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Yale Center for British Art and British Studies

CATALOGUE

OIL PAINTINGS

WATER-COLOUR SrAWINGS,

PROOF ENGRAVINGS,

SCULPTURES, ARTICLES OF VERTU,
ANTIQUE FURNITURE, AND MARRIES,

IN THE POSSESSION OF

HO LB ROOK GASK ELL,
V\^OOLTON WOOD, MUCH ^VOOLTON,

NEAR LIVERPOOL.

MDCCCLXXVIII.

PICTURES.

ANSDELL, RICHARD; R.A. (Born 1815.)
1 Spanish Gossip. 1859. Exhibited Royal Academy. (Painted for J. Pender,
Esq., M.P., and bought at his sale.)
ACHENBACH, OSWALD, Dusseldorf. (Born 1850).
2 S^ Lucia en F^te, Naples, 1874.
lNTHONY, MARjn (Born '.)]
3 Nature's Mirror. VExhibited Royal Aca;Semr, 1854. (Obtained prize of ^^50
awarded by\lJverpool Academy of jArt, 1854.)
"Merely a solitary poof, y' l_/''^ i
With pendant birch ana beech o'erhung —
sThg..^oor-hen's haunt."
BONHEUR, ROSA, Fontainebleau. (Born 1822.)
4 The Meadow; Horses and Oxen at Pasture. i860. (From the Collection
of the late John Hargreaves, Esq.)
BONHEUR, AUGUSTE, Auvergne. (Born 1826.)
5 Cattle Driven to Fair. Exhibited Royal Academy, 1873.
BONINGTON, R.P. (Born 1801 ; died -i-«-5^). "^^^
6 Vue du Grand Canal k Venise.

BROWN, J. BEATTIE, Edinburgh. (Born .)
7 Beech Tree in Autumn, and Landscape. Exhibited Royal Scotch Academy,
Edinburgh, i860.
BROWNE, HENRIETTE, MADAME, France. (Born )
8 The Toilet. (From the collection of J. Pender, Esq., M.P.)
CAWSE, JOHN. (Born 1779; died 1862.)
9 .Interior of Public House, Portsmouth.
COX, DAVID. (Born 1793; died 1859.)
10 Study of Yew-trees, Haddon Hall. Bought at his Son's sale, at Christie, Manson,
and Wood's, 1873.
11 The "Big Meadow," behind the Royal Oak, Bettws-y-Coed, North Wales.
(Presented by David Cox to his friend William Roberts, Birmingham.)
12 The Welsh Funeral. I850. Bequeathed to his Son, and bought at Christie,
Manson, and Wood's, 4th May, 1873.
13 Flying the Kite. Windy day. 185 1.
14 Washing Day. 1843. (From the Gillott Collection.)
CASTAR, EDOUARD. (Born .)
15 Cottage Interior. " Beg, Sir !" 1872. .
CALLCOTT, Sir A. W. ; R.A. (Born 1779; died 1844.)
16 Landscape and Figures — Sunset Effect.
CONSTABLE, JOHN; R.A. (Born 1776 died 1837.)
IT Crossing the Brook. Scene in Suffolk. (From the collection of Saml. Mendel, Efxj.)
OLD CUYP — Attributed to. (Born ; died .)
18 Shore Scene, Fisherman, &c.

COOPER, THOMAS SIDNEY; R.A. (Born 1803.)
19 Cattle in Canterbury Meadows. 1852. (From the collection of J. Pender,
Esq., M.P.)

DUNCAN, EDWARD. (Born .)
20 Storn;! and Shipwreck on the Calf of Man. 1850. (From the collection of
the late J. Mather, ESq.)
EGG, A. L ; R.A. (Born 1816 ; died 1863.)
21 Peter the Great's First Interview with Catherine, his future Empress. (Finished
study of picture for the late Thomas Miller, Esq., Preston. His sister,
Mrs. Gairns, nee Miller, sat for portrait of Catherine in the picture.)
"In 1850 there appeared his great work. Peter the Great sees Catherine, his future Empress,
for the first time. This was a very pure and admirable picture. It is a tent scene,
and Catherine — ^^Catherine the sewing girl, the poor parson's daughter — is bringing in
a bottle of schnaps to Peter the Great and her master, the aide-de-camp, Menshikoft".
The moment given is Peter's first glance of awakening love. Menshikoff always sees
that he will have to surrender his pretty Catherine. The uniforms and dresses are
painted with a simple, manly, dramatic force that is perfectly incomparable. —
Walter Thornhury.
22 Katharine and Petruchio — " Taming of the Shrew." i860.
"Pet.— What is this? Mutton? Serv.— Ay.
Pet. — Who brought it ? Serv.— I.
Pet. — 'Tis burnt, and so is all the meat ;
What dogs are these ? Where is the rascal cook ?
How durst you, villains, bring it from the dresser,
And serve it thus to one that loves it not ?
There, take it to you, trenchers, cup, and all !"
(Throws the meat, ii'c., about the stage.)
ELMORE, A.; R.A. (Born 1815.)
23 "Two Women shall be Grinding at the Mill," &c. — Matthew xxiv. 41. 1868.
(From the collection of the late J. Farnworth, Esq.)

FAED, THOMAS; R.A. (Born 1826.)
24 "All Alone." 1869. Exhibited at Royal Academy, 1869.
" Alone with her thoughts ! As a song may awaken
Some scenes long forgotten, some haunts forsaken ;
So the laughter of childhood has brought back her home,
But, alas ! for the vision ! She's alone — all alone !"
FRERE, EDOUARD. (Born .)
25 La Belle Blanchisseuse. 1853. From Hooton Hall collection, 1875.
26 A Snow Scene, with Children making a Bonfire. i860. Exhibited in Paris,
at the French International Exhibition. (From the collection ol G. C.
Nicholl, Esq., for whom it was painted.)
27 Cottage Interior — Domestic Scene. 1872.
FILDES, LUKE. (Born .)
28 Hours of Idleness. 1877.
29 Rosa Siega — a Venetian Peasant Girl. 1877.
30 Deserted, 1878. Exhibited at the Royal Academy 1878.
FILDES, MRS. LUKE. (Born .)
31 A View in Venice, on Grand Canal. 1877.
FRITH, W. P.; R.A. (Born 1819.)
32 An Episode in the early life of Shelley, the Poet.
" To her, as they met one eventful day in St. Pancras Churchyard, by her mother's grave, Shelley,
in burning words, poured forth the tale of his wild past — how he had suffered — how he
, had been misled — and how, if supported by her love, he hoped in a few years to enrol
his name with the wise and good .... Unhesitatingly she placed her hand in
his, and linked her future with his own." — Vide " Shelleyi's Memo7-ials," edited by Lady
S/ielley, ^rd Edition, page 6y.
GILBERT, Sir JOHN ; R.A. (Born 1817.)
33 The Vill.ige Schoolmaster; Spain. 1856.

GEROME, JEAN LEON, France. (Born 1824.)
34 Woman and Child.
GOODALL, FREDERICK ; R.A. (Born 1822.)
35 Italian Woman and Child. 1863. ){^
36 A Well near Cairo. 1870.
GRAHAM, PETER; A.R.A. (Born .)
37 A spate in the Highlands. 1866. (From the collection of S. Mendel, Esq.)
Exhibited Royal Academy, 1866.
' ' While tumbling brown, the stream comes down.
And roars frae bank to brae." — Burns.
HARGITT, G. ; R.S.A. Edinburgh. (Born .)
38 Highland Cattle. Scenery : Loch Mahaick ; on the Hills above Doune, Perthshire.
HODGSON, J. E.; A.R.A. (Born .)
39 Study of a Moorish Woman. 1873.
HERBERT, JOHN ROGERS; R.A. (Born 1810.)
40 Mill-race near Llangollen, North Wales. 1873.
41 Canal near Llangollen, North Wales. 1873.
HERBERT, WILFRED V. (Born .)
42 Deus Justus et Misericors. Exhibited R oyal Academy, 1873.
" Life is real, life is earnest,
And the grave is not its goal ;
' Dust thou art, to dust returnest,'
Was not spoken of the soul." — H. VV. Longfellow.
43 Summer Song. Exhibited Royal Academy, 1874.

HERRING, J. F. (Born 1795 ; died 1865.)
44 Feeding the Horses. 1846.^ Engraved. (From the collection of the late
J. Mather, Esq.) >-!..,/-'/,/.?' v« 'J* .''
/
HOLLAND, JAMES. (Born 1800; died 1870.)
45 Grand Canal, Venice — The Church of Santa Maria della Salute.
46 The Dogana, Venice.
47 A Canal Scene^Venicg.^1858. (From the cc^Jection of Baron Albert Grant.)
HOOK, JAMES CLARK; R.A. (Born .)
48 Are Chimney Sweepers Black ? Exhibited at the Royal Academy 1868. (From
the collections of Baron Grant and the late J. Farnworth, Esq.)
(JONES, C. (Born .)
49 Sheep pasturing. 1863.
LEE, FREDERICK RICHARD; R.A. (Born .)
49* River Awe, Loch Awe. 1862.
LINNELL, JOHN. (Born 1792; died .)
50 The Sand-cart. 1851; retouched 1866.
51 On the Medway. From a sketch by Miiller. (From the collection of the late
J. Farnworth, Esq.)
.LANDSEER, SIR EDWIN ; R.A. (Born 1802 ; died 1873.)
52 The heads of two Rams — an elaborate study, painted from nature. (Bought at
J. Pye's sale, 1874.)
53 White Horse — a Study. (Bought at sale of his effects.)
MILLAIS, JOHN EVERETT; R.A. (Born 1829.)
' 54 "Just Awake." Exhibited Royal Academy, i868. Engraved by T. O. Barlow,
A.R.A. (From the collection of the late John Hargreaves, Esq.)

^ MULLER, W. J. (Born 1812 ; died 1845.)
' 55 Tent Scene in Asia Minor. (From the collection of S. Mendel, Esq.)
MORLAND, GEORGE. (Born 1763; died 1804.)
56 Postboy Grooming Horse. 1792.
NICOL, ERSKINE ; A.R.A., R.S.A. (Born 1825.).
57 The Ejected Tenant. 1865.
NASMYTH, ALEXANDER ; R.S.A. (Born 1758; died 1840.)
58 Landscape, with Cottage and Figures, near Edinburgh. (Given by the artist to the
present possessor).
NASMYTH, PATRICK. (Born 1786; died 1831.)
.59 The Village of Sonning, on the Thames.
PYNE, J. B. (Born 1800; died 1870.)
60 Venice — Lagune. 1850.
PHILLIP, J. ; R.A. (Born 1817 ; died 1867.) ,
61 Scene in " Old MortaHty." 1852. Miss Edith Bellenden, Jenny Dennison, Tam
Halliday, and Henry Morton, of Milnwood.
" Well, then, my pretty Jenny," said the relenting sentinel, " if you will promise to come alone
the next time." "Maybe I will, and may be I winna," said Jenny ; "but if ye get
the dollar, ye'll like that just as weel." "I'll be d  d if I do," said Halliday — taking
the money, however. So speaking, Halliday 'unlocked the door of the closet. The
door, which slowly opened, discovered Morton with both arms reclined upon a table,
and his head resting upon them in a posture of deep dejection."
62 A Scotch Baptism. 185 1. (From the coUection of John Heugh, Esq.)
63 El Aqua Bendita. 1857. (From the collection of John Heugh, Esq.)
PLASSAN, A. E., France. (Born .)
64 La Prifere. 1862. (From the collection of G. C. Nicholl, Esq., for whom it was
painted.)

