between Mrs. Page and Mrs.
Ford." PAINTED BY R. SMIRKE.
Height, 9 2-I1th inches; width, 6 5-Ioth inches.




1HS7ORZCAL SUBYECTS.               57 
i. Before all letters.
2. Title in open letters. Pub/ish'd Dec. 24, x793,
by J. &- J. Boydell, Shakspeare  Gallery,
Pall Mrall &  Cheapside.
37. RICHARD  3d. Act V., Scene III. PAINTED BY
J. OPIE, R. A.
Height, 9 9-roth inches; width, 8 2-roth inches.
Title in open letters.  Publish'd Aug. I, x794,
by Mr. Woodmason, Leadenhall Street, London.




58              LARGE PORTRAITS.
LARGE PORTRAITS.
38. CHARLES THE FIRST, KING  OF GREAT
BRITAIN, &c. &c. &c.  In three positions,
profile, three-quarter and full face. ANTONIUS
VANDYCK, EQ(UES PINXIT.
Height, 8 5-loth inches; width, 9 7-soth inches.
I. The etching.
2. The title in open cursive letters, with the words
in agua forli fecit, after "Vienna," in the
engraver's honorary title.  London, Pub'd
z NOv., z813, for the Select work of Engravings, intended to illustrate the Portraits
and Ideal Characters of the Great Martzers
of the various schools of Painting, under
the direction of Win. Buchanan, Esq'r.
By Mr. Dixon, Jun'r, at the  Historick
Gallery, 87 Pall Mall.
3. The title in finished Roman letters, with the
word  scuipsit instead  of "in aqua forti
fecit," and directly beneath the print in
dotted  letters, the date Aug't 12, x8I7.
The date of the address (in which there
is a slight difference of wording), is Ist
Feb'y, i8I5.




LARGE PORTRAITS.               59
39. THOMAS HOWARD, EARL OP ARUNDEL.
Half length sitting, landscape to the right. VANDYCK, PINXIT.
Height, Io 2-ioth inches; width, 8 inches.
i. The etching in a forward state, the title in
open letters. After "Vienna," in the engraver's honorary title, the words in aqua
fortis fecit. London, z October, r8i4, Pub'd
at the New  Gallery, 6o Pall Mall, for the
Select work of celebrated Portraits and 11uzstrious characters. By Win. Buchanan, ]Esq'r.
2. Title in open letters, not quite finished, with
the address, and in aqua fortis fecit.
3. Title in open letters, with the word sculpt
instead of "'in aqua fortis fecit."  "From
the original picture in the possession of the
Marquis of Stafford."   London, r July,
z823, Pub'd by John DJixon, at his Printing
office, No. 29  iottenham Street, for the Select
work of engravings under the direction of
4rom. Buchanan, Esq'r.
4. Title in finished letters.
40. SIR FRANCIS BURDETT, BART. Half length,
right hand resting on an upright volume labelled
"Magna Charta." JAMES NORTHCOTE, R.
A. PINXT.
Height, x6 7-3oth inches; width, 13 inches.




60               LARGE PORTRAITS.
I. Before the title, with the artist's names.  "Engraved from a Picture painted during his
imprisonment in the Tower," in open letters,
and Published by Wm. Shalrp, 27 London
Street, Filzroy Spuare, Eeb'y Iz,  Ifzz, in
traced letters.
2. Title in open letters, with the reference and
address.
41. SIR WILLIAM  CURTIS, BART, Alderman &
Representative of the City of London. Full length,
sitting in an arm chair, right hand resting on a
table; to the right a view of the Sea, a ship
introduced. THOMAS LAWRENCE, ESQ'R,
R. A. PINXT.
Height, 22 i-ioth inches; width, I3 6-Ioth inches.
i. The etching.
2. Before all letters, and the arms.
3. Before the title and arms, but with the artist's
names.
4. Title in open letters, with the arms. Publish'd
by  W. S. Blake, Change Alley, London,
M1arch I, i8i4.
42. SIR  WALTER  PARQUHAR, BART.   Full
length, sitting to the right in an arm chair, hands
clasped. PAINTED BY H. RAEBURN. Private
plate.
Height, i6 7-ioth inches; width, 13 6-soth inches.
I. Before all letters.
2. Title in finished letters, with the artist's names.




LARGE PORTRAITS.                6 
43. THE RIGHT HON'BLE ROBERT DUNDAS.
Lord President of the Court of Session.  Nat.,
29 July, 1713; ob., x3 Dec., 1787.  Threequarter length, sitting in judicial robes, left hand
on a table. PAINTED BY H. RAEBURN.
Height, i6 7-xoth inches; width, 13 5-.oth inches.
I. The etching in a forward state.
2. Before the title and border, with the artist's
names. London, Pzublish'd Aiarch I, 1790,
Ly  Wm. Sharp, No. 8  Charles Street,
MAiddlesex Hospital, in traced letters.
3. Title in open letters, the month in the address,
May, with the addition of Wm. Skelton,
Hay Market, &- John Murray, Book Seller,
Fleet Street, London,
44. THE  HON'BLE  JOHN  HYDE, one  of the
Puisne Judges of the Supreme Court at Calcutta,
in Bengal. Three-quarter length, sitting in judicial costume, holding in his right hand a pen, the left
resting on a table. R. HOME, PINXIT.
Height, x7 2-5oth inches; width, 13 7-Ioth inches.
I. Before all letters and the arms.
2. Title in open letters, with the arms. Published
Jan'y I, i8oo, by RI. Home, of Calcutta, &'
Wmr. Shai~, of London.
3. Title in open letters, with the engraver's name
as member of the Imperial & Royal
Academy of Vienna.  London, 25 March,
I814, Published by Mr. Arthur Stone, at
the Historic Gallery, 87 Pall fall.




62                LARGE PORTRAITS.
45. ROBERT HOPPER WILLIAMSON ESQ'R,
Chancellor of the County Palatine of Durham, and
Recorder of New Castle upon Tyne. Half-length
sitting.
Height, 13 inches; width, Io 7-ioth inches.
I. The etching, before the border or arms.
2. Before all letters, border or arms.
3. Title in open letters, with  the arms and the
inscription.
46. THE RIGHT REVEREND SAMlVUEL SEABURY, D. D., BISHOP OF CONNECTICUT.
Three-quarter length standing in robes, right hand
resting on a closed Bible on a heap of rocks. Landscape background. THOS. S. DUCHE, PINXT.
Height, I7 inches; width, 13 i-zoth inches.
Title in open letters, with the dedication " To
Benjamin West, Esq'r, R. A., Historical
Painter to His Majesty."  Publish'd Apiriz
20/l, 1786, by 1. S. Duche, at the Asylum,
Lambeth & J. P]hihlhzs, George Yard, Lomlard St.
47. CHARLES- BURNEY, D. D., P. R. S., & S. A.,
Rector of Cliffe & of St. Pauls, Deptford, Kent;
Prebendary of Lincoln, & Chaplain in ordinary to
his Majesty. Half length, in robes, full face.
Private plate.
Height, I3 inches; width, 7 7-soth inches.
I. Before all letters, unfinished.




LARGE PORTRAITS.                 63
2. Before all letters.
3. Before the title, the engraver's name in the
border in traced letters.  Publis/z'd, London,
IDec. I, 1821, in dotted letters.
4. The title in finished letters.  Prebendary, &c.,
in open letters. The engraver's name below
the border, in regular engraved letters.
48. MATTHEWE   RAINE, D. D., F. R. S., & S. A.
Half length, in gown and wig; full face. J.
HOPPNER, ESQ.R, R. A., PINXT.
Height, I2 6-ioth inches; width, io 8-Ioth inches.
I. The etching.
2. Title in open letters.  Below the title "One
of the Senior Fellows of Trinity College,
Cambridge; Head Master of Charterhouse
School; Preacher of Gray's Inn, & Rector
of Little Hallingbury."  Published  Dec. I,
by Ui/n. Sharp, London, z8z, in traced letters.
49. RICHARD   HART  DAVIS, ESQ'R, M. P.,
F. R. S. Half length, full face, wearing a coat
with fur collar. SR. THOS. LAWRENCE, R.
A., PINXT. Private plate.
Height, 12 6-xoth inches; width, so 7-ioth inches.
I. Before all letters, unfinished.
2. Before the title and arms, engraver's name
only in dotted letters.




