David Lucas: Work with Other Artists

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DAVID LUCAS: WORK WITH OTHER ARTISTS

THE MEZZOTINTS OF DAVID LUCAS:

WORK FOR ARTISTS OTHER THAN JOHN CONSTABLE

Check List

As at December 2019

Contents

Works 1820 – 1829 ...... 6 1. Portrait of a man after unknown artist ...... 6 2. Bunyan’s Cottage at Elstow drawn by David Lucas ...... 6 3. Dr John Hull after David Henry Parry ...... 7 4. Herbert Mayo (BM title Dr Herbert Mayhew) after James Lonsdale ...... 7 5. The Reverend Joseph Wolff after E. Fancourt ...... 8 6. The Bride after John James Masquerier ...... 8 7. The Reverend George Richards after James Matthew Leigh ...... 9 8. The Brigand Chief after William M Bagg ...... 10 9. Arthur Wellesley, 1st Duke of Wellington, after Thomas Lawrence ...... 11 10. The Reverend Wolley Jolland after Richard Jones ...... 12 12. Moonlit seascape with barges after (in the style of) Aert van der Neer (VAM title Ships at Dawn) ...... 13 13. The Shamrock, the Thistle and the Rose after Sir William Charles Ross ...... 13 13. Winter after Nicolaes Berchem ...... 15 14. Seascape with battleships after Willem van der Velde...... 15 15. The Bird Trap after William Collins ...... 16 Works 1830 – 1835 ...... 16 16. Italian Girls after Penry Williams ...... 16 17. Boulogne after Richard Parkes Bonington ...... 17 18. Boats in a breeze after Samuel Owen ...... 18 19. Dieppe after Charles Tomkins ...... 19 20. Low tide at Dieppe after Charles Tomkins (BM) ...... 19 21. King William IV after Robert Bowyer ...... 20 22. Celadon & Amelia after William Hamilton ...... 21 23. Woodman in a storm after Thomas Gainsborough ...... 21 24. Edward Auriol Hay Drummond after John Jackson...... 22 25. Dolbardurn Tower after Charles Marshall ...... 23 26. The Water Lily after Edward Henry Corbould ...... 24 27. Nicholas William Ridley-Colborne, 1st Baron Colborne, after John Jackson ...... 24 28. Her Most Gracious Majesty, Queen Adelaide after Robert Bowyer ...... 25 29. Feeding the Robin after William Collins ...... 25 30. Lady Pentweazle after Robert Smirke ...... 26 31. Hampstead Heath after Charles Marshall ...... 27 32. The Revd. Charles Boyton F.T.C.D. after Thomas Clement Thompson ...... 28 33. Sir Charles Mansfield Clarke after Samuel Lane ...... 28 34. Twenty One Views in Norway after Edward Price ...... 29 35. Negro Emancipation after Alexander Rippingille ...... 33

36. Confession of an Italian Brigand after Horace Vernet ...... 34 37. Combat between the Papal dragoons and brigands after Horace Vernet ...... 35 38. Corsair’s Isle, parting of Conrad and Medora, after James Duffield Harding ...... 35 Works 1836 – 1840 ...... 38 39. Girl at her studies after Gilbert Stuart Newton ...... 38 40. The Return to Port Honfleur after Eugene Isabey ...... 39 41. Fair Head, Antrim – fox pursuing sheep after Captain H S Davis ...... 40 42. Fair Head, Antrim – Sunset, eagle devouring the sheep, after Captain H S Davis ...... 41 43. St Peter’s and the Vatican after Sir Richard Digby Neave ...... 41 44. Horses of Duncan after Sir Richard Digby Neave ...... 42 45. John Temple Leader after Bryan Edward Duppa ...... 42 46. The Chillington Oxen after Lucas Beattie ...... 43 47. Seascape with rainbow after Henry Scott Trimmer ...... 44 48. Wild Fowl Shooting after Henry Syer Trimmer ...... 44 49. Spring Ploughing after Henry Scott Trimmer ...... 45 50. Restive Plough Horse after Henry Scott Trimmer ...... 45 51. Illustrations for On the Elements of Light ...... 46 52. The Grand Canal Venice after James Duffield Harding ...... 46 53. Duck Shooting after Henry Syer Trimmer ...... 48 54. Winter after Henry Syer Trimmer ...... 49 55. Driving cows in winter after Henry Scott Trimmer(?) ...... 49 56. A Devonshire Water Mill after Frederick Richard Lee ...... 50 57. Burns Monument after Patrick C Auld ...... 51 58. Grace Darling after Henry Perlee Parker and John Wilson Carmichael ...... 52 59. John Sims, MD, after Charles Robert Leslie ...... 54 60. James W Farrer after John Partridge ...... 55 61. Landscape in Suffolk after David Lucas ...... 56 62. John Joseph Lawson after James Sant ...... 56 63. William Thompson after William Bewick ...... 57 64. Sir George Henry Smyth after Archibald Archer ...... 58 66. Unidentified landscape with cows after Henry Scott Trimmer ...... 58 Works 1841 – 1852 ...... 60 66. The Right Honourable Charles Kendal Bushe after William Stevenson ...... 60 67. Sir Philip Crampton after William Stevenson ...... 61 68. Henry Hurton after Bennett Hubbard ...... 62 69. Rev Martin Joseph Routh after Thomas Clement Thompson ...... 62 70. Master George Routh after Thomas Clement Thompson ...... 64 71. The Rescue after William Drummond ...... 64 72. George Field after David Lucas ...... 65 73. Frederic Trimmer, Esq.re In the Landscape, Tutbury Castle, Staveordshire, with the River Dove, after David Lucas ...... 65