IO

PATON, WALLER H. ; R.S.A. (Born 1825.)
gg Largo Bay, near Leith, Scotland'. Exhibited Royal Scotch Academy, i860.
PIOT, ADOLPH E, Paris. (Born .)
gg The Vow. 1872.
PRITCHARD, E. F. D., Bristol. (Born .)
g7 Frosty Morning. View on the River Dyle, Belgium, Wavre in distance. Exhibited
Royal Academy, 1853.
ROELOFS, W., Belgium. (Born .)
gg Farm Yard, with Figures and Sheep.
ROYBET, F. (Born .)
go The Conspirator. 1871.
SANT, JAMES; R.A. (Born 1820.)
^-Q A Bacchante. (From the collection of J. Pender, Esq., M.P.)
>jY The Lily of the Valley. (From the collection of J. Pender, Esq., M.P.)
STANFIELD, CLARKSON ; R.A. (Born 1793; died 1867.)
72 View on the Upper Arno. 1843 ; retouched 1856.
73 Off Calais — .\ stiff Channel Breeze. i860. (From the collection of the late J.
Farnworth, Esq.)
STOCKS, A. (Born .)
y. Mending the Old Cradle. Exhibited Royal Academy, 1873.
" Wearied with toiling for his daily bread,
To labour he anew by love is led. "
75 Dinner Time. Exhibited Royal Academy, 1874.

TURNER, J. M. W. ; R.A. (Born 1775; died 1851.)
76 The Burning of the Houses of Lords and Commons, October 16, 1834. Exhibited
Royal Academy, 1835. ^ -\ / 1} ¦ - i
77 The Devil's Bridge, St. Gothard Pass, Switzerland., J^.j^^r/^ ) Jf /]<:[' \ CI ji
^m-ti ii.Lm> vM^] ^t^'^'' "---^ '^cr«./i ^XP: 7uC/C^
VAN-DER-NEfeR, A., Amsterdam. (Born i6ig; died 1683.) -^
78 The Court-yarji of a Flemish House. — Brilliant effect of light

WARD, E. M. ; R.A. (Born 18 16.)
79 Eve of St. Bartholomew. Visit of Charles IX., Catherine de M^dicj^and the Due
d'Anjou to Admiral Coligny, after his attempted assassination on the point
of the massacre. Exhibited Royal Academy, 1873.
" Charles IX., accompanied by his mother and brother, visited the suffering Coligny. During the
visit, the sombre and menacing attitude of some, the whisperings, the goings and comings,
the signs of want of respect in persons near the apartment, and the murmured conversa
tion of the King with Coligny, excited the anger of Catherine and her son 
On his arrival, the King first ordered the admiral's people to leave the room, except
Teligny and his wife (the son-in-law and daughter of Coligny). " — History of the Dukes
of Guise, by Rene de Bouilli.
WARD, Mrs. E. M. (Born 1832.)
80 Chatterton. 1765. Exhibited Royal Academy, 1873.
" Each Saturday he (Chatterton) returned from ' Colston's' (the Bristol Bluecoat) School . .
. . and hastened home to the happy solitude of the attic he had appropriated as his
study under his mother's roof. ....
" His delight was to lock himself up in this little garret, with his books, papers, and drawing
materials, and there .... he is found with his parchments, great piece of ochre in
a brown pan, pounce-bags full of charcoal dust, and also a bottle of black-lead powder.

" Mrs. Edkins (his foster-mother) relates : — WTien she could get into his room she would. Once
he put his foot on a parchment on the floor to prevent her taking it up, saying ' You
are too curious and clear-sighted ; I wish you would bide out of the room. It is my
room.' " — Vide Daniel WUson's "Life of Chatterton."
81 Washing Day at the Liverpool Docks. Sketched on the spot. 1877.

12

WALLIS, HENRY. (Born .)
82 Elaine. Exhibited Royal Academy, 1861. (From the collection of J. Pender,
Esq., M.P.) " In her right hand the lily, in her left
The letter ; all her bright hair streaming down ;
And all the coverlet was cloth of gold,
Drawn to her waist, and she herself in white,
All but her face : and that clear-featured face
Was lovely, for she did not seem as dead.
But fast asleep, and lay as though she smiled." — Tennyson.
WILSON, J. W., Folkestone. (Born 1818 ; died 1875.)
'0 83 View on Coast of Normandy : Fishing Boats running into Harbour. Exhibited
' ^ Royal Scotch Academy, Edinburgh, 1861.
WILSON, RICHARD; R.A. (Born 1713; died 1782.)
84 Scene in Italy. Effect of Twilight. (Bought at J. Pye's sale.) See writing by
John Pye, and E. M. Ward, R.A., on back of picture, as follows : —
" This Picture appears to me to possess the highest qualities for which Wilson has become
distinguished, i.e., splendid combinations of colour, and gradations of tints, filling the
mind of the spectator with the magical charm of half-light and harmony. " — John Pye.
" I perfectly agree with the opinion expressed above by Mr. John Pye." — E. M. Ward, R.A.,
Oct., 1874.
WEBSTER, THOMAS.; R.A. (Born 1800 ; died .)
8.5 " Hide and Seek." 1856. Exhibited Royal Academy, 1856. (From the collection
of the late J. Farnworth, Esq.)
UNKNOWN.
86 Head of Old Man. (Panel.)
UNKNOWN.
87 Maid of Athens.

DRAWINGS.— Framed.

BONHEUR, ROSA. (Born 1822.)
88 A Group of Sheep. 1869. (From the collection of the late J. Farnworth, Esq.)
89 Two Dogs' Heads. 1868. (From the collection of Jos^ de Murrieta, Esq.)
BRANWHITE, CHARLES. (Born .)
90 Sketch on the River Dart. Exhibited at Society of Painters in Water-colours, 1876-7.
COX, DAVID. (Born 1793 ; died 1859.)
91 Driving Home the Flock across the Downs. 1854.
92 Peat Gatherers. 1856. (Bequeathed to his son, and bought at his sale, at Christie's,
in 1873.)
93 Asking the Way. "Take the left road." 1854. (Bequeathed to his son, and
bought at his sale, at Christie's, in 1873.)
94 R.eturning from Market. 1855.
95 A Welsh Lane. 1853. (Sold by D. Cox, jun., at Christie's Rooms, 5th May, 1873.)
9g Flock Descending a Mountain through Mist. (Late period.) On back is an unfinished
sketch of trees and landscape near Bolton Abbey. This Drawing was
bequeathed to his son, and soldat Christie's, 5th May, 1873.
97 Rocky Scene near Capel Curig, with drivers and cattle. 185 1. (From the
Collection of John Heugh, Esq., Holmewood.)
98 Skirts of the Forest. 1846. Engraved. (See Solly's Life, p. 270.) Bequeathed
to his son, and bought from him at Christie's, 5th May, 1873. '
99 Calais Pier. 1833. (From the collection of the late William Leaf, Esq.)
100 The Terrace, Haddon. 1845. (Fromthe collection of the late WilliamStoneEllis,Esq.)
101 The Terrace Steps, Haddon. 1845. Do. do.
102 The Peacock Inn, Rowsley, from the road. 1845. do.

Do.

do.

Do.

do.

Do.

do.

Do.

do.

Do.

do.

Do.

do.

Do.

do.

14

103 A Bridge in Warwickshire. (From the collection of the late William Stone Ellis, Esq.)
104 The Garden, Haddon Hall, with peacock. Do. do.
105 Returning from Market, Lancaster Sands.
106 Water Mill in Staffordshire.
107 The Gardens of the Tuileries, Paris
108 Haymaking on a Windy Day. 1853.
109 A Lane Scene, Sale, Cheshire.
110 At Sale, Cheshire. Sepia drawing.
Ill Near Bolsover. Pencil sketch.
112 Old Windmill. Stormy effect. 1854. (From the collection of D. Cox, jun., Esq.)
113 Interior oi Hereford Cathedral. Do. do.
114 I^andscape near Llangollen. Early middle period. do.
115 Bristol, and Clifton in the distance. Middle period. (From the Timmins collection.)
116 Landscape, with bull and cows. Early period. (From the Quilter collection.)
117 Dort, from the Sea. 1831. (From the collection of D. Cox, jun., Esq.)
118 The Gleaners. 1830. Do. do.
CARTER, H. B., Scarborough. (Born .)
119 Scarborough Castle. 1846.
CATTERMOLE, GEORGE ; S.P.W.C. (Born 1800; died 1868.)
1 20 The Baron's Hall. Engraved. Purchased from the Artist by the late Sir F. G.
Moon, Bart., and sold at the sale of his collection.
DRUMMOND, M. (Born .)
121 A Sailor Boy. 1867.
DYCE, WILLIAM ; R.A. (Born 1806 ; died 1864.)
122 Puckaster Cove, Niton, Isle of Wight. (From the collection of J. Pender, Esq.)
123 Trebarwith Strand, Tinagel, Cornwall. (From the collection of J. Pender, Esq.)
DE WINT, PETER. (Born 1783 ; died 1849.)
12-1- Barges on the Witham. (From the Holmewood Collection.)
125 Beverstone Castle, Co. Gloucester.