64               LARGE PORTRAITS.
3. Before the title and arms, artist's names in
dotted letters.
4. Title in open letters, with the arms, artist's
names in dotted letters.
50. FILMER HONYWOOD, ESQ'R, M. P. Nearly
full length sitting, holding with both hands a paper
headed " Kent Petition, I780." Through an opening to the left, a landscape.
Height, x3 3-ioth inches; width, II inches.
I. The etching.
2. Before all letters.
3. Title in finished letters.  London, Engraved
&e Pub//shed by Will'm Sharp, April, 80o4.
51. EDWARD JENNER, M. D., F. R. S., &c., &c.,
&c. Three-quarter length, sitting in an arm chair.
W. HOBDAY, PINXIT.
Height, x6 5-Both inches; width, 13 3-loth inches.
i. Before all letters, unfinished.
2. Before the title, the painter's name, and WY.
Ske/ton, aquafortifecit in traced letters.
3. Title in finished letters, with the dedication to
the King by the painter. In the middle of
the margin next the print, Begeun by the
late WitD'1'm  Sharp, to the right, Wii'm
Skel/on scuipsit.  London, Ptub/ished Jan'y
2, 1826, by R. Acker-mann, zow Strand.




LARGE PORTRAITS.                  65
52. SIR  EVERARD   HOME.  Nearly  full length,
sitting, right hand resting upon a table on which are
papers and writing materials, a manuscript in his left
hand. SIR WM. BEECHY, PINXT. R. A.
Height, t6 6-Ioth inches; width, 13 5-ioth inches.
I. Before all letters.
2. Before the title, artist's names in traced letters.
3. Before the title, artist's names in traced letters.
Published Octo. 25, z8So, by Will'm Sharp,
Lodoln, also in traced letters.
53. JOHN HUNTER. Head and bust, head supported
by left hand. REYNOLD'S, PINx.
Height, 5 6-Ioth inches; width, 4 6-Ioth inches.
London, Published, Jan'y  4, x788, by  W
Sharp.
54. JOHN HUNTER.  Three-quarter length, sitting in
an arm chair, the right hand holds a pen, the left
supports his head, the elbow resting on a table. SIK
JOSHUA REYNOLD'S PINXT.
Height, i6 6-Ioth inches; width, 13 5-zoth inches.
*x. Before all letters.
2. Before the title, the artist's names, and the
address in traced letters.
3. Before the title, artist's names, and London,
Publish'd ist Jan'y, z788, by  Wmn. Sharp,
Charles Street, Midd'x iospital, in engraved
letters.
* There are said to be ten different states of this plate.
5




66              LARGE PORTRAITS.
4. Title in open letters.
5. Title in finished letters, with the addition to
address of B. B. Evans, corner of the old
Jewry, Cheajpside, &I W. Skelton, No. 23
Hay Market.
55. RICARDUS PORSON. Head and bust; head in
profile. J. HOPPNER, R. A., PINXT.
Height, I2 5-ioth inches; width, Io 8-zoth inches,
I. The etching.
2. Before all letters.
3. Before the title, the artist's names in traced
letters.  Published Nov. 4, s81o, by Wil'mn
Sharp, Zondon, in dotted letters.
4. Title in open letters.
56. THE HON'BLE LT. COL. CHARLES CATHCART. Half length, in uniform. G. ROMNEY,
PINXT.
Height, g inches; width, 7 3-.oth inches.
I. Before the title. In the middle of the margin,
Gulielmnus Sharp, Sculpsit, Londini, Januarius z, z791.
2. Title in open letters traced with the point, with
artist's names and date.
57. THADDEUS  KOSCIUSZKO. Full length, reclining on a sofa. "ENGRAVED BY WILLIAM
SHARP, FROM A MODEL IN WAX DONE FROM THE
LIFE BY C. ANDRAS."
Height, Ixz x-oth inches; width, i5 inches.




LARGE PORTRAITS.                  67
I. Before all letters unfinished.
2. Before all letters.
3. Title in open letters.
4. Title in finished letters.  Published as the act
directs, ist Feb'y, z8oo, for C. Andras, at
Mr. Bozwyer's, the Hisfory  Gallery, Pall
Mall, Mr. Alderman Boydell, Ch eapside,
&' Mess. Colnaghi,; Sale &' Co., Cockspur
Strleet.
58. KEMBLE.  Half length, sitting, left elbow on a table,
the hand on his breast directly in front. M. A.
SHEE, R. A., PINXT.
Height, Io 2-Ioth inches; width, 8 6-ioth inches.
i. Before letters or border.
2. Before letters, with the border.
3. Title in open letters. London, Published by W.
Sharp, April 7, 1803.
4. Title in finished letters.
59. WILLIAM  SHARP, ENGRAVER. Half length,
full face, holding a roll of manuscript in his right
hand. PAINTED BY G. F. JOSEPH, A. R. A.
Height, I2 inches; width, io inches.
x. Before letters, and before the border.
2. Before letters, the tablet in the lower border,
blank.
3. Before the title, the tablet blank. In the
margin, London, Published May 12, zr87,
by John Smith, Princes Street, Cavendish
Square.




68               LARGE POR TRAITS.
4. Title in tablet in open letters, to the left
" I817,'" and to the right "London," also
in open letters.
5. Title in shaded letters, with the tablet filled in.
London, Published Sept. I, 81g9, by Hurst,.Robinson &v Co., (late Boydell's,) 90o Cheap.
side.
60. JOANNA SOUTHCOTT. Half length sitting, an
open book before her, a large bonnet on her head.
DRAWN AND ENGRAVED  FROM  LIFE BY  WM.
SHARP.
Height, Ix 9-xoth inches; width, 9 8-zoth inches.
I. Before all letters.
2. Before the title. In the tablet in the lower
border, to the left "Isaiah, Ch. LXV. &
LXVI.,"  to the right "Jan'y, I8I2," in
open letters.  Published by Jane Townley,
London.
3. Title, date, &c., in open letters.
61. THOMAS PAINE. Half length, three-quarter face.
Upon a table to the left, pamphlets entitled " Rights
of man," & " Common Sense." ROMNEY, PINXT.
Height, Io $-xoth inches; width, 8 5-ioth inches.
Title in open letters, in the lower border.
London, Published by  W. Shzarp, No 8
Charles Street, AMidd'x hosp't, April 20,'793.




LARGE PORTRAITS.                   69
62. THOMAS PAINE. The smaller plate, same picture.
Height, 3 8-Ioth inches; width, 3 i-ioth inches.
Title in finished letters.  London, Pub. Feb'y I,
1794, by W. Sharp, No. 8 Chzarles Sireet,
Midd'x Hosp't.
63. MR. BERESPORD. Half length sitting. C. G.
STEWART, PINXT. Up. oval in rectangle.
Height, ii inches; width, 9 inches.
I. The etching.
2. Before all letters.
3. Before the title, with the artist's names. London, Published by  W. Sharp, Mllarch  25,
z796.
64. MATTHEW   BOULTON, ESQ'R, P. R. S. &
P. S. A. Three-quarter length, sitting in an arm
chair, in his left hand a medallion portrait, in the
right an examining glass. SIR WM. BEACHEY,
PINXT. Private plate.
Height, z6 6-xoth inches; width, 13 3-xoth inches.
I. Title in open letters, with the artists' names.
PubIished May  I, zIoI, by  Win. Sharp,
London.
2. Title in finished letters, with the address.




70               LARGE PORTRAITS.
65. SAMUEL MOORE.  Half length standing at a
table, holding in his right hand a paper entitled
"Premiums offered in 1796, by the Society for the
encouragement of arts, manufactures and commerce."
B. WEST.
Height, i6 7-xoth inches; width, x3 6-Ioth inches.
x. Before all letters.
66. MAYOW  WYNELL-MAYOW, ESQ. Half
length, three-quarter face. THOS. LAWRENCE,
ESQ'R, R. A., PINXT.
Height, Io 5-Ioth inches; width, 8 8-Ioth inches.
i. Before all letters and arms.
2. Title in open letters, with the arms. Below
the title "Died 14th January,  80o7, aged
53."  London,.Pubiish'd, April, by  Winm.
Sharp, in traced letters.
67. RICHARD REYNOLDS, of the Society of Friends,
late of Bristol. Half length, full face, sitting in a
library, a Bible in his right hand. W. HOBDAY,
PINXT.
Height, 13 3-Ioth inches; width, zo 7-Ioth inches.
Title in open letters, with the dedication and
the inscription "Whose Life and  Fortuue
were devoted to the Glory of God by relieving the humble in Distress." In the
border at the top, in open letters, "W Vhen
the eye saw him it blessed him."  Publishzed,
Dec. I, I8i7, by WiW'lm  Hobray, London.