74. William Conygham Plunket after Richard Rothwell ...... 66 75. Jerusalem after David Roberts ...... 67 76. George Field after Richard Rothwell ...... 67 77. Illustrations after George Field for Chromatics ...... 68 78. Cottage, Syon Hill Park after unknown artist, possibly David Lucas ...... 70 79. Pertabgurh after Lieutenant Constable ...... 71 80. Abraham Colles after Martin Cregan ...... 71 81. Anne Fitzroy (née Liddell), Duchess of Grafton, artist unknown ...... 72 Works of unknown date after known artists ...... 73 82. Revd Richard Watson after John Jackson ...... 73 83. Alexander Henry of Ardwick after David Henry Parry ...... 73 84. E J Trelawney engraved from life ...... 74 85. Edward Hamlin Adams after Samuel Lane ...... 74 86. Henry & Emma after William Hamilton ...... 75 87. Interior with man and woman, after a painting formerly attributed to Rembrandt ...... 75 88. Robert Banks Jenkinson, 2nd Lord Liverpool after John Hoppner ...... 76 89. Mr Sheepshanks after Charles Robert Leslie ...... 76 90. Dover Fishing Boats Returning after Charles Tompkins ...... 77 91. Morning after Joseph William Allen...... 77 92. Ouse Bridge, York after Thomas Girtin ...... 78 93. View of Laythorne postern gate and bridge, York, after Thomas Girtin ...... 79 94. Peasant Boy in a storm after Thomas Gainsborough ...... 79 95. Peasant Boy after Thomas Gainsborough ...... 79 96. Piety after Guido Reni (?) ...... 80 97. Seaford after Samuel Prout ...... 81 98. Snowdon after Charles Marshall ...... 81 99. A woman at a well after Henry Syer Trimmer ...... 82 100. Landscape after Sir Richard Digby Neave ...... 82 Works of unknown date after unknown artists ...... 83 101. An unknown Divine after unknown artist ...... 83 102. A young woman after unknown artist ...... 83 103. Ruined abbey (moonlight) near a river after unknown artist ...... 83 104. Small Mountainous Landscape (Norway?) after unknown artist ...... 83 105. Country cottage by a stream after unknown artist ...... 84 106. Unidentified landscape in the style of Rubens (1) ...... 84 107. Unidentified landscape with rainbow in the style of Rubens (2) ...... 85 108. Landscape with sheep after unknown artist (possibly H S Trimmer) ...... 85 109. Unidentified landscape with a rider and two horses after unknown artist ...... 86 110. Unidentified landscape with cottage and bridge after unknown artist ...... 86 111. Unidentified seascape with ships in high winds after unknown artist ...... 86

112. Dark Landscape with rounded trees after unknown artist ...... 87 113. Sunrise after unknown artist ...... 87 114. Moonlit landscape with cows after unknown artist ...... 88 115. Landscape with walkers on a country road after unknown artist ...... 88 116. Approaching Storm, View on the Thames, after unknown artist ...... 88 117. Thunderstorm in a rocky valley after unknown artist...... 89 118. Views of America after unknown artist (possibly Henry Samuel Davis) ...... 89 Other works ...... 92 119. Trial plate with head of a lady in living part after unknown artist ...... 92 120. James Northcote, RA, after John Raphael Smith ...... 92

Abbreviations

BM British Museum FW Fitzwilliam Museum GAC Government Art Collection GF Gooden & Fox Catalogue, 1903 NGI National Gallery of Ireland NPG National Portrait Gallery NoI National Library of Ireland NT National Trust RA Royal Academy RC Royal Collection VAM Victoria & Albert Museum

Works 1820 – 1829

Title 1. Portrait of a man after unknown artist Dimension/Size Sheet height 229mm x width 164mm Date 1820 Medium Mezzotint with engraving Publisher Description Portrait of a man, head and shoulders, half turned to the left, with wig and lace ruff, wearing armour (shown on the left shoulder).

Inscription Lettered below the image with: "F-A" and artist's initials: "D.L".

Inscribed by Lucas in manuscript: 'Proof of the first plate I engraved April 1820 the year I came to London, only 4 proofs taken off, the plate destroyed. David Lucas'.

Subject Portrait attributed to Peter Lely

Further information Collections BM 1941,0212.2 Exhibitions Catalogue numbers Location of original The image resembles 17th century portraits made in the Lely studio. It is possible Lucas made the copy from a print in Samuel Reynolds’ collection of pictures and prints

Title 2. Bunyan’s Cottage at Elstow drawn by David Lucas (VAM) Or: Cottage in a storm after unknown artist (FW) Dimension/Size VAM: Sheet height 246mm x width 325mm; image height 137mm x width 205mm FW: Image height 136mm x width 204mm; plate height 100mm x width 133mm; sheet height 146mm x width 182mm Date 1823 Medium Mezzotint Publisher Description A single storied cottage with two doors and two windows in the roof, set at an angle to the observer, stretches to the right where two figures appear to be tending a fire, billowing smoke. Lower right a tree trunk bends out of the scene. To the left of the image, trees twist in the wind, birds circling above; a group of plants in the foreground. The cloudy sky is bright to the left, darkening to the right, with light rain seemingly slanting down from left to right above.

Inscription VAM: lettered below Drawn & Engraved // by David Lucas 1823 FW: unlettered Subject John Bunyan lived in Elstow from 1649 – 1655. The cottage remained inhabited until the 1960s but was demolished in 1968. A photograph is included in the 1912 edition of the Victoria County History. Further information Collections VAM: 1187-2016 FW: P.229-1954 Exhibitions Centenary Exhibition of Mezzotints by David Lucas (1802-1881). 1981-04-14 - 1982-07-05; Organiser/Venue: The Fitzwilliam Museum, Cambridge Catalogue numbers GF 76 Location of original

Title 3. Dr John Hull after David Henry Parry Dimension/Size Plate height 430mm x width 325mm; sheet height 528mm x width 393mm Date 1826 Publisher Medium Mezzotint Description John Hull is shown in three quarter view, sitting sideways at a table in a relaxed manner, looking to his right away from the viewer. He holds a quill pen in his right hand, his arm resting on the chair arm and table, brushing against some papers. On the table are three books and an ink well. He wears a white cravat, dark velvet jacket and knee breeches; dark silk stockings; his feet not shown.

Inscription Unlettered Subject John Hull (1761–1843) was a leading obstetrician and physician at the Manchester Lying-In hospital from 1805 until retirement in 1837. As one of the founders of the Medical Library Society, he donated a large collection of books, and was its first president. He had a great passion for botany and was the first president of the Manchester Literary and Philosophical Society

Further information David Henry Parry (1793–1826), was the second son of Manchester based artist Joseph Parry. After successfully starting his own career as a portraitist in 1826 he moved to London but died later that year.

Collections NPG D35223 Welcome Collection (no number) Exhibitions Catalogue numbers Listed by GF, not numbered Location of original Not known

Title 4. Herbert Mayo (BM title Dr Herbert Mayhew) after James Lonsdale Dimension/Size BM: Sheet height 352mm x width 248mm (trimmed) Wellcome: Sheet height 472mm x width 313 mm; plate height 355mm x width 250mm Date 1827 Publisher David Lucas Medium Mezzotint with etching Description A half-length portrait in which the subject is shown facing forward but turning to the right. He wears an open top coat over a darker velvet jacket, with white cravat, and holds a glass jar containing a medical sample in his left hand, gesturing to it with his right as if teaching or explaining.