15

FANNER, HENRY. (Born .)
,^126 A Spanish Beauty. (Crayon.)
FOSTER, BIRKET. (Born 1812.) cWidL-H-ji' '
^127 Treves. 1866. (From the collection of the late J. Farnworth, Esq.)
^{128 A Gathering Cloud.
129 Teaching Dolly to dance. (From the collection of Baron Albert Grant.)
FIELDING, COPLEY. (Born 1787; died 1855.)?:/^^. M
130 Benvorlich. 1842. (From the collection of the late J. Farnworth, Esq.)
131 Se^OTCh Cliffe and Sea. (From the collection of the late J. Farnworth, Esq.)
GEROME, JEAN LEON. (Born 1824.)
132 The Nile-boat. (Crayon.) ? 1863.
GOODALL, FREDERICK; R.A. (Born 1822.)
133 The Palm Off'ering. 1865. (From the collection of John Knowles, Esq.) f.^vify^y
k{' dfu
HUNT, WILLIAM. (Born 1790; died 1864.)
134 Melon, Grapes, Peach, and Red Currants. 1835.
135 Interior of a Barn. Exhibited at the International Exhibition, 1862.
136 Dead Peacock— and still life — on a table. Exhibited at the Paris Universal
Exhibition, 1867. (From the collection of the late William Leaf, Esq.)
137 Summer Flowers and Early Fruit. (From the collections of John Heugh, Esq.,
and Baron Grant.)
, HULL, WILLIAM. (Born .)
138 A mterfall in Waiesfafter rain,-- - -.
HAAG, CARL. (Born 1820.)
139 Pifferari at Gerano. 1856.

i6

HAGHE, LOUIS; P.I.W.C. (Born .)
140 A Happy Trio. 1853. Engraved. Exhibited at Institute of Painters in Water-
colours. (From the collections of Baron Albert Grant and the late John
Farnworth, Esq.)
LANDSEER, Sir EDWIN; R.A. .(Born 1802; died 1873.)
141 Glen Fishie.
142 Dover. Boys bathing. (Pen-and-ink sketch.)
143 Ramsgate. Man milking. 1841. (Pen-and-ink sketch.)
144 Aix la Chapelle. Women at Fountain. (Pen-and-ink sketch.)
145 Dead Stag. (Crayon.)
146 Study of Otter Dogs. (Crayon.)
LIVERSEEGE, H. (Born 1803; died 1832.)
147 Don Quixote. 1831. Engraved. (From the collection of the late Benjamin
Hick, Esq.)
MAY, WALTER W. (Born .)
148 Flushing Pier — rough weather. Exhibited at Institute of Painters in Water-colours,
1877.
PROUT, SAMUEL. (Born 1783; died 1852.)
149 The Rialto— Venice.
ROBERTS, DAVID; R.A. (Born 1796; died 1864.)
150 Baalbec, Ruins of 1841.
151 Church of St. Pierre, Caen.
152 Rome. Forum with Trajan's Column. 1854.
SCHLESINGER, — . (Born .)
153 Dolce far Niente, Rome,

17

STANFIELD, CLARKSON ; R.A. (Born 1793 ; died 1867.)
154 Study of Fishing Boats. 1848. (From the collection of Jose De Murrieta, Esq).
TAYLOR, FREDERICK. (Born 1804.)
155 Preparing for Christmas.
TURNER, J. M. W.; R.A. (Born 1775; died 1851.)
156 Mosque of San Sophie. (Vignette.)
157 Dartmouth Cove. Engraved in "England and Wales" series by W. R. Smith.
Exhibited at Burlington House, Winter Exhibition, 1873. (From the
collection of John Heugh, Esq., Holmewood).
158 Poole. Engraved in " Southern Coast." Exhibited at the Art Treasures Exhibition,
1857. (From the collection of the late John Farjiworth, Esq.)
159 Dartmoor, near the source of the Tamar. (From the Holmewood collection.)
WALKER, FREDERICK ; A.R.A. (Born 1840; died 1875.)
160 The Peep Show. i860. Exhibited at the Exhibition of the artist's works, 1875.
WARD, W., Edinburgh. (Born , .)
161 Original Sketch at Braehead, near Edinburgh.
WHITTAKER, J. W. (Born ; died 1876.)
162 Sketch near Bettws-y-Coed, North Wales. 1875. Exhibited Society of Painters
..^ in Water-colours, 1876.
WARD, E. M. ; R.A. (Born .)
163 The Fruit Market, Caen, Normandy. Exhibited at the Royal Academy, 1876.
RAYNER, S. (Born .)
164 Armoury at Naworth Castle.
165 Ancient Chapel, Haddon Hall. 1869.
166 The Librarian of the Monastery.

PROOF ENGRAVINGS.— Framed.

After SIR JOSHUA REYNOLDS ; P.R.A.
167 Duchess of Rutland. (Engraved by Valentine Green, 1780.) Very choice proof.
168 Nelly O'Brien. (Engraved by Charles Phillips, 1770.)
" Near a thick grove, whose deep embow'ring shade
Seemed most for love and contemplation made,
Thither retired, from Phoebus' sultry ray."' — Dryden.
169 Mrs. Jacobs.

After SIR EDWIN LANDSEER; R.A.
170 The Sanctuary. (Engraved by Charles G. Lewis.) Engraver's proof, before letters.
171 The Challenge. (Engraver's proof, before letters.)
172 The Combat, called "Night." (Engraved by Thomas Landseer.)
173 After the Combat, called " Morning." (Engraved by Thomas Landseer.)
174 The Maid and the Magpie. (Engraved by Samuel Cousins.)
175 .The Ptarmigan Hill. (Engraved by Thomas Sanderson.)
176 Portrait of Sir Edwin Landseer, R.A., called "The Amateurs,"

19

After J. M. W. TURNER; R.A.
177 The Approach to Venice. 1844. (Engraved by R. Wallis.) Proof before letters.
The original in-the National Collection.
' ', The path lies o'er the sea, invisible ;
And from the land we went
As to a floating city, steering in,
And gliding up her streets as in a dream,
So smoothly, silently." — Rogers' "Italy."
" The moon is up, and yet it is not night ;
The sun as yet disputes the day with her." — Byron.
Etching after J. M. W. TURNER; R.A,
178 Calais Pier. (By F, Seymour Haden.) 1876. ,

After SIR JAMES WATSON GORDON; R.A.
179 Portrait of David Cox. (Engraved by Samuel Bellin.)

DRAWINGS.— Unframed.

cox, DAVID. (Born 1793; died 1859.)
180 Four Studies of Figures.
181 Study of a Beech Tree. (Pencil.)
182 Study of a Pollard Willow. (Pencil.)
183 Barge on the Thames. (Sepia.)
CALLCOTT, Sir A. W. ; R.A. (Born 1779; died 1844.)
184 A River Scene, with Castle. (Engraved in Cox's "Social Day.")
FOSTER, BIRKET. (Born 1812.)
185 A Highland Cottage. (Sketch.)
FAED, THOMAS ; R.A. (Born 1826.)
186 The Errand Boy, (Sepia.)
HARDING, J. D. (Born 1798; died 1863.)
187 A Park 'Scene, with Figures. (A composition.)
HUNT, WILLIAM. (Born 1790; died 1864.)
188 Three Small Studies,

21

LINNELL, JOHN. (Born 1792; died .)
189 A Landscape, with Bark Renders.
MULREADY, WILLIAM; R.A. (Born 1786; died 1863.)
190 Chaucer's Dream of Fair Women. (Engraved for book illustration.)
191 Studies of Hands. (Pen and Ink.) i860.
ROBERTS, DAVID; R.A. (Born 1796; died 1864.)
192 Ruins of the Temple of Offelina, Wady Maharrokeli, Nubia. 1848.
193 Durham. 1836.
194 Interior of the Church of St. Helena — Bethlehem. 1839.
TURNER, J. M. W.; R.A. (Born 1775; died 1851.)
195 Via Mala, Switzerland.
196 Chateau D'Elz, near Coblenz. An Out-door Sketch.
197 A Sketch, in Sepia.
198 A Sketch in Wales.
^,^^199 Geneva. An Out-door Sketch. (From Mr. Ruskin's Collection.)
200 Hornby Castle, and Valley of the Lune, Lancashire.
VARLEY, J. (Born 1778; died 1842.)
201 Athens.

PROOF ENGRAVINGS.

After J. M. W. TURNER; R.A.
In Lai'ge Portfolio Stand.
202 The I^ake of Nenii; (Trivice lacus, Virgil's JSneid; or Speculum Dianoe.
From "Hakewill's Picturesque Tour of Italy." (Engraver's proof)
203 Lake. 1840. (Engraver's proof)
204 Marceau's Monument. (Touched proof, with Turner's remarks, before letters.)
" By Coblentz, on a rise of gentle ground,
There is a small and simple pyramid.
Crowning the summit of the verdant mound ;
Beneath its base are heroes' ashes hid,
Our enemy's — but let not that forbid
Honour to Marceau ! o'er whose early tomb
Tears, big tears, gush'd from the rough soldier's lid,
Lamenting and yet enjoying such a doom,
Falling for France, whose rights he battled to resume. " — Childe Harold.
205 Do. (Presumably the first proof ) Bought at Turner's sale.
206 Venice,— The Dogana.
207 Ilfracombe. (Engraved by W, B. Cooke. 1818.) A rare proof
208 Prudhoe Castle. (Etched by E. Goodall.) Engraver's proof
209 Ely Cathedral. (Etched by T. Higham.) Engraver's proof
210 Teignmouth, Devon. (Engraved by George Cooke.) Engraver's proof Exceed
ingly rare.

23

211 Tintagel Castle. (Engraved by George Cooke.) Engraver's'proof Very rare.
212 Borthwick Castle. (Engraved by H. Le Keux. 1819.) Very scarce.
•-213 Bass Rock. From " Antiquities of Scotland." India proof (Engraved by William
Miller.) Exceedingly rare.
Do. do. (Etched by William Miller.)
214 Shields, on the River Tyne. From "The Rivers of England." (Engraved on steel
by Charles Turner.) Engraver's choice proof Very scarce.
215 Warkworth Castle. Engraver's proof Very scarce.
216 Tantallon Castle. From "Antiquities of Scotland." (Engraved by Edward
Goodall.) Engraver's proof
2i7 Dudley, Worcestershire. Engraver's proof
218 Straits of Dover. (Etched by William Miller.) 1827. Engraver's proof, before the
boat. Very rare.
219 Portsmouth. (Engraved by T. Lupton.) 1828. Engraver's proof Rare.
220 Herriot's Hospital. From "Antiquities of Scotland." (Engraved by Henry Le
Keux.) Engraver's first proof Very scarce.
221 Mount Edgecombe, from Southern Coast. (Engraved by E. Goodall.) Touched
proof, with Turner's remarks.
222 Mount Edgecombe, from Southern Coast. Touched proof, with further remarks.
223 Mount Edgecombe. Finished state.
224 The Old Tbmdraire towed to her last resting place. 1839. (Engraved by J. T.
WiUmore; A.R.A.) First state. The original in the National Collection.
" The flag which braved the battle and the breeze,
No longer holds her own. "
225 The Old Teme'raire towed to her last resting-place. (Etched by J. T. WiUmore ;
A.R.A.) Second state.
226 The Old Tfemeraire towed to her last resting-place. (Engraved by J. T. Williiiore ;
A.R.A.) Slightly unfinished ; by some said to be in. the best state; most
like the picture.
227 The Old Tfemeraire towed to her last resting-place. (Engraved by J. T. WiUmore ;
A.R.A.) Finished proof, before letters.
228 The Old Tfemeraire towed to her last resting-place. (Engraved by J. T. WiUmore ;
A.R.A.) Published proof 1845.