LARGE PORTRAITS.                  7 T
68. THOMAS WALKER. Full Bust.  ROMNEY,
PINXT.
Height, zo 4-Ioth inches; width, 8 5-ioth inches.
I. Before the title and border, artist's names, and
Published Nov. 5, 1794, at No. 8 Charles
Street, near Middlesex  Hos5pi/al, Zondon,
in traced letters.
2. Title in open letters in the border. Published
NlVov. 5,'794, by  Will'r  Sharp, Charles
Street, near/he Mirddlesex Hospital, in traced
letters.
69. CHARLES LONG. Half length, sitting in front of
a table, upon which are writing materials. He wears
a broad brimmed hat. Private plate.
Height, Io inches; width, 8 inches.
x. Before all letters and border. This plate was
afterwards altered, another head substituted
without the hat. In the margin "E. L."
in large cursive letters.




7 2             SMALLER PORTRAITS.
SMALLER PORTRAITS.
70. GEORGE, PRINCE  OF WALES.  Head and
bust, head turned to right. Up. oval in an ornamented
frame, surmounted with the plume of feathers, and
surrounded by a radiance of glory. Beneath the
oval in a scroll the motto "Ich Dien." R'DUS.
COSWAY, PICTOR PRINCIPIS PINXT. GULIELMUS SHARP, SCULPSIT.
Height, 4 8-Ioth inches; width, 4 inches.
x. Before the frame, feathers and scroll, unfinished.
2. Before the frame, feathers and scroll, finished.
3. With the motto in the scroll in open letters,
and with the frame and feathers. Artist's
names in the frame.  Engravzed &e Pub.
lish'd by Win. Sharp, No. 8 Charles Street,
MYiddiesex Hos5ital, &e sold by W. Skelton,
Haymarket, Aug. z2, 1790.
71. GEORGE, PRINCE  OFS WALES, I79x. From
a bust by J. C. LOCHEE.
Height, 7 x-ioth inches; width, 4 4-xoth inches.
i. Before the title.  Burney, del. Sharh, Sc.
2. Title in open letters.  PublishSed as the act
directs.




SMALLER PORTRAITS.                 73
72. THE DUKE  OF CLARENC0E.  Head and bust,
three-quarter face to left. Up. oval in an ornamented
frame.
Height, 4 7-loth inches; width, 4 inches.
Ix Before all letters.
73. GEORGE WASHINGTON, Commander in Chief
of ye armies of ye United States of America.
Head and bust. In uniform. Up. oval in ornamented rectangle. The oval surmounted by a
Liberty cap, beneath which is a rattle snake, in the
border,at the top, the legend "Don't Tread on Me."
Height, 6 3-ioth inches; width, 4 3-Ioth inches.
Z. Before all letters.
2. Title in finished letters. "Engraved by W.
Sharp, from an original Picture." Lontdon,
Pu2blished accortinzg to act of Parliament,.Feb'y 22, 1780.
74. SIR  WALTER  RALEIGH.   Head  and  bust.
Circle in ornamented rectangle.
Height, 6 inches; width, 4 4-Ioth inches.
Title in open letters; engraver's name only.
Publish/ed by G. Kearsiy, at No. 46 in Fleei
Street.
75. OLIVER CROMWELL.  Head and bust, full face.
In armor. Up. oval in ornamented rectangle.
Height, 6 9-xoth inches; width, 4 5-xoth inches.




7 4             SMALLER PORTRAITS.
"Engraved by W. Sharp, from an original Picture in the possession of R. Dalton, Esq'r."
Lzondon, Publzsh'd  May 7, 1789, by  T.
Cadell, Strand,
76. HENRY WRIOTHESLEY, EARL OF SOUTHAMPTON.  Head and bust, fill face, with a ruff
around his neck. Up. oval, in ornamented rectangle.
Beneath the oval a small ruined chapel, to the left,
an up. vol. entitled " Shakespeare i623."
Height, 5 8-Ioth inches; width, 3 6-xoth inches.
I Before all letters, face not quite finished.
2. Title in open letters.  London, Publish'd May
8, I789, byJ. Rivizr/Ion &e Partners.
77. SIR  WILLIAM   HAMILTON.   Proof before
letters, 4 to. tEvans Cat. of Portraits, No. I6766.)
78. THOMAS MARQUIS OF WHARTON. Head
and bust. Up. oval in ornamented rectangle.
Height, 6 inches; width, 4 5-soth inches.
79. SIR JOHN WYNNE, BARONET. Three-quarter
length, standing.
Height, 5 6-ioth inches; width, 4 5-ioth inches.
80. GEORGE MONK, DUKE OF ALBlEMARLE.
Died 3d Jan'y, I669-70, aged 67. Full bust in
armor. Up. oval.
Height, 3 8-ioth inches; width, 3 2-o0th inches.
Eng'd for Hervey's Naval History, vol. II.
page 317.




SMALLER PORTRAITS.                75
81. GEORGE BYNG, LORD TORRINGTON. Rear
Admiral of Great Britain, Knight of the Bath, and
First Lord of the Admiralty. Head and bust, flowing wig. Up. oval in ornamented rectangle, below
the oval the representation of a naval battle.
Height, 5 7-Ioth inches; width, 3 6-ioth inches.
zEngrav' dfor Hervey's Naval History, vol. V.,
Book 8., Ch. r.
82. ROBERT BLAKE, ADMIRAL. Died x7th Aug.
i657, age 59. Full bust, three-quarter face, with a
quotation from Glover, " Thy name, &c." Up. oval.
Height, 3 8-ioth inches; width, 3 2-ioth inches.
rEngravedfor Hervey's Naval History.
83. ADMIRAL LORD HOWE. Head and bust in a
circle. J. S. COPLEY, R. A., PINXT.
Diameter 3 3-xoth inches.
Before the title.  London, Publishzed May 22,
izio, by J. S. Cotley, Geotge Street, Ranover.
84. CAPT. BARRINGTON.   Head and bust in a
circle. J. S. COPLEY, R. A., PINX.
Diameter 3 3-3oth inches.
Before the title.  London, Published May 22,
z8So, by J. S. Coley, George Str't, Hanover Sq'e.




76              SMALLER PORTRAITS.
85. CAPT. TI-OS. FORREST.  Orancayo  of the
golden sword. Half length, sitting before a table,
his right hand resting upon an open chart. To the
left a view of the Sea, with Siamese vessels. J. K.
SHERWIN, DEL.
Height, 8 8-soth inches; width, 7 3-Ioth inches
Published by the author as the act directs,Jan'y
30, 1779.
86. THE EON'BLE THOS. ERSKINE. Head and
bust.  R'DUS COSWAY R. A., PINXIT.  GULIELMUS SHARP, SCULPSIT. Up. oval.
Height, 4 inches; width, 3 5-loth inches.
i. Title in open letters. Beneath the oval in
traced letters, London, Pub/ish'd May 2,
791r, by W. Sharp, No. 8 Charles Street,
iMdd'x Hosp't.  At bottom  of plate, sold
by W. Skelton, Haymarket, Moltano &' Co.,
Pall iall, &' B. B. Evans, Poultry.
2. Title in finished letters. Beneath the oval,
London, Engraved and Publish'd by Wim.
Sharp, Octo. zo, x80o.  The address at
bottom of plate, W. Skelton, O&c., omitted.
87. DRYDEN. Head and bust, three-quarter face. Up.
oval, in ornamented rectangle.  G. KNELLER,
PINXT.
Height, 6 inches; width, 4 4-Ioth inches.
Pub. by G. Kearsly, No. 46 Fleet Street.




SMALLER PORTRAITS.                   77
88. JOHN MILTON Head and bust, full face. Up.
oval in ornamented rectangle, beneath the oval,
Adam and Eve in the Garden.
Height, 4 5-toth inches; width, 3 4-ioth inches.
"Engraved by Wm. Sharp, after an original
miniature by Samuel Cooper, the ornaments
by G. B. Cipriani & E. F. Burney."
89. HEAD OF SHAKSPEARE.
Height, 4 9-ioth inches; width, 4 inches.
x. Before all letters or border.
90. DR. SAMUEL JOHNSON.  Head and bust. Up.
oval.
Height, I 9-ioth inches; width, I 5-ioth inches,
I. Before all letters, unfinished.
91. SIR ISAAC NEWTON. Head and bust, full
face, flowing wig. Circle in a highly ornamented
rectangle. G. KNELLER, PINXT.
Height, 6 inches; width, 4 4-roth inches.
Pzublished by G. Kearsly, No. 46 Fleet Street.
92. RICHARD  CUMBERLAND.  Head and bust.
Height, 3 I-Ioth inches; width, 2 5-both inches.
I. Before all letters.
93. RICHARD BENTLEY.  Head and bust, in robes.
Up. oval.
Height, 4 7-eoth inches; width, 3 7-Ioth inches.
i. Before all letters.