Inscription BM: Beneath "Painted by J Lonsdale Esqr" // "Engraved by David Lucas" // "London Published July 20th 1827 by the Engraver 18 Wyndham Street Bryanston Square".

Subject Herbert Mayo, M.D. (1796 – 1852) was a physiologist, anatomist and medical writer who produced important work on the action of nerves in the face, later falling into dispute with Sir Charles Bell, his teacher on the subject. He published his first work, Anatomical and Physiological Commentaries, in 1822. In 1827 he became surgeon at the Middlesex Hospital and published the first edition of Outlines of Human Physiology based on lectures delivered at the Medical School.

Further information James Lonsdale (1777-1839) was born in Lancashire and moved to London in 1799 where he became a successful and prolific artist working at a high level of

society; his subjects included Lady Hamilton and the Duke of Wellington. Between 1802-1838 he exhibited 138 paintings at the Royal Academy, 87 at the Society of British Artists, and 7 at the British Institution.

Collections BM 1898,1123.13 Wellcome Library no. 6439i Exhibitions Catalogue numbers GF 108 Location of original Not known

Title 5. The Reverend Joseph Wolff after E. Fancourt Dimension/Size Image height x 274mm x width 226; plate height 360mm x width 276mm; sheet height 390mm x width 290mm Date 1827 Publisher Medium Mezzotint Description A young man with short but unkempt hair is shown half figure, sitting. He is half turned to his right, looking past the observer with an intent gaze. He is wearing a heavy dark overcoat with wide collars, unbuttoned, over a waistcoat with white wing collar shirt and a cravat tied loosely in a bow. He holds a book in his lap with both hands, his thumbs marking the page he has been reading. The book has a thick binding with metal clasps. A plain wall behind.

Inscription Further information This image is identical to a mezzotint of the same painting by Henry Meyer, with inscription, in the British Museum (1859,0709.1531). It is possible that the copy in the V&A is an earlier state of the Meyer engraving although there are some differences which suggest that it is a different version altogether and could be by Lucas (there is no inscription or other direct attribution).

Joseph Wolff (1795 – 1862) was a missionary active in the Middle East who converted to Christianity from Judaism as a young man, being baptised in 1812. His first mission took place in 1826 and he was in London in 1827 before returning abroad in 1828. He settled in Britain in the 1840s taking up the post of vicar in Somerset.

Edward Fancourt (1806 – 1849) was a London based artist from a clerical family who studied at the Royal Academy in 1819 and exhibiting there in 1820 and 1821, winning a silver medal in 1822 from the Royal Society of Arts for an original portrait. Subject Portrait Collections VAM: E.2229-2016 Exhibitions Catalogue numbers Location of original Ulster Museum

Title 6. The Bride after John James Masquerier Dimension/Size VAM: Image height 228mm x width 176mm Date 1828 Publisher SS Folker, Brighton; J Brooker, Southampton Row, London; Rittner, 12 Boulevard Montmartre, Paris Medium Mezzotint Description A young girl sits in an ornate chair, facing left, against a backdrop with a fluted column behind to the right, a landscape to the left, as though she sat on the

steps of an ancient temple. She rests her head lightly against her right hand while her left holds the ends of a thin veil draped over her hair. She is wearing a dark, velvet style upper garment with full, slashed sleeves, over a white dress.

Inscription Painted by J.J. Masquerier / Published March 1828 by S.S. Folker, Brighton J. Brooker, Southampton Row London, & at Paris by H. Rittner Boulevarde Montmartre. No 12 / Engraved by David Lucas // The Bride // "Hers is the sunshine of the breast"

Subject The inscription most likely refers to the poem “Ode on a Distant Prospect of Eton College” by Thomas Gray (1716-1771):

Gay hope is theirs by fancy fed, Less pleasing when possest; The tear forgot as soon as shed, The sunshine of the breast.

Further information John James Masquerier (1778 – 1855) was a British portrait artist who had considerable success with an early likeness of Bonaparte, produced in 1800 after a visit to Paris. An exhibition of the picture reportedly earned him £1,000 (obituary, The Gentleman’s Magazine, 1855). He collaborated at that time with Henry Chalon and Charles Turner. Masquerier claimed to have started painting at the age of 17 in 1795 and in the next 28 years to have produced more than 400 portraits, earning enough to provide a comfortable retirement in Brighton where he lived from 1823. In that town he was a neighbour to Constable, who disliked him.

Collections Auckland Art Gallery 1939/4/36 RCIN 658626 VAM E.2225-2016; E2224-2016 Exhibitions Catalogue numbers GF 37 Location of original Not known

Title 7. The Reverend George Richards after James Matthew Leigh Dimension/Size BM: Height 412mm (trimmed) x width 308mm NPG: 1. Sheet height 346mm x width 267mm 2. Sheet height 410mm x width 299mm 3. Plate height 418mm x width 311mm; sheet height 451mm x width 326mm 4. Plate height 418 mm x width 311 mm; sheet height 451 mm x width 326 mm Date 1828 Publisher Samuel Leigh Medium Mezzotint Description The sitter is dressed in the full, sober, dark robes of his calling, facing slightly to his left with his left hand resting on an open book, his forefinger curled but pointing to the text. His right arm rests on the chair arm. Behind him to the left dark drapery hangs; to the right an unframed picture on the wall illustrates the portico of the church of St Martins in the Fields.

Inscription BM: Lettered below the image with the title and Painted by J.M. Leigh. // Engraved by D. Lucas. // Proof // London, Samuel Leigh, 18, Strand. 1828.

NPG D4025: (in the plate) PAINTED BY J. M. LEIGH // ENGRAVED BY D. LUCAS // (handwritten) The Revd G Richards DD // Vicar of St Martins in the Fields D39714, 39715: PAINTED BY J. M. LEIGH // ENGRAVED BY D. LUCAS // THE REV. George RICHARDS D.D. F.A.S &c // London Samuel Leigh 18 March 1828 D39716: unlettered

Subject The Reverend George Richards (1767 – 1837) became vicar of St Martin in the Fields in 1824. He resigned in 1835, at which time his parishioners presented him with a soup tureen and stand in recognition of his philanthropy and good service. He had taken orders in 1790 after studying the classics and was an amateur poet, winning a prize and the praise of Lord Byron for one of his poems in 1791.

Colnaghi published an engraving by Charles Turner from a portrait by Charles Ross in 1832.