24

In Large Locked Portfolio.
229 Departure of Eegulus. (Engraved by Daniel WUson.)
230 Oxford. (Engraved by W. MiUer.)
231 The Deluge, 1813, (Engraved by J. B. QuiUey.) The original in the National
Collection.
232 The Field of Waterloo. 1819. do. do.
233 Mercury and Argus. 1826. (Engraved by J. T. WiUmore, R.A,) The original was
in the late Sir John Swinburne's collection.
234 Ancient Italy. 1838. (Engraved by J. T. WiUmore,) The original in Mr, Munro's
collection,
235 Modern Italy, 1838, (Engraved by W. Miller.) The original in Mr. Munro's
coUection.
236 Pas de Calais. (Engraved by W, Davison.)
237 Venice - The Grand Canal. (Engraved by W, MiUer.)
238 Caligula's Bridge, 1831. (Engraved by E. GoodaU.) The original picture in the
National Collection.
" What now remains of all the mighty bridge
Which made the Lucrine lake an inner pool,
Caligula, but massy fragments, left
As monuments of doubts and ruined hopes.
Yet gleaming in the morning's rays, that tell
How Baiae's shore was loved in times gone by." — MS. Fallacies of Hope.
239 Dido andvEneas, 1813. (Engraved by W. R, Smith,) The original in the National
CoUection, " When next the sun his rising light displays,
And gilds the world below with purple rays.
The Queen, ^neas, and the Tyrian Court
Shall to the shady woods for sylvan games resort. — Dryden's JEneis, Book iv.
240 Mercury and Herse, 181 1, (Engraved by J. Cousen.)
" As Lucifer excels the meanest star.
Or, as the full orb'd Phoebe, Lucifer,
So much did Herse all the rest outvie.
And gave a grace to the solemnity."
" Close by the Sacred Wall in wide Munichio's Plain,
The God, well pleased, beheld the virgin train." — Ovid's Metamorphoses,

25

241 Crossing the Brook, 1815, (Engraved by E, Brandard,) The original picture in
the National CoUection.
" Come along, my dog Banec ! Hold up sister's bonnet."
" Amid this region of enchantment stands
A pile stupendous, rising from the flood
Abruptly, and though nature round its base
Has flung its leafage, yet its sides are scathed
And verdureless, and shivered."

242 St. Mark's, Venice, 1815. (Engraved by G. HoUis.)
" Beauty doth not die —
Nor yet forget how Venice once was dear,
The pleasant place of all festivity,
The revel of the earth, the Masque of Italy. — Byron.
243 Tivoli and the Temple of Vesta. (Engraved by Edward GoodaU.)
244 The Vintage. (Etched by Thomas Oldham Barlow.)
245 Temple of Jupiter, (Engraved by J. Pye,)
246 Ehrenbreitstein, 1838, do.
247 Do. Touched proof Marginal notes by Turner, (Engraved by J. Pye.')
248 Do. Engraver's proof (Engraved by J. Pye.)
' ' Here Ehrenbreitstein, with her shattered wall,
, Black with the miner's blast, upon her height
Yet shews of what she was, when shell and ball
Rebounding idly on her strength did light —
j^ A tower of victory ! from whence the flight
Of baffled foes was watched along the plain.
But peace destroyed what war could never blight.
And laid those proud roofs bare to summer rain
On which the iron shower for years had pour'd in vain. — Childe Harold.
249 Heidelburgh. Engraver's proof (Engraved by T. A. Prior.) The original Drawing
in the National CoUection,
250 Cologne. Engraver's proof 1826. (Engraved by E. Goodall.) The original in
the possession of Abel Buckley, Esq., Ashton-under-Lyne.

26

251 Lake Nemi. Engraver's proof (Engraved by R. Wallace.) The original in the
possession of J. E. Fordham, Esq.
" Lo, Nemi ! navell'd in the woody hills
So far, that the uprooting wind which tears
The oak from his foundation, and which spills
The ocean o'er its boundary, and bears
Its form against the skies, reluctant spares
The oval mirror of thy glassy lake ;
And calm as cherish'd hate, its surface wears
A deep, cold, settled aspect nought can shake,
AU coil'd into itself, and roimd, as sleeps the snake." — Cliilde Harold, Canto iv.
252 Oberwesel, on the Rhine, Engraver's proof (Engraved by J, T, WiUmore.) The
original in the possession of J. E. Fordham, Esq.
In Two Red Morocco Cases.
Book Illustrations.
253 Scenery in Scotland ; one set of proof engravings.
254 Illustrations of the Bible ; do. do.
255 Do. of Byron's Poems ; do. do.
256 Illustrations of Campbell's Poems; one set of proof engravings.
257 Do. of Moore's Epicurean; do.
258 Do. of Keepsake; do.
259 Do. of Milton's Poems; do.
260 Do. of Roger's Italy ; do.
261 Do. of Roger's Poems ; do.
262 Do. of Scott's Novels ; do.
263 Do. of Scott's Poems ; do,
264 Do. of Scott's Prose ; do.
265 Do, of Rivers of France ; do,
PROOF ENGRAVINGS UNFRAMED,
AFTER J. M. W. TURNER, R.A.
In Large Portfolio.
266 Alnwick and Barnard Castle. (Engraved by J. T, WiUmore, R.A.) Engravers proof

27

267 Dunbar, (Engraved by J, G. Allen, 1824,) Engraver's proof Exceedingly scarce,
268 Do. (Etched by J. G. Allen, 1824.)
269 Plymouth Citadel. (Engraved by W. B. Cook, 182 1.) Engraver's proof.
270 Hawthornden, Scotland. (Etched by W. B. Smith.) Engraver's choice proof Very
scarce.
271 Boscastle. Engraver's own proof, with autograph. (Engraved by Edward Goodall.)
Bought at his sale.
272 Llangharne Castle, Carmarthenshire. (Engraved by J. Horsburgh.)
273 Barnard Castle. (Engraved by Robert Wallis.) Engraver's choice proof Very
scarce.
274 Aldborough. (Engraved by E. GoodaU.)
275 Coventry. (Engraved by S. Fisher.)
276 Blenheim. (Engraved by W. Radclyffe.) Engraver's proof
277 Ashby de la Zouche. (Engraved by W. Radclyffe.) Engraver's choice proof
278 Fowey Harbour. (Engraved by W. B. Smith.) Engraver's choice proof
279 Ilfracombe, North Devon, (Engraved by W. B. Cooke, 18 18,) Engraver's choice
proof,
280 Eddystone Lighthouse, (Engraved by Thos, Lupton,) Choice proof Scarce.
281 Do. do. Sepia. Engraver's proof.
Excessively scarce.
282 Castle Upnor. (Engraved by James B, Allen.)
283 Rivaulx Abbey. (Etched by E. GoodaU.)
284 Longships Lighthouse. (Engraved by W. R, Smith,) Engraver's proof
285 Durham Cathedral, (Engraved by William Miller,)
286 Lowestoft. (Engraved by W, R, Smith.)
287 Chain Bridge over the Tees — cauldron smoke, (Engraved by W, R, Smith.)
288 Old London Bridge. (Etched by Edward Goodall.) Autograph presentation proof.
Very scarce,
289 Llanberis Lake, (Engraved by J, T. WUlmore.)
290 KenUworth, (Engraved by T, Jeavons, 1832.) Engraver's choice proof Veiy
scarce,
291 Warwick Castle, Engraver's proof.
292 Penmaenmawr. (Engraved by J. T. WiUmore.)
293 Leicester Abbey. (Engraved by W, R, Smith.)
294 UUeswater. (Engraved by .) Engraver's choice proof

28

295 Carew Castle, (Engraved by WUliam Miller,)
296 LlangoUen. (Engraved by R. Rolfe.) Engraver's choice proof
297 Llanthony Abbey. (Engraved by .) Engraver's proof.
298 Fern Island. (Engraved by .) Engraver's choice proof
299 Lyme Regis. 1814. (Engraved by W. B, Cooke,) Engraver's own proof, with
autograph presentation to James AUen. Most briUiant impression.

In Two Locked Red Morocco Cases, Lettered.
300 A COMPLETE SET OF THE LIBER STUDIORUM
(very superior.)
Purchased at Turner's Sale.
Liber Studiorum may be said to belong to the second period of Turner's art life. It began to
appear in 1807, when he was 32 years old, and had already for five years enjoyed the full
honours of the Royal Academy, He had already, judging by the subjects of his exliibited
pictures, travelled on the Continent several years before, and began to use foreign subjects
in the first part of this work. But the list of his plates in Liber Studiorum shows that
his mind was still dwelling on those subjects of English landscape to which he devoted
in his early years so much of love and labour. The abbeys and castles, the gloomy
valleys and wild mountains, the rivers and seashore of his native land still powerfully
attracted his pencil. The subjects treated iri Liber Studiorum are very varied in character,
and illustrate grandly, as Turner no doubt designed they should, the vast range of his
pictorial power. He classified his subjects, as the title-page we have already quoted
shows, under six heads, and in the published portions of the work they are found in
the following proportions: — Pastoral, 14; Elegant Pastoral, 14; Mountainous, 14;
Historical, 8 ; and Architectural, 1 1 ; the class to which each plate belonged he
showed by initial letters placed over the top.
The Plates of Liber Studiorum are executed for the most part in mezzotinto, an art in which
Turner ranks exceedingly high. This style of engraving was largely used by the painter
for the translation of his works in the first half of his life, but he discontinued it not many
years after the stoppage of the Liber series. It was obviously less suited to render
the quality of the works of his later time. Nearly all the etchings are the work of
Turner's own hand.
The original drawings for Liber Studiorum were all drawn in sepia. They were made expressly
for the guidance of the engraver, and do not properly answer the description of either
sketch or finished drawing. The great majority of those done for the published plates —
fifty in number — are to be found in the Kensington Museum.

29

At page 336 of his last volume, Mr. Ruskin says; — "Take up the Liber Studiorum, and observe
how the feeling of decay and humiliation gives solemnity to all its simplest subjects, even
to his view of daily labour. I have marked its tendency in examining the design of the
Mill and Lock (27)-, but observe its continuance through the book. There is no exultation
in thrivgig city, or mart, or in happy rural toil, or harvest gathering. Only the grinding
at the mill, and patient striving with hard conditions of life. Observe the two disordered
and poor farmyards — cart and ploughshare and harrow rotting away ; note the pastoral by
the brook side (2), with its neglected stream and haggard trees, and bridge with the
broken rail, and decrepit children — fever-struck — one sitting stupidly by the stagnant
stream, the other in rags, and with an old man's hat on, and lame, leaning on a stick.
Then the Hedging and Ditching (47), with its bleak sky and blighted trees, hacked, and
bitten, aud starved by the clay soil into something between trees and firewood; its
meanly-faced, sickly labourers — pollard labourers, like the willow tnink they hew ; and
the slatternly peasant woman, with worn cloak and battered bonnet — an English Dryad.
Then the Water-mill (37), beyond the fallen steps, overgrown with the thistle: itself a
ruiii, mud-built at first, now propped on both sides ; the planks torn from its cattle-shed,
a feeble beam, splintered at the end, set against the dwelling-house from the ruined pier
of the watercourse ; the old mill-stone — useless for many a day — half buried in slime, at
the bottom of the wall ; the listless children, listless dog, and the poor gleaner bringing
her single sheaf to be ground. Then the Peat Bog (45), with its cold dark rain, and
dangerous labour. And last and chief, the Mill in the Valley of the Chartreuse (54).
Another than Turner would have painted the convent, but he had no sympathy with the
Pope, no mercy for the indolence of the monk. He painted the mill in the valley ;
precipice overhanging it, and wildness of dark forest round ; blind rage and strength of
mountain torrent rolled beneath it ; calm sunset above, but fading from the glen, leaving
it to its roar of passionate waters and sighing of pine branches in the night. Such is his
view of human labour. Of human pride, see what records. Morpeth Tower (21), roofless
and black; Gate of Winchelsea Wall (67), the flock of sheep driven round it, not through
it; and Rivaulx Choir (51); and Kirkstall Crypt (39); and Dunstanborough (i4), wan
above the sea; and Chepstow (48), with arrowy light through traceried windows; and
Lindisfarne (li), with failing height of wasted shaft and wall; and last and sweetest,
Raglan {58), in utter solitude, amidst the wild wood of its own pleasance; the towers
rounded with ivy, and the forest roots choked with undergrowth, and the brook languid
amidst lilies and sedges. Legends of grey knights and enchanted ladies keeping the
woodman's children away at the sunset. These are his types of human pride. Of
human love: Procris (41) dying by the arrow; Hesperie (66), by the vipers's fang; and
Rizpah (46), more than dead, beside her children. Such are the lessons of the Liber
Studiorum. Silent always with a bitter silence, disdaining to tell his meaning, when he
saw there was no ear to receive it. Turner only indicated his purpose by slight words of
contemptuous anger, when he heard of anyone's trying to obtain this or the other separate
subject as more beautiful than the rest. 'What is the use of them,' he said, 'but
together?' The meaning of the entire book was symbolised in the frontispiece, which he