78              SMALLER PORTRAITS.
94 JOHN BUNYAN. Three-quarter length, sitting
in robes, left hand on an upright " Holy Bible."
Height, 7 6-ioth inches; width, 6 3-ioth inches.
I. Before all letters, and before the border.
2. The title "Portrait of John Bunyan," in open
letters.  Below  the title "Author of the
Pilgrims' Progress."  London, Pub. Azg.
1819, by Hurst, Robinson &' Co., (laZe Boydell's,) 90 Cheapside.
95. GUILELMUS CUMING, M. D. Col. Reg. Med.
Edinb, et soc. Antiq. utriusque Sod.  Head and
bust. BEACH, PINX., 1783. Up. oval.
Height, 3 x-xoth inches; width, 2 7-2oth inches.
I. Before all letters.
2. Title in open letters, with the motto "Rien
rechercher, Rien regretter; ne se plaindre
de Personne." Sharp, sc., z785.
96. DANIEL ISAAC EATON. Half length, sitting.
ABBOT, PINXT.
Height, 3 9-ioth inches; width, 3 x-Ioth inches.
i. Before all letters.
2. Title in finished letters, with the motto, " Frangas non Flectes," in open letters.  Pub'd
May  4i, z794, at the Cock 6&  Swine, No.
74 Newgate Street, London.




SMALLER PORTRAITS.                79
97. RICHARD BROTHERS, PRINCE OF THE
HEBREWS.   Half length, three-quarter face,
wearing a cravat with a large bow. Rays of light
descending upon his head from the left.
Height, 6 7-zoth inches; width, 5 5-roth inches.
The title in open letters in the lower border.
In the margin the words "Fully believing
this to be the man whom God has appointed;
I engrave his likeness, William Sharp,"
Published at No. 8 Charles Slreet, Mitd'x
Srospital, London, Alpril z6, z795, by  W
Sharp.
98. JOHN JOHNSQON. Three-quarter length, sitting
with  clasped  hands.   HAUGHTON, PINXT.
Private Plate.
Height, 7 i.ioth inches; width, 5 7-ioth inches.
Before the title, artist's names in dotted letters.
99. DAVID GARRICK.  Head and bust.
Height, 3 8-zoth inches; width, 3 inches.
Title in open letters.  "Drawn by T. Uwins
from a Picture by Gainsborough, in the
Town  Hall, at Stratford  upon  Avon."
Londodon, Mfarch   823, Published  by   W.
Walker, 5 Gray's Inn Square.
100. JOHN HORNE TOOKE. Head and bust. Up.
oval.
Height, 2 5-ioth inches; width, 2 inches.
x. Before all letters.




80               SIMALLER POR TRAITS.
101. MR. CARTER.  Head and bust. Up. oval.
Height, 2 6-ioth inches; width, 2 2-10th inches.
I. Before all letters.
102. ALDERMAN GEORGE FAUILKNER. Head
and bust. Circle with a narrow border.
Diameter, 3 7-ioth inches.
Title in open letters, in the border at the top.
In the lower margin divided  by the engraver's name, Publis/''d as the act directs,
Octo. 22, 1777.
103. JOSEPH PLANTA, ESQ'R. "CENGRAVED BY W.
SHARP, FROM A MEDALLION BY PISTRUCCI."
Diameter, 2 9-loth inches.
I. Before the title. Sharp, scujA.
2. The title in light cursive letters.  Published,
Dec. I, I8i7, by W. Clark, Bond St.
3. The title in heavy cursive letters, without the
address.
104. C. HEIDEGGER.  A mask.
Height, g R-xoth inches; width, 6 7-ioth inches.
The title in heavy cursive letters.
105. HEIDEGGER.  Profile after death. Up. oval.
Height, 6 8-Ioth inches; width, 6 inches.
The title in finished letters.




SMALLER PORTRAITS.                    8 I
106. LUNARDI. Head and bust. Up. oval.
Height, 5 8-oth inches; width, 3 6.-oth inches.
i. Before all letters.
107. PROFILE HEAD. After Fuseli.
Height, 6 5-loth inches; width, 4 2-Ioth inches.
I. Before all letters.
108. HEAD OP AN OLD WOMAN. After Rubens.
Height, 4 6-xoth inches; width, 3 3-Ioth inches.
I. Before all letters, unfinished.
109. FEMALE HEAD AND BUST. Up. oval.
Height, 2 7-ioth inches; width, 2 2-ioth inches.
x. Before all letters.
110. A PERSIAN PRINCE. Profile head and bust.
Up. oval.
Height, 3 3~roth inches; width, 2 7-ioth inches.
Before the title.  Sharp, ScuZpt, in traced letters.
6




82              VARIOUS SUBYECTS.
VARIOUS SUBJECTS.
111. CUPID  AND  HIS  MOTHER.   L. E. V.
LEBRUN, PAINTER.
Height, 12 3-xoth inches; width, Io 4-loth inches.
Title in finished German text letters. " Sarp,
Engraver."   London, Publish. de March
I, 1789, by Smith, No. z7  Strogmorton
Street.
112. VENUS AND  EUROPA.  Horace, book 3rd,
Ode 27. WEST, PINXT.
Height, 5 2-Ioth inches; width, 6 6-soth inches.
I. The title "Jupiter and  Europa," with the
artist's names.
2. The title " Venus and Europa," with the reference to Horace.  Published June 24, 1783,
by John Boydell, Engraver, in Ch/eapside,
London.
113. NIOBE. From  the first Picture on that subject.
PAINTED BY RICHARD WILSON, ESQ'R, R. A.
Height, 17 3-roth inches; width, 24 4-loth inches.
x. The etching.




VARIOUS SUBI3ECTS.              83
2. The title in open letters, with the reference to
the picture in traced letters.  "The figures
engraved by Will'm Sharp."  "The Landscape by Sam'l Smith."  Published as thze
act directs by S. Smith, No. 58 Castle Street,
east Oxford Street, Ilay 31, 1792.
3. The title in filled letters, with the reference to
the picture in open letters, and with the
dedication.  The word London at the beginning of the address.
4. The title in filled letters, with the reference to
the picture in open letters. PtiblishedJune
4, I803, byJ. & J   Boydell, No. 90 Cheapside, and at the Shakspeare Gallery, Pall
Mall, London.
114. CIRCE.  Half length, standing with  her cup.
DOMENICHINO, PINXIT. JOS'H  BOYDELL,
DEL1NT. Up. oval.
Height, TO 2-ioth inches; width, 8 5-xoth inches.
i. Before all letters and before the inclosing lines.
2. The title in open letters. John Boydell, excudit,
1780.
115. HECTOR IN  THE TOWER. "W. SHARP,
SCULP. BARTHOLOMEW LANE."
Height, 5 3-1oth inches; width, 7 i-loth inches.
Publish'd according to act of Parliament, Jan'y
9, 1775, by a44n. Shalp, No. 9 Bartholomew
Lane, Royal Exchange, London.




84               VARIOUS SUBLE CTS.
116. LANDSCAPE. With a cottage on the right foreground.
Height, 6 inches; width, 8 2-1oth inches.
i. Before all letters.
117. LANDSCAPE. Hellesley Hill, near Chester, with
a balloon passing over. STOTHARD, DELT.
Height, 7 3-ioth inches; width, 5 S-zoth inches.
_. Before all letters.
118. THE CHILDREN IN THE WOOD. "DRAWN
BY J. H. BENWELL." "THE FIGURES ENGRAVED
BY W. SHARP."   "THE  LANDSCAPE BY W.
BYRNE & T. MEDLAND."  Oblong oval.
Height, 7 5-ioth inches; width, 9 5-.oth inches.
The title, artist's names, and Published as the
act directs, 20th May, z786, by  W. Byrne,
No. 79  zitchfield StJeet, London, in traced
letters.
119. JOSEPH ANDREWS. See book 3, Cha. IX.
" DRAWN by T. HEARNE." " THE FIGURES
ENGRAVED BY W. SHARP."  "THE LANDSCAPE
BY W. BYRNE & B. T. POUNCY." Oblong
oval in rectangle.
Height, ii 8-Ioth inches; width, 13 6-Ioth inches.
I. Before all letters, the landscape finished, the
figures only etched.