Further information James Matthews Leigh (1808 – 1860), son of Samuel Leigh, studied art under William Etty, committing himself to the painting of historical scenes. While travelling in Europe to view old master paintings he began writing, published several plays and devoted himself to literature instead of painting for some years. Returning to art in 1840, he exhibited at the Royal Academy while also running a successful drawing and painting school.

Collections BM 2010,7081.4505 (proof) NPG D4025; D39714; D39715; D 39716 Exhibitions Catalogue numbers Location of original Not known

Title 8. The Brigand Chief after William M Bagg Dimension/Size 672241i - Plate height 354mm x width 253mm E.2251-2016 – Sheet height 317mm x width: 251mm E.2252-2016 – Plate height 355mm x width 253mm; sheet height 423mm x width 28omm E.2253-2016 – plate height 356mm x width 253mm; sheet height 400mm x width 310mm Date 1828 Publisher S. Steed Medium Mezzotint Description Against a stormy sky, with a few trees lower left, a man with a ring in his pierced ear, wears a tall hat with black feathers, while gazing reflectively out of the picture. He faces to the viewer’s left, half turned, looking into the distance. Wearing a large coat on his left arm, he has a cloak draped over his left shoulder and arms crossed against his chest, with the left hand cupping his chin. The cloak is folded across his right hand in which he holds the barrel of a gun, partly concealed in his clothing and resting against a pocket watch strapped to his shoulder. A flint lock pistol can be seen tucked into his belt alongside another weapon, possibly a dagger.

Inscription Painted by William Bagg // Engraved by David Lucas // THE BRIGAND CHIEF (open letter) // Published Jan 1st 1828 by S Steed, 207 Regent Street

E.2252-2016 – trimmed to remove inscription E.2253-2016 – trimmed to remove publisher details

Subject Charles Eastlake and David Wilkie both produced paintings about brigands during the 1820s. Eastlake’s series of three pictures had been published in mezzotint by Moon, Boys & Graves in 1827. Eastlake’s work was used by J R Planché as the basis for the style and design of a highly successful theatrical production based on a French play, which opened in 1829. The noted actor James Wallack enjoyed a long run in the lead role.

Further information William Bagg (dates unknown) was working in London between 1840 – 1866 as a portrait painter and lithographer. His work often depicted exotic characters, such as “Chaka King of the Zoolus” (1836) and a portrait of Richard Lemon Lander (1804 - 1834) wearing Arab dress (engraved by T A Dean).

Collections Wellcome Library no. 672241i VAM E.2251-2016; E.2252-2016; E.2253-2016 Exhibitions Catalogue numbers GF 100 Location of original Not known

Title 9. Arthur Wellesley, 1st Duke of Wellington, after Thomas Lawrence Dimension/Size The small image: height 225mm x width 164mm NOTE: the large image - height 717mm x width 602mm (full length portrait) Date 1828 Publisher Samuel Hollyer Medium Mezzotint Description The Duke is portrayed half length, standing against a dark cloudy sky, wearing a cloak over his coat and waistcoat. A cravat round his neck is held by a ribbon with medal (the insignia of the Order of the Golden Fleece). He stands slightly turned to his left, right arm across his chest to hold the cloak.

Inscription Painted by Sir Thomas Lawrence, F.R.A. // Engraved by David Lucas // His Grace the Duke of Wellington, (open letter) / First Lord of the Treasury, / &c, &c, &c (manuscript) // London Published 2 June 1828 by Samuel Hollyer, 2 Everett Street, Russell Square

Subject The Duke became Prime Minister for the first time in 1828; remaining until 1830 when he lost a vote of confidence on parliamentary reform, a measure which he opposed.

The portrait by Sir Thomas Lawrence (Garlick 805e) painted around 1820 was engraved by many other artists in the next decade, including William Dean Taylor, George Raphael Ward and John Henry Robinson. Copies were still being made in the 1840s. The picture was also engraved, with stipple, by H Robinson, and published by Fisher & Son in 1830.

In the Fitzwilliam Chromatics edition: On the page above the print there is a hand-written title in pencil, "A Man of War", and underneath the print a verse from Young, in the same hand:

"He shares in that omnipotence he trusts, / All believing, all-attempting, till he falls, / And when he falls, writes VICI on his shield; / From magnanimity, all fear above; / From nobler recompense, above applause; / Which owes to man's short out-look all its charms."

The verses quoted come from the poem “VIRTUE’S APOLOGY; or, the man of the world answered. in which are considered, the love of this life; the ambition and

pleasure, with the wit and wisdom, of the world” in Young’s Night Thoughts, a collection of poems by Edward Young (1681 – 1765). This verse is from the 8th set of ‘thoughts’:

But nothing charms Lorenzo, like the firm, Undaunted breast—and whose is that high praise? They yield to pleasure, though they danger brave, And show no fortitude, but in the field; If there they show it, ’tis for glory shown; Nor will that cordial always man their hearts. A cordial his sustains, that cannot fail; By pleasure unsubdued, unbroke by pain, He shares in that Omnipotence he trusts. All-bearing, all-attempting, till he falls; And when he falls, writes VICI on his shield. From magnanimity, all fear above; From nobler recompence, above applause; Which owes to man’s short outlook all its charms.

Further information The Prince Regent commissioned Thomas Lawrence to prepare portraits of the Allied army leaders who defeated Napoleon, a task he accomplished between 1818-1820. Wellington sat seven more times with Lawrence. This version was commissioned in 1820 by Wellington's friends Charles and Harriet Arbuthnot and is notable for presenting the duke in civilian clothes.

In a letter of 1820 the Duke described it as being “as good as any Lawrence ever painted”. He frequently gave the mezzotint engraved by Samuel Cousins to admirers, rather than this work by Lucas, which made the portrait well known (Source: Sir Thomas Lawrence, Michael Levey, Yale University Press, 2005).

Collections NPG D4723 BM 1877,0811.479; small image; 382mm (cut) x 290mm (cut) cut from large print VAM E.2235-2016 FW P.304-1954 One of the objects pasted by George Field into a presentation copy of the first edition of his book 'Chromatics'.

Exhibitions Catalogue numbers Either GF 97 or 144 Location of original The original oil painting was sold to a private collection in 2006 for £2m by Christies. A copy is held at Chequers Court.