(I
(3:
(4: (5(6: (7

(9
(10, (11
(12
(13 (14
(is(16 (17
(18(19
(20 (21
(22 (23

30

engraved with his own hand: Tyre at Sunset, with the Rape of Europa, indicating the
symbolism of the decay of Europe by that of Tyre, its beauty passing away into terror and
judgment (Europa being the mother of Minos and Rhadamantlius. )
The Frontispiece, before letters. Etched, and the centre engraved by
J, M. W, Turner, R,A. (Engraved by J. C, Easling.) Unique.
The Frontispiece, after letters.
A Composition — Bridge and Cows. (Engraved by C. Turner.)
A Classical Composition — ^Woman and Tambourine. (Engraved by
C. Turner.)
A Composition — Smugglers, Flint Castle, (Engraved by C, Turner.)
Basle, (Engraved by C, Turner,)
Jason, (Engraved by C, Turner,)
A Composition — the Straw Yard. (Engraved by C. Turner.)
A Composition — Okehampton Castle, Boy Piping. (Engraved by
C. Turner.)
Mount St. Gothard. (Engraved by C. Turner.)
Sea Piece. In the possession of the Earl of Egremont. (Engraved by
C, Turner).
Holy Island Cathedral, (Engraved by C, Turner,)
Pembury Mill, Kent. (Engraved by C. Turner.)
A Classical Composition — Bridge in mid-distance, Sun between trees,
(Engraved by C. Turner.)
Dunstanborough Castle, The picture in the possession of W. Penn, Esq.
(Engraved by C. Turner,)
Lake of Thun, Switzerland. (Engraved by C. Turner.)
The Fifth Plague of Egypt. The picture late in the possession of
W. Beckford, Esq, (Engraved by C, Turner,)
Drawing on the Clyde, (Engraved by C. Turner.)
A Composition — the Farm-yard. (Engraved by C, Turner,)
Little Devil's Bridge over the Russ, above Altdorf, Switzerland.
(Engraved by C. Turner.)
Original Sketch of a picture for W, Leader, Esq, (Engraved by C, Turner,)
Morpeth, Northumberland, (Engraved by C, Turner.)
Juvenile Tricks. (Engraved by W. Say.)
A Composition — Hindoo Worshipper. (Engraved by Dunkarton.)

31

"(24) Coast of Yorkshire, near Whitby. (Engraved by W. Say.)
(25) Hind Head Hill, on the Portsmouth Road. (Engraved by G. R. Dumarton.)
(26) London from Greenwich. (Engraved by C. Turner.)
(27) From a Picture late in the possession of J. M. W. Turner, R.A. —
Windmill and Lock. (Engraved by W. Say.)
(28) A Composition — Junction of the Wye and Severn. (Engraved by
J. M. W. Turner, R.A.)
(29) Marine Dabblers. (Engraved by W. Say.)
(30) Near Blair Athol, Scotland, (Engraved by W, Say.)
(31) Lauffenburg, on the Rhine, (Engraved by T, Hodgetts.)
(32) Young Anglers, (Engraved by R. Dunkarton,)
(33) St, Catherine's MiU, near Guildford. (Engraved by J, C. Easling.)
(34) Martello Towers, near Bexhill, Sussex. (Engraved by W. Say.)
(35) Inverary Pier, Loch Fyne, Morning. (Engraved by J. M. W. Turner, R.A.)
(36) From Spenser's "Faerie Queen." (Engraved by T. Hodgetts.)
(37) Water MiU. (Engraved by R. Dunkarton.)
(38) A Composition — Woman at a Tank. (Engraved by W. Say.)
(39) Original Drawing, Crypt of KirkstaU Abbey. (Engraved by J. M. W
Turner, R.A.)
(40) Picture in the possession of Sir John MUdmay, Bart. (Engraved by
W. Annis and J. C. Easling.)
(41) Procris and Cephalus. (Engraved by G. Clint.)
(42) Winchelsea, Sussex. (Engraved by J. C. Easling.)
(43) A Classical Composition — Bridge and Goats. (Engraved by F. C. Lewis.)
(44) Calm. (Engraved by J. M. W. Turner, R.A.)
(45) Peat Bog, Scotland. (Engraved, by J. Clint.)
(46) Rizpah. (Engraved by R. Dunkarton.)
(47) Hedging and Ditching. (Engraved by C. Easling.)
(48) River Wye. (Engraved by W. Annis.)
(49) Chain of Alps, from Grdnoble to Chambery. (Engraved by W, Say,)
(50) Mer de Glace, Valley of Chamouni, Savoy, (Engraved by J, M, W.
Tumer, R.A.)
(51) Rivaulx Abbey, Yorkshire. (Engraved by H. Dawe.)
(52) Solway Moss. (Engraved by Thos. Lupton.)
(53) A Composition — Solitude, or the reading Magdalen. (Engraved by W. Say.)
(54) MUl near the Grande Chartreuse, Dauphiny. (Engraved by H. Dawe.)

32

(ss(S6
(S7(ss;(59(60
(61
(62(63 (64
(65
(66(67 (68 (69(71

Entrance of Calais Harbour. (Engraved by J. M. W. Turner, R.A.)
Dumblane Abbey, Scotland. (Engraved by T. Lupton.)
Norham Castle, on the Tweed. (Engraved by C. Turner.)
A Composition, commonly called Raglan Castle. (Engraved by J. M. W.
Turner, R,A.)
Ville de Thun, Switzerland. (Engraved by T, Hodgetts.)
The Source of the Arveron, in the Valley of Chamouni, Savoy.
(Engraved by J, M, W. Turner, R.A.)
Tenth Plague of Egypt, (Engraved by W, Say.)
Watercress Gatherers. (Engraved by W. Lupton.)
A Composition, Twickenham. (Engraved by H. Dawe.)
Bonneville, Savoy. (Engraved by H. Dawe.)
Inverary Castle and Town, Scotland. (Engraved by C. Turner.)
^sacus and Hesperia. — Vide Ovid's Metamorphoses, Book XI. (Engraved
by J. M. W. Turner, R.A.)
Eastgate, Winchelsea. (Engraved by S. W. Reynolds.)
Isis. (Engraved by W. Say.)
Ben Arthur. (Engraved by T. Lupton.)
Interior of a Church, (Engraved by J, M. W, Turner, R, A.)
Christ and the Woman of Samaria. (Engraved by S. W. Reynolds.)

In Portfolio.
301 Unpublished plate of Dumbarton. Very fine. Mounted.
302 (7) The Straw Yard. Second state. Very fine.
303 (12) Pembury Mill. Second state. Very fine.
304 (13) Sun between trees. Second state. Very fine.
305 (21) Morpeth, Northumberland, Very fine.
306 (44) The Calm. Fifth state. (From Lord Gosford's collection.)

'The finest I have seen." — F. Halstead.

33

In Red Morocco Case, Lettered.
308 SIXTY-FIVE ETCHINGS OF THE PUBLISHED
PLATES OF LIBER STUDIORUM.

Etched by J. M. W. Turner, R.A.
Frontispiece.Rustic Bridge and Cows.
Tambourine Landscape.
Smugglers — Flint Castle.
Basle.
Jason.Strawyard.Okeliampton Castle — Boy piping.
Mont St. Gothard.
Sea piece. The original picture in possession of the Earl of Egremont.
Holy Island Cathedral.
Pembury MiU, Kent.
A Classical Composition — bridge in mid-distance.
Dunstanborough Castle.
Lac de Thun.
The Fifth Plague of Egypt.
The Farmyard, with Cock.
FaUs of the Clyde.
Little Devil's Bridge, over the Russ, Switzerland.
Original sketch of a picture for Wm. Leader, Esq.
Morpeth — Northumberland.
Juvenile Tricks.
The Hindoo Worshipper.
Coast of Yorkshire, near Whitby,
Hindhead MiU, on the Portsmouth road,
London, from Greenwich.
Windmill and Lock.
Junction of the Wye and Severn.
Marine Dabblers.

34

(30) Landscape near Blair Athol,
(31) Laufifenbourg, on the Rhine,
(32) Young Anglers,
(33) St, Catherine's WeU, near GuUdford.
(34) Martello Towers near Bexhill.
(35) Inverary Pier, Loch Fyne.
(36) From Spencer's " Fairy Queen."
(37) Water MiU.
(38) Woman at Tank.
(39) Crypt at Kirkstall Abbey.
(40) Marine View. The original picture in possession of Sir John Mildmay, Bart.
(41) Procris and Cephalus.
(42) Winchelsea, Sussex.
(43) Bridge and Goats.
(44) Peat Bog, Scotland.
(46) Rizpah. (II. Book of Samuel).
(47) Hedging and Ditching.
(48) River Wye.
(49) Chain of Alps, from Grenoble to Chambery.
(50) Mer de Glace, Chamouni, Savoy
(51) Rivaux Abbey, Yorkshire.
(52) Solway Moss.
(53) Solitude, or the reading Magdalen.
(54) Mill near the Grand Chartreuse, Dauphiny.
(56) Dumblane Abbey, Scotland.
(57) Norham Castle, on the Tweed.
(59) Thun, Switzerland.
(61) Tenth Plague of Egypt.
(62) Watercress Gatherers.
(63) Twickenham.
(64) Bonneville, Savoy.
(65) Inverary Castle and town, Scotland.
(66) ^sacus and Hesperie,
(67) Eastgate, Winchelsea,
(68) Isis,
(69) Ben Arthur, Scotland,

35

309 EIGHT ETCHINGS OF UNPUBLISHED PLATES
OF THE LIBER STUDIORUM.
Etched by J. M. W. Turner, R.A.

(72) The Premium Landscape.
(73) Glaucus and Scylla.
(74) Sheep Washing, Windsor Castle.
(75) Dumbarton.

(76) Crowhurst.
(77) Temple of Jupiter at jiEgina.
(78) Devil's Bridge, Mont St. Gothard.
(79) Eton, Ploughing.