VARIOUS SUByECTS.               85
2. The title "Joseph Andrews 2d, Pie.," in open
traced letters. The artist's names, and
Lonrdon, Eeb'y, 1788, fpublish'd as the act
directs, by  W: Byrne, No. 79 Tiztczfeld
Street, in traced letters.
3. Title in finished letters.
120. EVIL. A male head with wildly agitated hair,
and terrible character of countenance. MICHEL
ANGELO BUONAROTA, PINXT. No back
ground.
Height, 11 3-ioth inches; width, 8 2-loth inches,
I. Before all letters.
2. Before the title. Painter's name, in traced
letters.   London,  Published  by   Wi/i'm
Sharp, Sept. 2, z8z6, in traced letters.
121. THE TWO  MANIACS. Sculptured by Cibber,
over the entrance to Bethlem Hospital. STOTHARD, DELT.
Height, 5 3 —oth inches; width, 8 3-Ioth inches.
WVith the lines "Bethlemii ad portas se tollit
dupla  columna, &c."  Pub. as the  act
directs, June 4, 1783.
122. MONUMENT TO HARDINGE.
Height, I4 inches; width, 17 inches.
I. Before the border, unfinished.
2. With  the border.   "By Charles Manning,
Sculptor."  London, Pub'd March 25, r8I3,
by Sarah Mfanning.




86                  VARIOUS SUBJECTS.
123. DECLARATION OF RIGHTS. STOTHARD,
DEL. " To the Society for Constitutional Information, this plate is inscribed," in open traced letters.
Height, 20 4-Ioth inches; width, 14 inches.
TWELVE PLATES FOR CAPT. COOK'S
LAST VOYAGE. J WEBBER, DEL. They
occur in etchings, proofs and finished letters.
124. A Man of Oonalashka.
Height, g I-Ioth inches; width, 6 9-loth inches.
125. A Man of Kamtschatka.
Height, 9 x-ioth inches; width, 6-9-ioth inches.
126. A Woman of Kamtschatka.
Height, 9 R-ioth inches; width, 6 g9.oth inches.
127. A Man of Mangea.
He ght, 9 x-ioth inches; width, 6 9-xoth inches.
128. A Man of Nootka Sound.
Height, 9 i.zoth inches; width, 6 9-ioth inches.
129. A Woman of Nootka Sound.
Height, 9 i-ioth inches; width, 6 g9-oth inches.
130. The Inside of a Winter Habitation  in  Camtsohatka.
Height, 8 9-roth inches; width, I5 2-ioth inches,




VARIOUS SUB7ECTS.                     87
131. The Inside of a House in Nootka Sound.
Height, 8 9-ioth inches; width, 14 7-Ioth inches.
132. The Inside of a House in Oonalashka.
Height, 8 7-ioth inches; width, 14 7-Ioth inches.
133. Poulaho, King of the Friendly Islands, drinking
Kava.
Height, 9 2-1oth inches; width, I5 3-ioth inches.
134. A Night Dance by Men in Hapaee.
Height, 8 9-Ioth inches; width, I5 3-Ioth inches.
135. A Night Dance by Women in Hapace.
Height, 8 9-Ioth inches; width, I5 I-Ioth inches.
136. TWO NUDE SAVAGES. Male and female.
Height, 7 4-ioth inches; width, 5 3-Ioth inches.
x. Before all letters.
137. ATHENS. JAMES STUART, INV., WM. COL.
LINS, FEC.
Height, 21 5-zoth inches; width, i6 inches.
138. BRITANNIA. RALPH WILLETT, INV., WM.
COLLINS, FEC.  Oblong oval.
Height, I5 5-soth inches; width, 24 inches,
139. MOSES STRIKING THE ROCK.
Height, 7 2-1oth inches; width, 4 4-loth inches.




88                VARIOUS SUIB7ECTS.
140. NEHEMIAH, CHAP.  II., V. III.   "Why
should not my countenance be  sad," &c.  B.,
WEST, DELT.
Height, 6 8-soth inches; width, 5 x-ioth inches.
London, Printedfor J. Bell's British Library,
20tk Martch, I782.
141. PAN AND SYRINX.
Height, 7 5-Ioth inches; width, 5 7-xoth inches.
i. Before all letters.
142. CLEANDER BRIBING CLEON. J. STUART,
DELT.
Height, 7 2-moth inches; width, 4 9-ioth inches.
143. CHAUCER,  REVES  TALE.  The  Miller of
Trompington and Two Scholars. DRAWN BY
MORTIM ER.
Height, 8 x-xoth inches; width, 6 inches.
London, Publish'd Feb'y 12,?787, by J. R.
Smaith, No. 31 King Street, Covent Garden.
144. TASSO, JERUSALEM   DELIVERED, Scene
from. STOTHARD, DELT.
Height, 6 inches; width, 4 x-zoth inches.
145. THE:  EARL OP  SOMERSET.  H. L. INVT.
Height, 7 7.Ioth inches; width, 6 inches,




YARIOUS SUBTEC7S.                89
146. THE WOUNDED SPORTSMAN. STOTHARD, DELT. Oblong oval.
Height, 6 inches; width, 7 5-ioth inches.
I. Before the title, artist's names in traced letters.
Pzb/ished Jan'y z, z788, by WI Lowndes, in
traced letters.
2. The title "Sylph," at the top in open letters.
147. THE  MUSE  OP  PHILOSOPHY,  dispelling
the clouds of ignorance from the Garden of Science.
STOTHARD, DELT.
Height, 7 6-ioth inches; width, 6 inches.
Before the title, artist's names in traced letters.
148. MERCURY PUTTING ON HIS SANDAL
WINGS. FRONTISPIECE TO HORNE TOOKE'S
" DIVERSIONS OF PURLEY."
Height, 7 3-Ioth inches; width, 6 inches.
x. Before all letters.
2. Motto " Dum brevis esse laboro, obscurus fio,"
in open letters.  Published Jan. z, 1798, by
John Horne Tooke, Wizmbledon, Surry.
149. PORTICO OF A GREEK TEMPLE.
Height, 6 5-xoth inches; width, 9 3-ioth inches.
150. GREEK  COINS  AND   ANTIQUES.  Two
plates.




go90             VARIOUS SUBECCS.
151. GRECIAN FRIEZES. Three plates.
152. A MASK. From the antique.
Height, 4 inches; width, 3 inches.
i. Unfinished.
2. Before letters, engravers name only.
153. HEAD  OF A BOY. From marble.
Before letters, engravers name only.
154. FEMALE HEAD. From marble,
x. Before all letters.




SMALL BOOK PLATES.                9I
SMALL BOOK PLATES.
155. ANNUNCIATION TO THE SHEPHERDS.
See Page 350, Vol. I. B. WEST, DELT.
Height, 5 3-zoth inches; width, 3 inches.
156. A  SCRIPTURAL  SUBJECT.  See discourse,
XIV., Vol. II. B. WEST, PINXT.
Height, 5 4-1oth inches; width, 3 i-ioth inches,
157. NATHAN  SAID UNTO DAVID. Unfinished.
Height, 5 2-ioth inches; width, 6 6-Ioth inches.
158. ORPHEUS AND EURYDICE.
Height, 5 5-Ioth inches; width, 4 inches.
I. The etching.
2. Before all letters.
3. With the engraver's name and the lines " En
Iterum crudelia retro Fata vocant, conditque
natantia lumina somnus."
159. AN ASSEMBLY  OF THE HEATHEN
DEITIES ON MOUNT OLYMPUS.
Height, 5 5-loth inches; width, 4 inches.
PAb. by Verner &' Hood, z802.




92               SMALL BOOK PLATES.
160. FRONTISPIECE  TO  POEMS.  Dedicated to
Her Majesty, by H. L. Oblong oval.
Height, 5 inches; width, 6 inches.
161. THE TAKING OF THE FOUDROYANT
BY THE MONMOUTH, 1758.
Height. 3 3-Ioth inches; width, 5 8-Ioth inches.
Hervey's Naval History, vol. 5, Book 7, Ch. 4.
162. PLAN OF THE TOWN AND FORTIFICATIONS OF GIBRALTAR.
Height, 3 6-ioth inches; width, 6 2-xoth inches.
Hervey's   Naval   History.    Frontispiece,
Vol. III.
163. ILLUSTRATION OF A GRECIAN LEGEND.
J. STUART, DELT.
Height, 5 8-ioth inches; width, 3 2-zoth inches.
164. MRS. SIDDONS, as Euphrasia in the Grecian
Daughter. Act V., Scene III.
Height, 5 5-ioth inches; width, 3 4-xoth inches.
Pub. by W.  Lowndes, AprilZ o, z783.
165. MISS  BRUNTON, as Monimia in the Orphan.
Act V., Scene II. STOTHARD, DELT. Ad.
vivum.
Height, 5 2-xoth inches; width, 3 4-xoth inches.
Pub. by W. Lowndes, April 8th, r786.