Title 10. The Reverend Wolley Jolland after Richard Jones Dimension/Size NPG: Plate height 474mm x width 328mm; sheet height 363mm x width 26 mm Date 1828 Publisher Richard Jones Medium Mezzotint Description Reverend Wolland sits in a large chair, facing the viewer directly, dressed in a large robe with voluminous sleeves over a coat and waistcoat, and white cravat. His right hand rests on one knee, holding spectacles; the left rests on a book on the table beside him, the fingers raised as if making a point in disputation. Dark curtains hang behind to the left and centre, raised on the right to reveal a distant church spire seen through an open window.

Inscription Painted by Richard Jones // Engraved by David Lucas

(open letter) The Rev’d Wolley Jolland, // (script) Vicar of Louth, Lincolnshire //Published by the painter 1828

Subject The Revd Jolland (1772 - 1831) spent most of his life as vicar of Louth in Lincolnshire, the town in which he was born and where his father was town clerk. Louth church is renowned for the height of its spire. According to his obituary, he had “that ease and competency which maketh glad the heart of man” and was highly popular in the local community for his manners and philanthropy. Jolland was also famous for building a Hermitage in the vicarage garden, with adjoining Hermitage Kitchen, as part of an eccentric though not greatly ascetic lifestyle.

Further information Richard Jones (1767-1840) produced portraits of provincial notables and of sporting subjects (“one of the better sporting painters of his time” - Sally Mitchell, Dictionary of Equestrian Artists); sometimes combined as in the portrait of the veteran jockey Francis Buckle. He moved to Lincolnshire to paint sporting subjects for Lord Yarborough. In London he worked with the firm of Arthur Ackerman, a dealer specialising in sporting prints (and owner of the internationally famous paint manufacturer).

Collections NPG D36710 FW P.14240-R (before letters) Exhibitions Catalogue numbers Location of original St James Church, Louth

Title 12. Moonlit seascape with barges after (in the style of) Aert van der Neer (VAM title Ships at Dawn) Dimension/Size Height 113mm x width 132mm Date 1829 Publisher Samuel Hollyer Medium Mezzotint Description The moon breaks through clouds, casting a ribbon of light across dark water in front of a sailing barge, centre right, which tows a rowing boat to the left, towards another barge. On the shoreline front right a man bends to moor his boat. To the left, another boat with two figures approaches the shoreline, which circles round towards a distant windmill.

Inscription Liede // Published by S. Hollyer. 2 Everett, St Russell Sqe, April 1829

Subject Genre scene Further information Aert van der Neer (1603-1677) specialised in night scenes with moon and firelight, often looking over water.

Collections BM 1932,0526.1; 1886,1012.382 (early state, letter with Liede only) VAM E.1194-2016 (trimmed to image with narrow border) Exhibitions Catalogue numbers Location of original Not known

Title 13. The Shamrock, the Thistle and the Rose after Sir William Charles Ross Dimension/Size BM 1914,0406.46: Image height 260mm x width 215mm; plate height 350mm x width 255mm; sheet height 442mm x width 335mm BM 1878,0511.940: sheet height 345mm x width 245mm

FW: Image height 260mm x width 215mm; plate height 350 mm x width 255mm; sheet height 378mm x width 280mm Date 1829 Publisher Brooker; then Moon, Boys & Graves Medium Mezzotint engraved on steel Description Light breaks out in the sky to the left of the picture in which three young women in three quarter figure represent (from the left) Scotland, England and Ireland. Scotland faces the viewer, with a high ruff behind her neck and wearing a tartan shawl over her right arm, carrying a tam o’shanter adorned with black ostrich feathers in her left hand. She is standing slightly behind, and holding the hand of, England, who wears a belted white dress with rose at the neckline, a rose flower in her right hand. England looks to her left at Ireland, who is in profile facing left, wearing a crown of shamrocks and a gown with a band of jewels tying up the sleeve at her shoulder; she has a bracelet on her wrist. In front of Ireland is a rose bush, behind her the corner of a massive wall.

BM 1878,0511.940 with three lines engraved around image

Inscription BM 1878,0511.940

Painted by W.C. Ross // THE UNION (open letter) // Engraved by David Lucas Thistle/Rose/Shamrock // Hail Glorius Sisters, Hail! Ye lovely three, Daughters divine of Heav’n born Liberty, Thy Hero’s Laurels each may proudly claim, In Nelson’s, Wellington and Abercrombie’s Names, Blest with thy Hero’s in Heav’n we firmly trust And Hail with pride the Sway of George the just// ON STEEL// Printed by Chatfield// London, Published June 1st. 1829, by Moon, Boys & Graves, Printsellers to the King, 6 Pall Mall, also by J. Brooker, Southampton Row

1914,0406.46 Drawn by W.C. Ross // London. Published Jan.y 1st. 1829 by J. Brooker. 5 Southampton Row. Russell Square // and the engraver // Engraved by David Lucas // ON STEEL

Subject A review in the Gentleman’s Magazine of volume 145 states “we should certainly prefer a proof of this very pleasing print before the writing (which includes some very indifferent verses) was inscribed under it”.

Further information Sir William Charles Ross (1794 – 1860) was a painter of portraits and historical scenes, setting aside the latter when demand for his portrait miniatures increased and the work became more lucrative. His father was a miniaturist, his mother a portrait painter. Elected an RA in 1842 and knighted in 1843, he was much favoured by British and European royalty for whom he painted many miniatures. More than 2,200 works are known.

No author is credited with the lines of poetry which may have been written by the artist himself.

Collections BM 1878,0511.940 (published with inscription); 1914,0406.46 (unlettered state) Fitzwilliam: P.1677-R (proof) Exhibitions Catalogue numbers GF 49

Location of original The original drawing, in watercolour touched with body colour, is in the BM collection 1907,1018.54. The heads and faces are finely painted, while the remainder is more loosely sketched in, with the pencil lines visible in the body and dress areas where the paper has been used for flesh and fabric tones.

Title 13. Winter after Nicolaes Berchem Dimension/Size BM: height 140mm x width 174mm FW: plate height 140mm x width 173mm; sheet height 154mm x width 187 mm Date 1829 Publisher Samuel Hollyer Medium Mezzotint with etching Description Dark clouds hang low above a snow covered cottage set among bare trees on the banks of an ice-covered lake or river. The branches of a tall tree to the right, and smaller more distant tree, centre, bend to the left with the wind. A man and woman collect firewood, loading a sledge. Nearby a dog gazes intently at a crack in the ice. Centre and left, a man sits on an ice bound boat while fitting skates to his shoes. Behind and to the left of the scene stands a windmill; two flocks of birds fly past.