In Portfolio Stand.
ETCHINGS. (Artist's Proofs.)
310 La cour de I'horloge i* dtat. (By Meryon.)
311 Mediaeval Houses. (By Meryon.)
312 Family of Morocco. (By Fortuny.)
313 Dead Arab. (By Fortuny)
314 Amour Platonique. (By Rajon.) After Zamocoir.
315 Le Peintre. (By Rajon.) After Meissonier.
316 Le Liseur do. do. 1857.
317 Le Fumeur.- do. do. 181 8.
318 Les Musiciens. (By Rajon.)
319 James Martineau, LL,D, (By Rajon), after G, F. Watts, R.A.

PROOF ENGRAVINGS, AFTER SIR JOSHUA
REYNOLDS, R.A.
Engraved by Samuel Cousins, R.A.
320 Penelope Boothby ; or, the Mob Cap. Engraver's proof The original picture in
the possession of the Earl of Dudley.
321 Miss Bowles; or, Juvenile Amusement. The original picture painted in 1776;
now in the possession of Sir Richard Wallace, Bart.

36

322 The Strawberry Girl. Portrait of Miss Theophila Palmer, afterwards Marchioness
of Thomond, niece of Sir Joshua Reynolds. The original picture in the
possession of Sir Richard WaUace, Bart.
323 The Countess Spencer. Published 1876.
324 The Hon. Anne Bingham, sister to Lady Spencer. Published 1876.

PROOF ENGRAVING, AFTER FREDERICK
LEIGHTON, R.A.
Engraved by Samuel Cousins, R.A.
325 Moretta, a Venetian Girl.
PROOF ENGRAVINGS, AFTER JOHN EVERETT
MILLAIS, R.A.
Engraved by Samuel Cousins, R.A.
326 The Picture of Health — Girl with Muff Original picture exhibited Royal Academy,
1874; in possession of H. Phillipson, Esq,
327 New Laid Eggs. The original picture exhibited at Royal Academy, 1873 ; in the
possession of Peter Reid, Esq.
328 "No." The original picture exhibited at the Royal Academy, 1875.
FRAMED PROOF ENGRAVINGS, AFTER DAVID COX.
329 Calais Pier. (Engraved by E. Radclyfife, for the Art Union of London).
330 Blackberry Gathering. do. do.
331 The Windy Day. do. do.
332 Dryslyn Castle. do. do.
333 Changing Pasture. do. do.
334 View of Lancaster. do. do.
335 Welsh Funeral. do. do.

37

UNFRAMED ENGRAVINGS, AFTER DAVID COX.
336 Dryslyn Casde. (Etched by E. Radclyffe.) Engraver's proof
337 Crossing the Sands, Morecambe Bay. (Etched by E. Radclyffe.) Engraver's proof
338 The Peat Gatherers. do. do,
339 The Hayfield. do. do.
340 Blackberry Gatherers. do. do.
341 Calais Pier. do. do.
342 Stoneleigh Abbey. (Engraved by W. Radclyffe, for Illustrations to Warwickshire.)
1829. Proof
343 The High Street Market, Birmingham. do. do.
344 St. Martin's Parsonage, Birminghan. do. do.
345 The Avenue to Guy's Cliff", Warwick. do. do.
346 Warwick, St. Mary's Church, County HaU. do. do.
347 Fourteen Illustrations of Wanderings and Excursions in North and South Wales, by
Thomas Roscoe, Esq. (Engraved by W. and E, Radclyffe,) Engravers'
proofs,
348 Crossing Lancaster Sands — a Vignette, (Engraved by W. Radclyffe,) Fine
engraver's proof

ARTICLES OF VERTU.

ORIENTAL PORCELAIN.
349 Plate of Persian Faience decorated with conventional floral ornamentation.
350 Plate of Hizen Porcelain, painted with dark blue, red, green, and lilac enamels, and
gold.
351 Large Hibatchi of Hizen Ware, covered with celadon glaze, very boldly crackled.
352 Pair of old Japan Jars and Covers, richly decorated with red, blue, and gold.
353 Pair of Flower Vases of modern Hizen Crackled Porcelain, decorated with baskets
of flowers and figure subjects.
354 Covered Basin of Hizen Porcelain, richly decorated with dark blue, red, and gold.
355 Large Vase of modern Hizen Crackled Porcelain, boldly painted with flowers.
356 Bowl of old Hizen Porcelain, painted externally with a ceremonial procession. The
figures are drawn in delicate outline, and in some cases their robes are
richly coloured and gilded. Cloudwork in gold and silver confines the
subject within an irregular zone. Internally are conventional devices and a
centre medaUion containing figures on horseback.
357 Bowl of ancient Hizen Porcelain, painted round the exterior with a figure subject,
containing ten figures engaged in reading, gaming, and playing a musical
instrument.
358 Large Basin of old Hizen Porcelain (Kiku Ware) decorated with rich red, blue, and
gold,
359 Four Barbers' Basins of old Hizen Porcelain, decorated with red, blue, and gold,
360 Sprinkler of old Hizen Porcelain, decorated with flowers in red and gold.
361 Cup and Saucer of Porcelain, covered with cloisonnd enamel. This manufacture,
which is of recent introduction, is peculiar to Japan,

J9

362 Small Bowl of fine quality, middle period Satsuma Faience, covered with bright
glaze boldly crackled ; decorated with floral sprays, executed in coloured
enamels and gold.
363 Pair of fine old Satsuma Vases, of vellum-tinted pate, glazed with bright varnish,
crackled. The bases are decorated with bands of elaborate conventional
ornamentation, in rich enamels and gold. The bodies are covered with
spiral bands of diaper in groups of three, with plain spaces of ground
between. Upon these, irregularly disposed, are nine medallions fiUed with
floral sprays, most beautifully executed in the richest enamels and mat and
burnished gold. It is difficult to imagine anything more harmonious in
effect than. the decoration of these vases on their quiet-toned grounds. The
necks are banded with diaper work, and the mouths have conventional
borders both inside and out, which, in colouring, fully carry out the
harmonious feeling of the lower portions.
364 Bowl of finest period Satsuma Faience, decorated in the most superb manner with
conventional enrichment. Externally there are three horizontal bands of
different designs, and a broad zone of spirally disposed masses of diaper
and floral scroU-work, executed in the most careful manner. In the variety
of details, the richness of the gilding, the harmony of the colours, and the
refined tone of the pite, there is little left to be desired in this specimen of
Keramic art.
365 Bowl of finest Satsuma Faience, of soft-toned pate, covered with waxy glaze crackled ;
decorated in an elaborate manner with horizontal bands of diaper work on
a dotted gold ground powdered with gold, and green spray medallions.
This is a specimen of ware now very rarely to be met with in Japan.
366 Covered Jar of Kioto Faience of cold tint, decorated with pheasants and chrysanthe
mum flowers, in rich coloured enamels and gold.
367 Pair of Flower Vases of fine Kioto Faience, of cold tinted pate, covered with waxy
glaze crackled; richly and boldly painted with rocks, trees, flowers, and
birds in coloured enamels and gold, many of the details being executed in
raised pastes. The bases and mouths have tasteful conventional borders.
Marked "Tai-zan."
368 Small Bowl of modern Kioto Porcelain, made by Eraku ; decorated externally with
rich blue flowers, and internally with ho-hos and clouds, in the rich gilding
on a bright red ground, peculiar to the manufacture.

40

369 Pair of large Vases of late period Kioto Faience, elaborately ornamented with coUed
dragons in relief, and flat painted decoration. The bases are covered with
fish-scale diaper work and conventional designs. The lower halves of the
bodies are covered with sea scenes, in which fishes and other marine
animals are depicted darting through the waves in all directions. Appa
rently issuing from the ocean depths are large three-clawed dragons, cleverly
modelled in high relief, and richly painted and gUded. In the upper
portions, above the foam of the dragon-lashed waves, are depicted birds
driven about by the stormy winds. A pair of projecting head handles issue
from the shoulder of each vase, and above them the necks and bells are
richly painted with diapers and other conventional devices. But the most
interesting features in connection with these portions are the strange
chimerical creatures which are depicted with bodies of birds, bat-like wings,
and heads of dragons. These Vases were exhibited in the London
International Exhibition of 1874. (Illustrated in "Keramic Art of Japan,"
plate xl.)
370 Pair of Vases of the finest late period Kioto Faience, most tastefuUy decorated with
diapers, medaUions, bands, and borders of elaborate design and workman
ship. The methods of disposing the several ornamental features on these
interesting pieces are peculiar to the Japanese artists, and render the vases
representative pieces of oriental art decoration.
\/ 371 Figure of Man with Frog, in Kioto Faience ; very grotesquely and quaintly treated.
372 Large Rice Bowl of ancient Kioto Faience, of vellum-tinted Pate, covered with a
waxy glaze boldly crackled. This interesting piece is decorated in a very
archaic style, with a zone of eighteen aged figures, drawn in brown outline
and quiet toned enamels, and a centrepiece of conventional design. All
the features of this specimen point to a great age.
373 Large double gourd-shaped Bottle of old Owari or Kioto Porcelain, originally painted
in cold blues only. The coloured enamels have been doubtless added at a
comparatively late date,
374 Small Bowl of ancient Kioto Faience, of buff-tinted Pate, roughly manipulated, and
partly covered with a white glaze. The decoration consists of archaic
figures, drawn in brown outline, and coloured with low-toned enamels, and
relieved by a background of gold, probably of modern application. Inside
the rim is a band of flowers and birds, cleverly delineated.

41

375 Toilet Box, in the form of a Japanese Dog, of fine Kioto Faience, manufactured by
Eraku, The treatment displayed in this specimen differs from that found
in his wares which are commonly met with,
376 Perfume Burner of Ancient Kioto Faience, ornamented round the body with dragons
and clouds in relief, and glazed with transparent green varnish. The per
forated cover is formed of a coiled dragon issuing from the waves of the
sea, glazed yellow and green. This piece came from a Japanese Temple,
and is a fine specimen of a very old ware much prized by the learned
natives.
377 Dish of Kaga Ware, boldly decorated with flowers.
378 Small Teapot of Kaga Ware of fine quality, painted with figure subjects in red and
gold.
379 Basin of Polychromatic Kaga Ware, richly decorated with overlapping medaUions
filled with flowers, landscape, and figure subject.
380 Double Gourd-shaped bottle, of fine Polychromatic Kaga Ware, decorated with bands
of various designs, and medallions filled with different devices. On the
lower bulb are three medaUions, one containing a group of horses, another
fiUed with a dragon issuing from clouds, and the third containing birds
perched upon a pomegranate tree. On the upper bulb are two medallions
containing fishes and flowers. The general ground is of a light drab tint,
decorated with scroll-work in gold, and drawings of birds, insects, and
flowers. (lUustrated in " Keramic Art of Japan," Plate xxix.)
381 Large Bowl of fine Kaga Ware, very beautifully decorated with rich red and gold.
The exterior is surrounded with a broad band of red, with gold scroll-work,
upon which are oblong panels containing figure subjects. The interior is
very richly decorated with hexagonal star-shaped medallions, containing
figure subjects, irregularly disposed upon a groundwork of conventional
scroU-work and curled ornament. (Illustrated in " Keramic Art of Japan,"
plate xxxiii.)
382 Bowl of fine old Kaga Ware, richly painted with deep red and gold, and elaborately
decorated with medaUions containing figure subjects, animals, and flowers.
The centre-piece contains a pheasant and waterfaU.
383 Pair of Sakd Bottles of Polychromatic Kaga Ware, decorated with flowers,
384 Large Rice Bowl of Polychromatic Kaga Ware, decorated with flowers, animals, and
insectSi