SMALL BOOK PLATES.                      93
SEWARDS ANECDOTES.
166. Dies Prsteritos.
Height, 3 8-roth inches; width, 2 3-loth inches.
167. Decoro inter verba Silentio.
Height, 3 8-roth inches; width, 2 3-xoth inches.
168. Unde, unde, extricat.
Height, 3 8r.oth inches; width, 2 3-roth inches.
169. COURTSHIP.
Height, 5 inches; width, 3 S-roth inches.
170. A LADY READING BY CANDLE-LIGHT.
Height, 4 I-loth inches; width, 2 6-loth inches.
Pub. by T. Cadelt, i787.
171. A SUBJECT UNKNOWN.
Height, 4 ix-oth inches; width, 2 6-ioth inches.
Pub. by T. Cadell, 1787.
172. AN INCANTATION SCENE.
Height, 4 I-IOth inches; width, 2 6-roth inches.
Pub. by T. Cadell,.787.
173. A LADY STANDING READING A LETTER.
Height, 4 x-Ioth inches; width, 2 6-roth inches.
Pub. by  S. Cadell,  78?7.




94                SM ALL BOOK PLATES.
SPECTATOR.
174. The Rosicrusian.  Vol. 5, No. 379.  After Fuseli.
Height. 4 8-ioth inches; width, 2 9-ioth inches.
Pub. by John Sharjpe, z8o3.
175. Theodosius and  Constantia.  Vol. 2, No. x64.
After Westall.
Height, 4 8-soth inches; width, 2 8-Ioth inches.
Pub. by John S/zhape, z8o3.
LOWNDES' SHAKSPEARE.
176. As you Like it. Act z, Scene 6.
Height, 5 inches; width, 3 5-1oth inches.
177. Macbeth.  Act 3, Scene 5.
Height, 5 inches; width, 3 5-soth inches.
178. The Tempest.  Act I, Scene 3.
Height, 5 inches; width, 3 5-Ioth inches.
179. 1st part, Henry IV. Act z, Scene 4.
Height, 5 inches; width, 3 5-loth inches.
180. Cymbeline.  Act 3, Scene I.
Height, 5 inches; width, 3 5-both inches.
181. Richard 3rd. Act 5, Scene 3.
Height, 5 inches; width, 3 5-soth inches.




SMALL- BO OK PLA TES.               95
182. Merchant of Venice. Act 3, Scene 3.
Height, 5 inches; width, 3 5-loth inches.
BELL'S BRITISH  THEATRE.  Circles in ornamented rectangles.
Height, 5 inches; width, 3 3-ioth inches.
183. Timon of Athens.
184. Julius Cesar. Act z, Scene t.
185. The Provoked Husband. Act S.
BELL'S  BRITISH  POETS.   Circles in ornamented rectangles.
Height, 4 2-2oth inches; width, 2 5-ioth inches.
186. Alexander Pope, Esq'r.
187. Chaucer. Vol. VI.
188. Spencer. Vol. I.
189. Spencer. Book 5.
190. Cowley. Vol. II.
191. Tickle.
192. Waller. Vol. I.
193. Waller. Vol. II.




96             SMALL BOOK PLATES.
ICONOGRAPHY.
194. Plate No. 97. Praise, Detraction, Contention,
and Reconciliation. Four designs. W. HAMILTON, DELT.
Height, g inches; width, 7 inches.
195. Plate  No. 105.    Temptation, Indulgence,
Danger, and  Security.  Four designs.   W.
HAMILTON, DELT.
Height, 9 inches; width, 7 inches.
Pub. as tzhe act directs, 17th AJ5ri, I779.
NOVELISTS, MAGAZINE, &c.
Height, 4 7-Ioth inches; width, 2 8-soth inches.
196. Alciblades or the Self. Vol. I.
197. The Four Phials. Vol. I.
198. Soliman II. Vol. I.
199. By Good Luck. Vol. T.
200. All or Nothing. Vol. I.
201. The Scruple. Vol. I.
202. The Two Unfortunates. Vol. I.
203. Lausus & Lydia. Vol. I.




SMIALL BOOK PLATES.           97
204. The School of Fathers. Vol. II.
205. The Shepherdess of the Alps. Vol. II.
206. Lauretta. Vol. III.
207. The Misanthrope corrected. Vol. III.
208. A Wife of Ten Thousand. Vol. III.
209. Chinese Tales. STOTHARD, DEL.
210. Tom Jones. STOTHARD, DEL., 1780.
211. Tom Jones. STOTHARD, DEL., 1780.
212. Gil Blas. STOTHARD, DEL., 178I.
213. Gil Bias. STOTHARD, DEL., 1781.
214. Subject unknown.
7




98           CARD PLATES & TICKETS.
CARD PLATES &: TICKETS.
215. W. Sharp, Engraver, No. 9 Bartholomew Lane,
Royal Exchange, London. Design, an angel seated
among clouds.
216. W. Sharp, Engraver. History, ornamental writing,
seals, &c. Design, two figures, one standing, the
other seated on a cloud.
217. Sharp, Carver & Guilder, No. 44 Leadenhall street,
London.
218. Cockburn, Tobacconist & Snuff Maker, No x46
Fenchurch Street.
219. Jno. Wood.  The  Post House, Ingatestone.
Chaises & Horses.
220. Will'm Robertson, Trunk & Plate Case Maker, No.
I4 New Bond Street.
221. Lake, Engraver, No. 9 Bartholomew Lane, Royal
Exchange.




CARD PLATES &  TIC'KETS.                 99
222. Wm. Boreman, Watch  &  Clock Maker, No. 8
Carthusian Street.
223. Win. Wilson, Bookseller and Stationer, Dublin.
224. Subscription Ticket, for Ball at Carlisle House.
Oblong oval.
Height, 4 inches; width, 5 2-zoth inches.
225. Subscription Ticket.  Carlisle House.  Up. oval.
Height, 5 8-xoth inches; width, 4 5-oth inches.
226. Mr.  Barthelemon's  Night.   Design,  Jeptha's
Meeting with his Daughter. STOTHARD, DELT.
Height, 4 inches; width, 5 inches.
227. Entrance Ticket, tor a Vauxhall Regatta.
228. Orpheus and Eurydice.
Height, 3 3'Ioth inches; width, 4 inches.
229. Commerce. Oblong oval encircled by a wreath.
Height, 4 7-xoth inches; width, 8 inches.
230. A Cherub, seated among clouds.
Height, 2 7-Ioth inches; width, 3 z-zoth inches.
231. A Cherub, flying.
Height, 3 inches; width, 2 8-Moth inches.








TABLE
or
SUBJECTS ALPHABETICALLY ARRANGED.
No.
Agony of Christ, (The),........   8
Alfred the Great dividing his loaf, &c....   I9
All or Nothing,...........  200
Alcibiades or the Self,......... I96
Angel destroying the Assyrian Camp, (The),.  I
Andrews, Joseph,..........II9
Annunciation to the Shepherds,. I55
As you Like it. Act 2, Scene 6..... I76
Assembly of the Heathen Deities on Mount
Olympus,............                      I59
Athens............137
Barrington, Capt.,..........             84
Barthelemon's Night, (Mr.),.......226
Bentley, Richard,..........93
Beresford, Mr.,..........    63
Bias, Gil,............    212
(xOI)




102           TABLE OF SUB7ECTS.
No.
Blas, Gil,.............   213
Blake, Robert, Admiral,.......    82
Boadicea haranguing the Britons,..... I7
Boadicea, the British Queen, animating the
Britons, &c........i8
Boreman, Wm. Card,...... 222
Boulton, Matthew,..........          64
Bowyer's England, (Vignette for),...    25
Britannia,............ I38
Brothers, Richard,.....    97
Brunton, Miss, as Monimia...... i65
Burdett, Sir Francis.......... 40
Burney, Charles, D. D.,........ 47
Bunyan, John..........             94
Byng, George, Lord Torrington,.....   8I
Cmesar, Julius. Act 2, Scene...... I84
Carlisle House. Sub. Ticket for Ball,. 224
Carlisle House. Sub. Ticket,.....   225
Carter, Mr.,....... Io0I
Cathcart, the Hon'ble Lt. Col. Charles,...  56
Chaucer. Vol. VI.......... 87
Chaucer, Reves Tale,....I43
Charles the First. Portrait,.......   38
Charles the First. Interview with his children,
&c.,............. 20