Inscription Berghem Pinxt. // Lucas Sculpt. // Published by S. Hollyer, 2, Everett Street

Subject Genre scene Further information Nicolaes Berchem (1620 – 1683) usually painted in an Italianate style featuring classical ruins and sunlit pastoral landscapes. He also painted genre scenes including several winter landscapes with a similar design to this print.

Collections BM 1947,0116.27 published state before title added; 1896,0821.28 - later published state FW P.2111-1991 Exhibitions Catalogue numbers GF 147, Lennox-Boyd i/i Location of original Not known

Title 14. Seascape with battleships after Willem van der Velde Dimension/Size Height 115mm x width 131mm Date 1829 Publisher Medium Mezzotint Description A sailing ship sits on a calm sea with flat sails as dark clouds hover above a sunrise (or sunset). To the right, a rowing boat hails the ship from the stern, with two men approaching in a second craft. To the left, two fishermen haul nets into a small sailing dinghy. Three ships appear becalmed in the distance to the left, a remote shoreline is visible to the right.

Inscription None Subject This picture resembles van der Velde’s The Cannon Shot, now in the Rijksmuseum, painted in 1670 before he came to London. Works by van der Velde were in the collection of Sir Joshua Reynolds which was auctioned in 1795 (Turner: The Extraordinary Life and Momentous Times of J. M. W. Turner, Franny Moyle 2016)

Further information Willem van der Velde the elder (1611 – 1693), and his son of the same name (1633 – 1707), produced many seascapes. This scene is in the style of the younger man, renowned for his accuracy in depicting ships and their situation.

Collections BM 1914,0406.44; date from published state (1932,0526.2) VAM E.1199-2016; 1200-2016; 1201-2016 Exhibitions Catalogue numbers GF 146 Location of original Not known

Title 15. The Bird Trap after William Collins Dimension/Size VAM: E2245-2016 - Image height 142mm x width 115mm; plate height 228mm x width 165mm; sheet height 440mm x width 300mm Date 1829 Medium Mezzotint Publisher Samuel Hollyer Description A small boy kneels on the edge of a stream which flows across the foreground. He is setting a small stick on end in a box on the grass. To the right, another boy kneels on one knee, holding the lid of the box which will be balanced on the stick. He is in shirt sleeves, looking over his shoulder out of the picture. To the right, a wicker or wire bird cage stands on the ground. Behind, a path runs into trees, and on the left, a small half-timbered, thatched cottage is set among bushes on the edge of the woods.

Inscription VAM 2245-2016 W Collins Esqr R.A. Pinxt // David Lucas Sculpt // The Bird Trap // Engraved from the Original Picture in the Possession of R Hand Esqr (open letter)

Published June 1829 by Samuel Hollyer, 2, Everett St Russell Square Printed by S. H. Hawkins

Subject Genre scene Further information William Collins (1788 – 1847) was a landscape and genre painter, taught by Morland, whose reputation in his lifetime matched that of JMW Turner and Constable. His most famous work appeared in 1812: The Sale of the Pet Lamb, sold for 140 forty guineas and engraved by S. W. Reynolds. After 1828 Collins travelled extensively in Britain and Europe, producing many landscapes. He attended the Royal Academy every year from 1807–46, exhibiting 124 pictures there; a further 45 pictures were shown at the British Institution. His biography, states that the Bird Trap was painted in 1821 for a British Institution exhibition and notes that an engraving was made by Finden (whether William or Edward is not stated). The Literary Gazette, January 1822, notes the existence of a lithographic version.

Collections VAM E.2245-2016; E.2244-2016 Exhibitions Catalogue numbers GF 102 Location of original Not known

Works 1830 – 1835

Title 16. Italian Girls after Penry Williams Dimension/Size BM: Height 410mm x width 305mm Date 1830 Medium Mezzotint Publisher Colnaghi Son & Co Description Centre, a girl sits on a squared stone, wearing a dark, silken skirt with embroidered hem and a white, embroidered blouse. One sandal has been

removed. Her long dark hair has been plaited on her right side and she turns her head to a second girl, kneeling at centre right, who is plaiting the left side. She wears a similar, lighter coloured dress and blouse and a basket of ribbons is on the ground beside her. Behind the stone bench is a large tree with a tambourine propped against it, beside a bunch of flowers. Left, trees form an avenue leading to a lake view, with a town spreading across mountain slopes above the lake side.

Inscription BM1841,1113.179: Scratched below the image above a crest with the title in open letters and 'Preparing for a Fiesta / London Published March 29th 1830 by Colnaghi Son & Co Printsellers to the King Pall Mall East / P Williams pinxt. / D Lucas Sculp'.

1841,1113.178 Scratched below the image above a crest 'London Published March 29th 1830 by Colnaghi Son & Co Printsellers to the King Pall Mall East' // P Williams Pinxt / D Lucas Sculpt 1838 (cursive)

E.1198-2016 lettered above crest: London Published March 29th 1830 by Colnaghi Son & Co Printsellers to the King Pall Mall East

E.1197-2016 Trimmed with narrow margin; pencil note: engraver’s proof; faintly scratched with P Williams Pinxt // D Lucas Sculpt

Grosvenor: F. Williams pinxt. / D. Lucas sculp. / Italian Girls preparing for a Festa. / Dedicated by Permission to the Rt Honble Lord Charles Townshend by His Lordships most obedient and Obliged Servants Colnaghi Son & Co. / London, Robert Simpson, 20, St. Paul's Terrace, Camden Town

Subject Genre scene Further information Penry Williams (1802 – 1885) lived most of his life in Rome but was born the son of a house painter in Merthyr Tydfil. Aristocratic patrons sent him to London where he studied under Henry Fuseli at the Royal Academy, winning a silver medal for a drawing from the antique. He was a member of the Society of Painters in Watercolours until resigning in 1835. In his early years he produced landscapes in England and Wales, including early industrial developments. He travelled to Rome in 1827 where he set up his own studio, painting contemporary and classical scenes from Italian life. British travellers were regular visitors.

The engraving is listed by Arnold’s Magazine of the Fine Arts as published in December 1830.

Collections BM 1841,1113.179; 1841,1113.178 RCIN 819080 (in an album compiled by Queen Victoria) VAM E.1198-2016; E.1197-2016 Exhibitions Catalogue numbers Location of original The original painting is held at Cyfarthfa Castle Museum & Art Gallery, Merthyr Tydfil. The engraving places more trees on the left and the horizon extends to the lake where the original has the wall of a castle or town.