42

385 Large Teapot of modern Kaga Ware, decorated with figures in colours and gold, and
borders of ornament in dull red and gold.
386 Dish of Polychromatic Kaga Ware, richly decorated with a basket of flowers in rich
colours in a shaped medallion, on a groundwork red and gold, and circular
medaUions of diaper work.
387 Saucer Dish of fine Kaga Ware, decorated with a group of archaic figures in a
cusped medallion on a ground of deep red relieved with gold.
388 Teapot of fine red Japanese Faience of tasteful design. The cusped sides are
decorated with pierced panels of the " Mume," and the handle and spout
are formed as branches.
389 Teapot of fine red Japanese Faience, decorated with vine leaves modelled in relief
390 Covered Box of old dark green Japanese Cloisonne Enamel, decorated with flowers
and scroU-work.
391 Small Cup of old Owari Porcelain, decorated with dark blue medaUions alternating
with pierced work, and borders of conventional designs in blue.
392 Teapot of Banko Ware, variegated in the pate, and painted with storks in raised
enamels.
393 Small Teapot of Banko Ware, decorated with storks in raised opaque enamels.
394 Large Circular Dish of Japanese Cloisonne Enamel, decorated with birds in
medallions, and detached masses of diaper and scrollwork. A good speci
men of the late period work.
395 Scalloped Dish of fine middle period Japanese Cloisonne .Enamel, very richly
decorated with masses of diaper-work irregularly disposed upon a ground
of delicate scrollwork in quiet tints. In the centre is a falcon perched on a
fir-tree.
396 Japanese Ivory Carving, representing a skeleton dancing to music performed by a
seated female.
397 Japanese Ivory Carving, representing a musical band of monkeys and a frog standing
on the back of a tortoise. The humour and action set forth in this piece
are very remarkable.
398 Japanese Ancient Ivory Carving, representing two warriors. One with a long pointed
beard is Kan-Wu, the patriot and warrior.
399 Sake Cup of Ivory, decorated with figure of a warrior and fir tree in lacquer. The
face is carved out of the surface of the ivory.
400 Japanese Ivory Carving.
401 Japanese Netsukie in Ivory, representing a mother with three chUdren.

43

402 Japanese Netsukie in Ivory, representing the historical flute player.
403 Japanese Ivory Carving, representing a skeleton, with monkey, rabbit, frog, and
snake.
404 Japanese Ivory Netsukie, representing figure with fighting cocks.
405 Japanese Ivory Carving of Pedlar. A very fine and choice specimen.
406 Japanese Ivory carving of two Noblemen,
407 Japanese Ivory Carving, representing a theatrical group of man, with mask and two '
children.
408 Japanese coloured Ivory Netsukie, representing children playing. Fine old
specimen.
409 SmaU Bowl of Aventurine Lacquer, decorated with the crest of the late Shogun of
Japan.
410 Cup of Aventurine Lacquer, with the crests of the Mikado and Shogun.
411 Small Cabinet of dark wood, tastefully decorated with raised gold lacquer, the
designs consisting of bamboos, mume, birds, and tortoises.
412 Carved, encrusted, and lacquered box, containing a miniature set of bow and arrows
used in playing an in-door game. Old Japanese.
413 Shrine of Carved Laminated Lacquer, in the form of a perfume burner, surmounted
with a canopy, under which is placed a figure of ' a deity, in dark brown
stone ware and crackled celadon. The figure is unique, and its origin is
unknown. It is probably* ancient Corean, and has evidently been highly
prized, judging by the elaborate shrine in which it is enclosed. The deity
is Buddhist, and is seated in the attitude of perfect rest, enjoying the
nirvana.
414 Model of a Japanese Norimon, in black and gold lacquer.
415 Pair of Japanese Bronze Figures, representing the gods of Force and Justice.
These fine pieces are hand-finished, and amongst the most perfect specimens
of bronze working which have been brought to this country. Both the
figures are attired in a species of armour, and stand upon masses of rock.
The one holding the war-axe and cord represents Force ; the other holding
the sword erect, and his left hand in a position very closely aUied to the
Greek form of blessing, personates Justice.
416 Oblong Vessel of Japanese Modern Bronze, highly finished by hand.
417 Small Daimios Sword, with inscribed blade and ancient iron and gold inlaid hilt,
beautifully mounted with platinized metal and gold. The small circular

44

medaUion on the sheath contains the crest of the Mikado, to a member of
whose family the sword doubtless belonged.
418 Large Two-handed Japanese Sword, mounted in iron, and having an ancient iron
hilt. The sheath is of lacquer, inlaid with mother-of-pearl.
419 Japanese Manuscript, beautifully written on coloured grounds clouded with gold,
and illustrated with ten subjects in connection with the text, and twenty-
two paintings of birds and flowers, carefully executed on silk. Many of the
paintings are of great beauty, and all are good specimens of Japanese
graphic delineation. The insides of the covers are lined with a paper
powdered with kiku crests of the Mikado, in differently coloured gold.
This fact would incline one to believe that the book either belonged
originaUy to the Mikado, or formed one of the presents sometimes given by
him to distinguished personages.
420 Book of Ancient Japanese Illustrations of rare merit, representing insects, fishes
and landscapes.
421 Pair of Beakers of old Nankin blue and white Porcelain.
422 Bottle of Chinese Enamelled Porcelain, decorated with dragons and polychromatic
scroll-work. This piece bears the mark of hia-king, 1796-1820.
423 Vase of pale green Chinese Porcelain, marked young-tching, i 725-1 735.
424 Vase of Chinese Enamelled Porcelain, richly decorated with scroll-work, sacred
emblems, and inscribed panels in colours and gold, on a turquoise ground.
425 Bottle of crimson-splashed Chinese Porcelain.
426 Large Bowl of dark green Jade, of remarkable thinness and perfection of workman
ship.
427 Small Sprinkler of brown and blue Chinese Porcelain,
428 Bottle of splashed Chinese Porcelain.
429 Large Vase of fine Chinese Porcelain, elaborately decorated with oblong panels
containing figure subjects, and circular medallions containing flowers,
landscapes, and inscriptions, upon a groundwork of red and gold scrollwork.
This fine piece came from the Hooton Hall collection, and although not
marked, is probably of the later part of the Ming period.
430 Group of Figures under a bamboo grove, in Chinese Porcelain. This piece forms
a flower holder.
431 Small Vase of duU Red Chinese Porcelain.
432 Small Vase of dark Red Chinese Porcelain.

45

433 Globular Vessel of blue and white Chinese Porcelain, quaintly decorated with
figures of boys playing round the opening.
434 Cup and Saucer of Chinese Egg-shell Porcelain, enamelled with crimson, and
decorated with medallions, filled with flowers and crabs and small dragons,
painted in raised enamels and gold.
435 Plate of finest Chinese Egg-shell Porcelain, enamelled with crimson externally, and
most beautifully arid minutely painted internally with six rings of different
patterns round the rim, and with a leaf-shaped medallion in the centre,
containing a figure subject. The workmanship throughout this piece is of
the highest class found on Chinese porcelain, and is in fine preservation.
The probable date is the kien-long period, 1736-1795.
436 Teapot of fine Chinese Porcelain, decorated with medallions, containing flowers and
cocks in rich coloured enamels, upon a groundwork of gold and red inter
lacing diaper-work.
437 Teapot and Stand of Chinese Porcelain, elaborately decorated with baskets and
floral sprays, in high relief, and enamelled in colours. This is a very interesting
specimen of an old ware now rarely met with in anything like perfect
condition.
438 Cup and Saucer of fine Chinese Egg-shell, decorated with compartments of diaper-
work, medallions containing deer, rabbits, and cocks, and with centre
pieces containing figures.
439 Cup and Saucer of fine Chinese Porcelain, quaintly decorated with pink fans and
yellow and black diaper-work.
440 Cup and Saucer of fine Chinese Porcelain, painted with landscapes and broad
borders of minute diaper-work in gold and colours. The manipulation
throughout is very careful, and the colours are refined.
441 Cup and Saucer of Chinese Egg-shell Porcelain, most beautifully decorated with
grounds of pink and turquoise diaper-work, divided with blue and green
lines terminating in conventional ornaments or finials, and with cusped
medallions filled with poenies and other flowers in rich coloured enamels.
The design of these pieces is very unusual.
442 Cup and Saucer of Chinese Egg-shell Porcelain, tastefully decorated with narrow
borders and conventional floral sprays, executed in black outline, filled in
with gold and raised blue enamel.

46

443 Plate of Chinese Porcelain, painted with an allegorical subject, copied from an
European print, with the addition of coats of arms. The rim is decorated
with gold fringe ornament.
444 Large Basin of Chinese Porcelain, decorated with the dragon and fong-hoang
alternating round its exterior, under a conventional band, and with a
circular fioral medallion internally The mark is rafiier confused, but it
appears to be that of the hia-king period, 1 796-1820.
445 Large Jar of old Nankin blue and white Porcelain, painted with the fong-hoang and
pcenies. The cover is of wood, in the form of an inverted leaf
446 Cabinet of ancient Chinese Lacquer, inlaid with figures, houses, trees, flowers, and
birds, in mother-of-pearl of different colours. A very rare and curious
specimen of the manufacture.
447 Large barrel-shaped vessel, of fine quality — Chinese Cloisonnd — probably of
15th century workmanship. The designs throughout are of the greatest
richness, and are of such a description as to mark the piece to have
belonged to a palace or temple. The whole is so truly superb that it may
in all probability have come from the Summer Palace.
448 Flower Vase of Ancient Chinese Cloisonnd Enamel, of very fine colour and work
manship; marked siouen-te, 1426-1435. From the Hooton Hall
coUection.
449 Perfume Burner of Ancient Chinese Cloisonnd Enamel, probably 14th century
work. From Hooton HaU coUection.
450 Vase of fine Chinese Clolsonnd Enamel, decorated with conventional scrollwork in
colours, upon a vellum-tinted ground ; and with medallions containing
coUed dragons.
451 Pair of double Gourd-shaped botrieS of old Chinese Cloisonnd Enamel, decorated
with circular medaUions of fiowers and insects, on a deep turquoise ground,
relieved with conventional scrollwork in quiet toned enamels. Fine speci
mens of the ware, dating probably from the beginning of the last century.
452 Covered Box of Modern Chinese Cloisonne Enamel.
453 Hexagonal Perfume Burner in Ancient Chinese Bronze.
454 Perfume Burner of Ancient Chinese Bronze.
455 Pair of Flower Vases of Ancient Chinese Bronze,

47

EUROPEAN PORCELAIN.
456 Plate of Vienna Porcelain, painted with figures, and rich gold ornamentation.
Subject : Venus and Adonis.
457 Cup and Saucer of Vienna Porcelain, decorated with flowers,
^458 Cup and Saucer of Vienna Porcelain, decorated with landscapes,
459 Cup and Saucer of Vienna Porcelain, decorated with flowers. 7 ^ ^
/ 460 Pair of small Figures of the finest period Chelsea Porcelain. 6>; ; ; ;; ,filJJ ^ UiSL-C
^ 461 Plate of Worcester Porcelain, early period, richly decorated with red, blue, and gold
/ 462 Bowl of Amstel Porcelain, decorated with fine landscape. /
463 Large Snuff Box of finest period Capo di Monte Porcelain, decorated with classical
heads in relief , )
Y^ 464 Snuff Box of fine Capo di Monte Porcelain, decorated with landscapes and figures.
.465 Plate of Capo di Monte Porcelain, decorated with wreaths of flowers.
f 466 Salt C'eUar in the form of a sheU, of fine Capo di Monte Porcelain, supported by
figures.
,, 467 Figure of Moor with Dog, in finest old Buen Retiro Porcelain
^ 468 Scent Bottle of very fine Dresden Porcelain.
{r' 469 Cup and Saucer of Marcolini Dresden Porcelain, decorated with landscapes.
V ' 470 Group of Figures in fine Dresden Porcelain ; Marcolini period,
471 Cup and Saucer of modern Dresden Porcelain,
/'- 1 472 A pair of Ewers, of gros bleu Sbvres porcelain, painted with portraits, and mounted,
with ormolu. (From the Hooton HaU coUecUon."