TABLE OF SUB. ECTS.         I03
No.
Charles the 2nd, landing on the beach at Dover, 2I
Cherub, seated among clouds,.....   230
Cherub, flying........... 23I
Cherubim, from "The Doctors of the Church,'"  I4
Children in the Wood, (The),......  i8
Chinese Tales............  o209
Christ, head of. Ecce Homo,......   9
Circe,......... I14
Clarence, Duke of,.........   72
Cleander bribing Cleon,.......    I42
Cockburn, Tobacconist. Card,...... 28
Commerce. Card,..........229
Contention,......... I94
Courtship,........ 69
Cowley. Vol. II.,...... Igo
Cromwell, Oliver,.........75
Cymbeline. Act 3, Scene i.,...... 8o
Cumberland, Richard,.........  92
Cuming, Guilelmus, M. D.,.....            95
Cupid and his Mother,...... r
Curtis, Sir William,.......... 41
Danger,........  I95
Davis, Richard Hart, Esqr.,.....49
Decoro inter verba Silentio,..        167
Detraction,.............           94




104           TABLE OF SUBJECTS.
No.
Dies Praeteritos,........  66
Diogenes in Search of an Honest Man,.    27
Declaration of Rights,......   23
Doctors of the Church, (The),... I3
Dryden,....87
Dundas, The Right Hon'ble Robert,..    43
Eaton, Daniel Isaac,..          96
Ecce Homo. Head of Christ,.....          9
Endor, The Witch of,.....                 3
Erskine, The Hon'ble Thos.,...... 86
Evil,............ I20
Family, The Holy,.                           6
Family, The Holy,-the smaller plate,          7
Farquhar, Sir Walter,.                      42
Faulkner, Alderman Geo.,......           02
Forrest, Capt. Thos.,......... 85
Foudroyant, The taking of the,.....  6
Garrick, David,...........  99
Gibraltar, Plan of,.. 162
Grecian Friezes,....  I5 
Grecian Legend, Illustration of,..... i63
Greek Coins and Antiques,.......I50
Hamilton, Sir William,........  77
Hapaee, a Night Dance by Men in,....  134
Hapade, a Night Dance by Women in,..35




TABLE OF SUByECTS.           105
No.
Head of a Boy, from marble,..... I53
Head of a Female, from marble,....   154
Head. Profile after Fuseli,......10o7
Head of an old Woman, after Rubens,... Io8
Head of a Female,...... Iog9
Hector in the Tower.........   I5
Heidegger, C. The Musician. Mask,.. I04
Heidegger. The Musician. Profile,....  05
Henry IV., Ist Part. Act 2, Scene 4,..   I79
Hero and Leander,.........              30
Home, Sir Everard,.                         5 2
Honywood, Filmer, Esq.,......     50
Howard, Thomas, Earl of Arundel,..   39
Howe, Admiral Lord,....                   83
Hunter, John. Head,........        53
Hunter, John,.........    54
Husband, The Provoked,...- I85
Hyde, The Hon'ble John,.......   44
Incantation Scene,......... 72
Indulgence,..                  1........ I95
Infant Christ,............   4
Interview of Charles the First with his Children,
&c.,      e........    ~ 20
Jenner, Edward, M. D.,........          5.
Jerusalem Delivered. Tasso,.......  44




io6            TABLE OF SUB7ECTS.
No.
Johnson, Dr. Samuel,.........   go
Johnson, John,......... 98
Jones, Tom,........  210
Jones, Tom,....... 2  1
Judith Atireing,..........    2
Kamtschatka, a Man of,...  I25
Kamtschatka, a Woman of,. I26
Kamtschatka, inside of a Winter Habitation in, I30
Kemble,.....58
Kosciuszko, Thaddeus,.........  57
Lady Reading by Candle-light,... I70
Lady Standing Reading a Letter,.  73
Landscape with a Cottage,..... 116
Landscape, Hellesley Hill,. II7
Lake, Engraver. Card,..221
Lauretta,.............. 
Lausus and Lydia,...  203
Lear, King. Act i, Scene I,                    3I
Lear, King. Head after Reynolds,. 32
Lear,. King. Act III., Scene IV. "West,"       33
Long, Charles,..                             69
Louis VII., King of France, before Beckett's
Tomb,..............               26
Luck, By Good,.... I99
Lucretia,.....28




TABLE OF SUB.E CTS.          10 7
No.
Lunardi. The Balloonist,........ o6
Macbeth. Act 3, Scene 5...... 177
Mangea, a Man of........  127
Maniacs, The Two,.........2 
Marys at the Sepulchre, (The),......  Io
Mary Magdalene,..........      I2
Mary's, Q., Escape from Lochleven Castle,.. 22
Mask from the Antique,...... I52
Mayow Wynell-Mayow, Esqr.,...               66
Merchant of Venice. Act 3, Scene 3,.. 182
Mercury putting on his Sandal Wings,.. I48
Merry Wives of Windsor. Dr. Caius,..  35
Merry Wives of Windsor. Act V., Scene V.,. 36
Milton, John,..........  88
Misanthrope Corrected, (The),......  207
Monument to Hardinge,......22
Monk, George, Duke of Albemarle,...  8o
Moore, Samuel,..                       65
Moses Striking the Rock,......   39
Nathan said unto David,.. 57
Nehemiah. Chap. II., V. III.....        I40
Newton, Sir Isaac,..                       9g
Niobe,...... I  3
Nootka Sound, a Man of,....  I28
Nootka Sound, a Woman of,...... I29




Io8           TABLE OF SUByECTS.
No.
Nootka Sound, The Inside of a House in,   1. I3 
Oonalashka, A Man of... I24
Oonalashka, The inside of a House in,..  I32
Orpheus and Eurydice,..1...... I58
Orpheus and Eurydice. Card,..       228
Pan and Syrinx,.....  14I
Paine, Thomas,.  6
Paine, Thomas. The smaller plate,..   62
Persian Prince,..0.........i....  Iio
Phials, The Four,..... I197
Philosophy, The Muse of,... 1.. I47
Poems, Frontispiece to. Ded. to her Majesty,. i6o
Pope, Alexander, Esq'r,.......    i86
Porson, Ricardus,.........        55
Portico of a Greek Temple,.                I49
Planta, Joseph, Esq'r,.........  o3
Poulahol, King of the Friendly Islands, &c.,. i33
Praise,..        a............ I94
Raine, Matthew, D. D.,......... 48
Raleigh, Sir Walter,.....          74
Reconciliation,..... I.I94
Reynolds, Richard,....... 67
Richard 3rd. Act 5, Scene 3,.... 37
Richard 3rd.  Act 5, Scene 3.  (Lowndes'
Shakspeare,............                  18 




TABLE OF SUBYECTS.          Iog09
No.
Robertson, Wm. Card,........ 220
Romeo and Juliet. Act III., Scene VII.,...    34
Rosicrusian, The,.. I174
Savages, Two Nude.... I36
Security,.......... 195
School of Fathers, (The),........ 204
Scriptural Subject..........  6
Seabury, The Right Reverend Samuel, D. D.,. 46
Scruple, (The),.. 20
Shakspeare, Head of,..                    89
Sharp, William. Portrait,..........  59
Sharp, William.  Card,                     215
Sharp, W. Card,..........216
Sharp, Guilder. Card,........ 217
Shepherdess of the Alps, (The),.          205
Siddons, Mrs., as Euphrasia,...... I64
Soliman II.,.............  198
Somerset, The Earl of,.....        145
Southcott, Joanna..........  6o
Spencer. Vol. I.,.            I88
Spencer. Book 5,..........  89
St. Cecilia,.............  I5
St. Cecilia. The small plate,               I6
Sportsman, The Wounded,....... 146
Sortie made by the Garrison of Gibraltar, o.   23




I I           TABLE OF SUBJECTS.
No.
Siege and Relief of Gibraltar,..           24
Temptation,............  I95
Tempest, (The). Act I, Scene 3,..... 178
Tickle.............    9 
Timon of Athens,......... 83
Theodosius and Constantia,......   I75
Tooke, John Horne,.........1.   X I00
UndO, undo, extricat,.... i68
Unfortunates, The Two,........ 202
Unknown Subject,.                          171
Unknown Subject,......    214
Vauxhall Regatta, Ticket for,. 227
Venus and Europa,...    2
Virgin and Infant Saviour,.......  5
Walker, Thomas,...                     68
Waller, Vol. I.,..........92
Waller, Vol. II.,...... 193
Wales, George, Prince of,.......            70
Wales, George, Prince of. From a bust,..    71
Washington, George, Commander in Chief, &c.,  73
Wharton, (Thomas, Marquis of),...   78
Wife in ten thousand, (A),....208
Williamson, Robert Hopper, Esq'r,..       45
Wilson, Wmin. Card,......223
Women at the Sepulchre, (The),.          I. 