Title 17. Boulogne after Richard Parkes Bonington

Dimension/Size BM: height 140mm x width 172mm FW: Image height 105mm x width 140mm; sheet height 165mm x width 205mm Date 1830 Publisher BM: Samuel Hollyer FW: I & F Harwood Medium Mezzotint with etching Description Left, the sun has recently set, illuminating clouds in a calm sky above an inlet or river curving from the left foreground to the right. Along the opposite side boats are moored to a jetty that stands high above them due to the low tide. A man walks along the jetty, while two other men wade in the water past the stern of a boat. In the background, to the left, trees on a hill overlook a small town, centre, with a church spire. Birds fly above the town and two gulls are in the water lower right.

Inscription Lettered below image with artists' names: Bonnington [sic] Pinxt. / D. Lucas Sculpt./ BOULOGNE (open letters) / Published by S. Hollyer. 2 Everett Street. May 1830

BM 1886,1012.381: Another state produced by I F Harwood Bonnington [sic] Pinxt. / D. Lucas Sculpt. BOULOGNE (open letters) / Published by I. F. Harwood, 26. Fenchurch St. London.

Subject Genre scene Further information Richard Parkes Bonington (1802-28) Collections BM 1898,1123.11 open letter state BM Curator's comments: See also 1886,1012.381 and 1925,0406.179. FW P.2110.1991 Exhibitions Catalogue numbers GF 100 Location of original Not known

Title 18. Boats in a breeze after Samuel Owen Dimension/Size BM: Height 139 mm x width 171 mm FW: Image width 140mm x height 95mm; sheet height 130mm x width 161mm; pasted onto a paper mount Date 1830 Publisher Samuel Hollyer Medium BM: Mezzotint with etching FW: Mezzotint on chine collé Description On a heavy swell, two sailing ships in the foreground tack across the wind from the right. The nearer ship is in shadow, with sunlight behind, which brightens the sails of the second ship, further away. Several other vessels can be seen on the distant horizon. A storm cloud seems to be arriving from the right; gulls fly in the sunlight to the left.

Inscription Drawn by S Owen. / Engd, by D. Lucas. / Printed by S. H. Hawkins. / Boats in a Breeze (open letters) / Sketches / Published by S. Hollyer. 2 Everett Street. 1830.

Subject Genre scene. This print is very similar to Owen’s Stormy Ocean Landscape with Ships. Further information Samuel Owen (1769 – 1857) was a sailor as well as an artist specialising in drawings and paintings of marine and shipping subjects. In 1811 and 1838 he worked with the engraver William Bernard Cooke and print seller William Westall to publish Views of the Thames, with 84 drawings in the first series and 11 in the second.

Collections BM 1898,1123.9 open-letter, published state FW P.1674-R Exhibitions Catalogue numbers GF 45 Boats In A Gale Location of original Not known

Title 19. Dieppe after Charles Tomkins Dimension/Size BM: height 140 mm x width 172 mm FW: Plate height 140mm x width 178mm; sheet height 362mm x width 459mm Date 1830 Publisher Samuel Hollyer Medium Mezzotint Description Under dark scudding clouds a woman makes her way across the sands, bowed under the weight of a large basket, accompanied by a child. The sun breaks through to cast long shadows ahead of them. Parallel tracks extend behind them towards boats, beached by low tide. Ahead of them, to the right of the scene, is a large building topped by a flag pole above which three birds wheel in the wind.

Inscription BM version lettered below image with artists' names: Drawn by C. Tomkins. / Engraved by D. Lucas . / DIEPPE (open letters) / London Published by S. Hollyer 2 Everett Street. 1830.

VAM E1216-2016 – also Printed by S H Hawkins Subject Genre scene Further information There were two artists working as Charles Tomkins, one living from 1757-1823; the other Charles F Tomkins (1798 - 1844). The former was a landscape painter and engraver, the artist for “A Tour to the Isle of Wight, Illustrated with Eighty Views” in 2 volumes. He is the most likely originator of this scene. The latter began and may have continued his artistic career as a theatrical scene painter while also producing architectural prints and drawings.

Collections BM 1882,0311.51; BM Curator's comments - See progress proof before letters for 1914,0406.45 VAM E.1213-2016; E.1214-2106 (trimmed to image); E.1215-2016; E.1216-2016 FW P.227-1954 NT number: NT 930376 hand coloured, details of the large building on right clearly depicted; held at Dunham Massey, Cheshire; another NT 979983 at Nunnington Hall, North Yorkshire Exhibitions Catalogue numbers GF Dieppe Fishwives Returning 96 Location of original Not known

Title 20. Low tide at Dieppe after Charles Tomkins (BM) Or: Boulogne Harbour (VAM) Dimension/Size BM: Height 140 mm x width 171 mm FW: Plate height 140mm x width 171mm; sheet height 293mm x width 436 mm VAM: image height 93mm x width 140mm; plate height 140mm x width 170mm; sheet height 186mm x width 236mm Date 1830 Medium Mezzotint with etching Publisher Samuel Hollyer Description Seen from behind, two figures extreme left walk across the beach, followed by a figure, probably a woman, bundled in cloak and hat. The sun sets behind dark

clouds, casting patches of light across the surf and sands. White gulls appear against dark cloud above the figures on the left. A row of posts set in the shore, topped with baskets or beacons, extend out to sea on the right. Foreground right, the remains of a small boat or jetty are part buried in the sand.

Inscription VAM E1211-2016: Drawn by C Tomkins // Engraved by D Lucas // Boulogne Harbour (open letters) Published by Samuel Hollyer, 7 Compton St East // Printed by S H Hawkins

Subject Genre scene Further information Collections BM 1898,1123.10 FW P.1654-R chine collé; from the Theobald collection VAM 1211-2016; 1212.2016; 1217.2016; 1218-2016 Exhibitions Centenary Exhibition of Mezzotints by David Lucas (1802-1881). 1981-04-14 - 1982-07-05; Organiser/Venue: The Fitzwilliam Museum, Cambridge Catalogue numbers May be GF 96 Dieppe Fishwives Returning Location of original Not known

Title 21. King William IV after Robert Bowyer Or: King William IV holding the Magna Carta in his right hand Dimension/Size BM: image height 444mm x width 353mm; sheet height 523mm (trimmed) x width 397mm (trimmed) NPG: sheet height 504mm x width 377mm RC: image height 445mm x width 353mm; sheet height 618mm x width 473mm Wellcome: image height 446mm x width 352mm Date 1830 Medium Mezzotint Publisher Robert Bowyer & Mary Parkes Description The King in half figure, with short hair, stands turned slightly to his right, leaning his forearm on a cloth covered pillar while holding a scroll on which the title is MAGNA CARTA. He wears a dark tail coat decorated with the Order of the Garter, over a waistcoat and white shirt with plain cravat, knotted. Drapery hangs to right and left with a large tassel top right.