;• '-yV^^.C ^hm^^^^^^§'^^

473 A large oval Wedgwood Plateau, blue jasper, with white foliage border.
the Hooton Hall collection.)
474 A fine oviform Vase and Cover, blue jasper, with upright handles, figures and
ornaments in white. Subjects — the Infant Academy (after Sir Joshua
Reynolds, P.R.A,), and Music; festoons of fiowers above; 13 inches
high. (From the collection of the late Francis Sibson, Esq., M.D., F.R.S.)
475 A small Vase, blue jasper, with white handles and ornaments, a frieze of figures
round the vase — Jupiter, Juno, and other deities — supposed -to have been
modelled from a Capo di Monte plaque; 10}^ inches high. (From the
collection of the late Francis Sibson, Esq., M.D., F.R.S.)

l.-'^

48

476 A pair of Bulb Stands, blue jasper, with foliage and flowers in relief, in white.
(From the collection of Francis Sibson, Esq., M.D., F.R.S.)
477 An Oval Plaque, blue jasper, with white raised figures. Subject — two nymphs
' ( .'f'f^.'. decorating the statue of Priapus with festoons of flowers. Designed by
Angelica Maria Catherine Kauffman, R.A. lo^in. by 9^in. ; in glazed
frame. (From the collection of the late Francis Sibson, Esq., M.D,, F.R.S.)
478 A large oblong Plaque, blue jasper, white figures ; in glazed frame. Subject —
AchiUes dragging the body of Hector round the walls of Troy. i8j^
. ; , \ « |. f inches long, 5 ^ inches wide. (From the collection of the late Francis
Sibson, Esq., M.D., F.R.S.)
479 A smaU Table of Coromandel Wood and metal gilt, with circular top ; inlaid with
, a large blue and white plaque of a girl, with a distaff, and two chUdren,
I and eight smaller blue and white medallions of classical figures. (From
the collection of the late Francis Sibson, Esq., M.D,, F,R,S.)
480 Three small white Busts, after the antique, on square terminal pedestals, with
trophies in relief, in white, on blue ground, (From the collection of
Francis Sibson, Esq,, M,D,, F,R,S.)
481 Venus Callipyges. Large oval Medallion, in white, on purple ground ; with black
and red frame. iSj^in. by loin. (From the coUection of the late
i Francis Sibson, Esq., M.D., F.R.S,)
! 'i
PORTRAIT MEDALLIONS,
(From the collection of the late Francis Sibson, Esq., M.D., F.R.S.)
482 Dr. John Reinhold Forster. In oval gilt frame, glazed, and carved with grapes and
corn. "Wedgwood."
483 The pug-nosed Emperor Paul of Russia, and his Empress when young. In black
wood frame, glazed. Signed by Dr. Sibson, " Wedgwood, (Fine.")
484 Lord Nelson. Black and white " Wedgwood." 1798.
485 Oliver Cromwell. Black and white "Wedgwood."
486 Right Hon. Charles James Fox. Black and white " Wedgwood."
Blue Jasper.
487 John Philip Kemble, Born 1757, died 1823,
488 William of Nassau, first Prince of Orange, Born 1533, died 1584; elected
Stadholder 1575 ; assassinated by B. Gerard at the instigation of PhiUip 11,

49

489 Cornelius de Witt. Born 1623, died 1672. Brother of John de Witt. Murdered
by the populace.
490 Peter Hein, a celebrated Dutch Admiral. Killed in action 1629.
491 Michael Adrien de Ruyter, a celebrated Dutch Admiral. Bom 1607, kUled in
action 1676.
492 Viscount Admiral Keppel. Born 1725, died 1786. Captured Belle Isle, 1761.
First Lord of the Admiralty 1782-3.
493 Daniel Charles Solander, LL.D. Born 1736, died 1782. Sailed round the world
with Captain Cook. (Wedgwood and Bentley.)
494 William Shakespeare. (Wedgwood and Bentley.) Born 1564, died 1616.
495 Sir Joshua Reynolds, P.R.A. Born 1723, died 1792.
496 David Garrick. Born 1716, died 1779. Signed Hackwood. (Wedgwood and
Bentley.)
497 Lord Auckland.
•498 Lady Auckland.
499 Josiah Wedgwood. Bom 1730, died 1795.
500 Antinous.
501 Hercules.
502 Semele.

STATUARY, MARBLES, and ANTIQUE
DECORATIVE FURNITURE.

503 EvE. Life size, on movable pedestal. By J. Warrington Wood, Rome. 1876.
" Such pleasure took the Serpent to behold
This flowery plat, the sweet recess of Eve,
Thus early, thus alone ; her heavenly form
Angelic, but more soft and feminine ;
Her graceful innocence, her every air
Of gesture, or least action, overawed
His malice, and, with rapine sweet, bereav'd
His fierceness of the fierce intent it brought :
That space the evil-one abstracted stood
From his own evil, and for the time reniain'd
Stupidly good, of enmity disarm'd. ' —
Milton's "Paradise Lost," Book ix. v. 455-465.
504 The Little Captive Maid out of the land of Israel. By J. Warrington Wood,
Rome. 1876.
"Would God my lord were with the prophet that is in Samaria ! for he would
recover him of his leprosy. " — //. Kings, v. 3.
505 LuRLEi; a Water Nymph on. the Rhine. Quarter life size. By C. Voss, Rome.
" The Lurlei was haunted by a spirit, a beauteous, but wicked water-nymph, who-
distracted and beguiled the passing boatman with her magical voice, only to overwhelm
and drown him in the waves of the whirlpool. "
506 Hebe. Quarter life size. By C. Voss, Rome.
These two statues were executed by Voss in 1864, and exhibited in
the Dublin Exhibition of 1865.

51

507 A Grand Circular Table, with a Mosaic of Pliny's Doves in the centre, with inlaid
border of antique pietre dure, marbles, and jaspers, and Greek key
pattern border, on white marble stem and triangular base, boldly carved
with foliage and lion's paws. Made at Rome from remnants of marbles
given by the Crowned Heads of Europe, for the restoration of the Church
of St. Paolo, at Rome. 62 inches diameter, by 3 feet i inch high.
The beautiful piece of Mosaic called " Pliny's Doves " was discovered by
Monsignore Furietti, in Adrian's Villa, and is now placed on the wall of one of the
rooms of the Capitol in Rome.
It is described by Pliny as follows : — "Mirabilis ibi Columba bibens, et Aquam
umbra Capitis infuscans. Apricantur alioe scabentes sese in Canthari labro. " — Nat.
His., Lib. 36, cap. 60.
" There is a wonderful dove drinking and darkening the water with the shadow of
its head ; there are others sunning and preening themselves on the bowl of a Canthanis. "
Hence this piece is commonly known as " Pliny'.s Doves."
— Extract from "Rome,'' by Sir George Head, volume z, page 20.
508 A Pair of Half-columns of Flor de Persiera, on white marble, moulded bases.
(From the Hooton HaU coUection.)
609 A Column of pink Sicihan Marble, with capitol and base of dove marble. (From
the Hooton Hall collection.)
510 A grand Half Column of antique Cippolino Marble, with moulded statuary marble
base, 59 inches high.
511 Four Half Columns of Rose Granite, with moulded statuary marble bases, 45 inches
high.
-512 A Pair of Half-columns of Antique Marble, 42)^in. high, on statuary marble
inoulded bases. (From the Hooton Hall coUection.)
513 A Pair of Columns of LumacheUa Marble, with Ionic capitals and bases of statuary,
7 2 in. high. (From the Hooton Hall collection.)
514 A Column of Green-veined Marble, sienna cap and base, 39in. (From the Hooton
Hall collection.)
515 A Half-column of Veined Pink ItaHan Marble, with sculptured base, 39in, (From
the Hooton Hall collection,)
516 A Cylinder of Alabaster, 16 inches high, on pHnth of hzard serpentine. (From the
Hooton Hall collection.)
517 An oviform Vase and Cover of Antique Rose Alabaster, on verd antique plinth,
2 7j^in. high. (From the Hooton HaU collection.)

52

518 A Two-handled Amphora, of Rosso Antico, 2 7 in. high. (From the Hooton Hall
collection,)
519 An Oblong Table of Verd Antique, with moulding of ormolu, on carved black
wood stand, inlaid with coloured marbles, 7oin. by 3oin. (From the
Hooton Hall collection.)
520 An Oblong Table, of old Florentine Mosaic, with flowers in borders of jasper, on
[' black wood stand, partly gilt, 6oin. by 32in. (From the Hooton HaU
Vj.;/" collection.)
,521 _ One long Settee of Ebony, the back arms elaborately carved; with cane seat, and
cushion covered with crimson velvet. (From the Hooton Hall collection.)
522 One do. do. do.
523 An upright Cabinet, of black wood, of architectural design, carved with arabesques
and other ornaments, and inlaid with coloured marbles ; vsdth plate-glass
door, enclosing shelves 4Sin. wide, 9oin. high. (From the Hooton Hall
collection.) Purchased by Mr. Naylor at the Exhibition of 1862.
524 Another upright Cabinet, do. , do. do.
Purchased by Mr. Naylor at the International Exhibition of 1862.
525 A Knee-hole Writing Table, of old Red Buhl, with seven drawers, 38in. by 23in.
(From the Hooton Hall collection.)
626 A Pier Table, of old Black Buhl, with drawers mounted with ormolu. (From the
Hooton Hall collection.)
527 A Louis XVI. Table of Tulipwood and mercury gilt mounts, with a marble slab of
brocatelle d'espagne, which Cardinal de Fesch brought from Spain, and
which also belonged to the Emperor Napoleon. 4ft. 3in. long, 2ft, wide,
2ft. Sin. high.

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