TABLE OF SUBYECTS.          III
No.
Wood, John. Card,.....a. 219
Wriothesley, Henry, Earl of Southampton,.. 76
Wynne, Sir John,........  79
Zenobia,..............  29








TABLE
THE DATED PRINTS,
CHRONOLOGICALLY ARRANGED.
-  775 --
Hector in the Tower.          Win. Sharp, Pub.
-- 777 —
Alderman George Faulkner.' 1779 —
Capt. Thos. Forrest.
Iconography Plates.
- I78o -
Circe.                      John Boydell, Pub.
George Washington.
Tom. Jones. Two Plates.
8               (II3)




114       2ABLE OF THE DATED PRINTS.
- 78 -
Gil Bias. Two Plates.
- 1782 -
Alfred the Great dividing his loaf.
John Boydell, Pub.
Nehemiah. Chap. II., V. III.
Bell's British Library.
-1783 -
Venus and Europa.             John Boydell, Pub.
Romeo and Juliet.  Act III., Scene VII.
Joh/n Boydell, Pub.
King Lear. Head.              John Boydell, Pub.
Mrs. Siddons as Euphrasia.    W. ozowndes, Pub.
The Two Maniacs.
- 784 -
Lucretia.                     John Bo7yde/l, Pub.
Merry Wives of Windsor. Dr. Caius.
Chas. Taylor, Pub.
- 1785 -
The Doctors of the Church.    John Boydell, Pub.
Gulielmus Cuming, M. D.




TABLE OF THE DA TED PRINTS.     1 15
- i786 -
The Children in the Wood. Byrne &- Mediand, Pub.
The Right Reverend Samuel Seabury, D. D.'. S..Duche, Pub.
Miss Brunton, as Monimia.    W. Lowndes, Pub.
- 787 —
Zenobia.                      Win. Sharp, Pub.
Chaucer, Reves Tale.
An Incantation Scene.          T. Cadell, Pub.
A Lady Reading by Candle-light.  T. Cadeli, Pub.
A Lady Standing Reading a Letter.
T. CadelZ, Pub.
- I788 -
The Witch of Endor.        27os. Macklin, Pub.
Jos. Andrews.                  W. Byrne, Pub.
The Wounded Sportsman.
Pub. in a work of Afiss Burney's.
John Hunter. Head.            Wnn. Sharp, Pub.
John Hunter.  4 length.       Win. Shzarp, Pub.
- 1789 -
Cupid and his Mother.
King Charles the 2nd, Landing on the Beach at
Dover.                   B. West, &'c., Pub.




ii 6      TABLE OF THE DA TED PRINTS.
Oliver Cromwell.                T. Cadell, Puzb.
Henry Wriothesley, Earl of Southampton.
J. Rivznglon, Pub.
- 1790 —
St. Cecilia.                  Wen. Sharp, Pub.
George, Prince of Wales.      Wm. Sharp, Pub.
The Right Hon'ble Robert Dundas.
Win. Sharp, Pub.
I791
The Agony of Christ.        "Macklin's Bible."
The Marys at the Sepulchre.   " Macklin's Bible."
The Hon'ble Lt. Col. Charles Cathcart.
The Hon'ble Thos. Erskine.    Win. Sharp, Pub.
George, Prince of Wales. From a bust.
-- 1792 -
The Angel Destroying the Assyrian Camp.
" Macklin's Bible."
The Holy Family.           Thos. Mackilin, Pub.
Niobe.                          S. Smiilth, Pub.
Diogenes in Search of an Honest Man.
Win. Sharp, Pub.
King Lear. Act III., Scene IV. B. West.
J. &-J. Boydeil, Pub.
King Lear. Act I., Scene I. R. Smirke.
J. & J. Boyzdel, Pub.




TABLE OF THE DATED PRINTS.      II7
- 793
The Holy Family. The smaller plate.' Macklin's Bible."
Merry Wives of Windsor. Act V., Scene V.
J. & J. Boydell, Pub.
Thomas Paine.
1794 —
Judith Atireing.            " Macklin's Bible."
Richard 3rd. Act 5, Scene 3.
AMr. Woodmason, Pub.
Daniel Isaac Eaton.
Thomas Paine. The Smaller plate.
Wm. Sharp, Pub.
Thomas Walker.                Wyn. Sharp, Pub.
-795 -
Boadicea, haranguing the Britons.
" Bowyer's, England."
Q. Mary's Escape from Lochleven Castle.
C' Bowyer's, England."
Richard Brothers, "Prince of the Hebrews."
WiM. Sharp, Pub.
- z796 -
Mr. Beresford.                Winm. Sha lp, Pub.




Iis8     TABLE OF THE DATED PRINTS.
--  797 --
The Virgin and Infant Saviour.  1Win Shart, Pub.
Head of Christ, crowned with Thorns.
Wsin Sharp, Puzb.
1798 -
Mercury putting on his sandal wings. Frontispiece
to "Diversions of Purley."
John Horne Taooke, Pub.
--  799 —
The Sortie made by the Garrison of Gibraltar, in
the morning of the 27th of November, 1781.
J. Trumbull, W. Sharp, &-c., Pub.
- z8ooLouis VII., King of France, before Beckett's Tomb.
" Bowyer's, England. "
Vignette for Bowyer's England.
The Hon'ble John Hyde.
R. Home &I W. Sharp, Pub.
Thaddeus Kosciuszko.           C. Andras, Pub.
- r8oz -
Matthew Boulton, Esqr.        Win. Sharp, Pub.




TABLE OF THE DATED PRINTS.       119
- 1802 -
An Assembly of the Heathen  Deities on Mt.
Olympus.                Verner & Ifood, Pub.
-  80o3 -
Kemble.                       Wim. Sharp, Pub.
The Rosicrusian. Spectator.   John Shatpe, Pub.
Theodosius and Constantia. Spectator.
Joh/n Sharpe, Pub.
- 180o4 —
Filmer Honywood, Esq'r, M. P.  Win. Sharp, Pub.
- z8ro -
The Siege and Relief of Gibraltar. J. S. Copley, Pub.
Admiral Lord Howe.           J. S. Copley, Pub.
Capt. Barrington             J. S. Copaley, Pub.
Sir Everard Home.             Wm. Sharp, Pub.
Ricardus Porson.              Win. Sharp, Pub.
Boadicea, the British Queen, animating the Britons
to defend their country against the Romans.
Wm. Sharp, Pub.
Sir Francis Burdett, Bart.    Win. Sharp, Pub.




I 20     TABLE OP THE DATED PRINTS.
1812
Joanna Southcott.          Jane'ownley, Pub.
-  813 -
Charles the First, King of Great Britain, &c.
W. Buchanan, Pub.
Monument to Hardinge.    Sarah Manning, Pub.
- 814 —
St. Cecilia. The small plate.  Ar. Stone, Pub.
Thomas Howard, Earl of Arundel.
W. Buchanan, Pub.
Sir William Curtis, Bart.    W. S. Blake, Pub.
Matthew Raine, D. D.          Win. Sharp, Pub.
— 816Evil.                         Wm. Sharp, Pub.
- 1817 -
William Sharp.               John Smith, Pub.
Richard Reynolds.             W. Hobday, Pub.
Joseph Planta, Esqr.            W. Clark, Pub.




TABLE OF THE DA TED PRIN TS.     121
-- I88$The Interview of Charles the First with his children, &c.                     W. S/harp, Pub.
r8 9-1
John Bunyan.        Hurst, Robinson &v Co., Pub.
- 1820 -
Mary Magdalene.                 W. Sharp, Pub.
- 82I -
Infant Christ.                  W  Miller, Pub.
Charles Burney, D. D.
- 1822 -
The Women at the Sepulchre. Left unfinished.
W  Sharp, Pub.
- 1823 -
David Garrick.                 W  Walker, Pub.