Inscription BM 8446 Painted by R. Bowyer. / Engraved by David Lucas. / London Pubd. by R. Bowyer & M. Parkes, Pall Mall, 1830. / WR Proof. FW: as above with in addition His Most Gracious Majesty, King William the Fourth (open letters)

Subject Portrait painted and engraved when William became king. Further information Robert Bowyer (1758-1834), portraitist and miniature painter, by appointment to the King after 1789. He exhibited 32 portraits at the Royal Academy between 1783 and 1828 and enjoyed a parallel career as an art dealer, specialising in prints; and as a publisher, noted for an illustrated Bible (with some hundreds of pictures) and the History of England by David Hume.

Bowyer was also a publisher and print seller in partnership with Mary Parkes.

Collections BM 1900,10.11.8445; 1902,1011.8446 NPG D33553 FW P.11385-R Royal Collection RCIN 630118 Wellcome 570652i Exhibitions

Catalogue numbers Location of original Not known

Title 22. Celadon & Amelia after William Hamilton Dimension/Size RA: Height 133mm x width 105mm (trimmed to image) VAM: Plate height 171mm x width 140mm; sheet height 365mm x width 273mm Date 1830 Medium Mezzotint Publisher Samuel Hollyer Description Centre, a girl in a flowing white dress is supported by a young man as she collapses backwards, left arm trailing towards the ground. He is dressed in a mediaeval-style costume, holding his right arm over her protectively, as lightning bolts shoot from the left through branches of a tree. They stand on grass in the midst of a dark and tangled wood under a black cloud which hangs above a distant, mountainous landscape to the left.

Inscription None Subject The story of Celadon and Amelia, told by the poet Thomson in his poem The Seasons, was a popular subject throughout the second half of the 18thc. The lovers were walking on a summer’s day when Amelia is struck dead by lightning from a sudden storm, as Celadon tries to protect her, having just assured her she has nothing to fear.

Still in harmonious intercourse they liv'd The rural day, and talk'd the flowing heart, Or sighed, and look'd unutterable things. Thus pass'd their life, a clear united stream, By care unruffled; till in evil hour The tempest caught them on the tender walk, Heedless how far. ….. (22 lines omitted) …. From his void embrace, (Mysterious heaven!) that moment, in a heap Of pallid ashes fell the beauteous maid. But who can paint the lover, as he stood, Struck by severe amazement, hating life, Speechless, and fix'd in all the death of woe!

Further information William Hamilton (1751 – 1801), RA, trained as an architectural draughtsman and spent some time in Italy drawing and painting scenes of classical ruins. Returning to London, he became a well regarded portraitist and figure painter, commissioned by John Boydell to produce large scale works for the Shakespeare Gallery, which proved popular and were frequently engraved. Hamilton is noted for the dramatic and ‘sentimental’ treatment of his subjects, whether fictional or historical events (for example Marie Antoinette Being Taken to Execution, 1794).

Collections RA 06/5173 VAM E.2238-2016 Exhibitions Catalogue numbers Location of original Detroit Institute of Arts

Title 23. Woodman in a storm after Thomas Gainsborough Dimension/Size RA: Height 146mm x width 106 mm

FW: Image height 144mm x width 105mm; sheet height 163mm x width 131mm VAM: E.2239-2016 – Plate height 170mm x width 140mm; sheet height 437mm x width 295mm VAM: E.2240-2016 – Plate height 172mm x width 139mm; sheet height 293mm x width 236mm Date 1830 Medium Mezzotint FW: Mezzotint on chine collé Publisher Samuel Hollyer Description A man in ragged trousers, swathed in a cloak, shelters from rain under trees to the right. He leans on a rough staff, clasped in both hands at chest height while gazing from under the branches towards a stormy sky where lightning flashes above a thatched cottage, in the distance. A bill hook is gripped against his side under his left arm. A dog cowers by his feet, looking up to his master for reassurance. The woodman’s hat lies at bottom left, as if blown off by the wind.

Inscription Gainsborough pinxt./Lucas sculpt./THE WOODMAN./Sketches Plate 41.// Published by S. Hollyer, 2, Everett Street, Novr. 1830 // Printed by S.H. Hawkins.

Subject The original was painted in 1787, the year before Gainsborough died, using a local craftsman as model. On his deathbed Gainsborough wrote to Sir Joshua Reynolds asking him to make one last visit and view the painting, among other works (The Letters of Thomas Gainsborough John Hayes, ed., (New Haven: Yale Univ. Press, 2001), 176). The painting was sold after his death and destroyed by fire in 1810. It was then known only through a small copy in oils made by a nephew, a print by John Peter Simon (1764?-c.1810) and a needlework version by Mary Linwood (who created versions of great art in crewel work that were exhibited in London to wide acclaim).

Further information John Constable’s niece attended Mary Linwood’s school in Leicester. The artist himself met Linwood in 1802, establishing a connection that may have led to Lucas’ production.

Collections RA: 06/5688 VAM: E.2240-2016; E.2239-2016 FW: P.1676-R Exhibitions Catalogue numbers GF 103 Location of original Destroyed

Title 24. Edward Auriol Hay Drummond after John Jackson Dimension/Size Height 230mm x width 178mm Date 1830 Medium Mixed method mezzotint Publisher Not known Description The subject is shown half length, sitting facing to his right, against a dark curtain to the top right, allowing light to enter the lower left. He is wearing a dark jacket under a double breasted, wide lapel coat; and white shirt with a high collar, enclosed at the neck by a white cravat. The chair back, visible behind his left shoulder, is tapestry covered. His arms rest on the chair, the hands not visible.

Inscription Lettered below the image with the title and Painted by John Jackson Esq.r R.A. // Engraved by David Lucas 1830 // Edward Auriol Hay Drummond

The BM copy is annotated in brown ink on the recto 'Presented to Mr. Constable with the Engravers gratefull acknowledgments'

Subject Edward Auriol Hay-Drummond (1758 - 1829), a clergyman in the Church of England, most notably for 33 years in Hadleigh in Suffolk. He was noted for his scholarship and powerful preaching.

Further information John Jackson (1778 – 1831) began his career as a watercolour artist and progressed to painting portraits in oils. He won the patronage of Henry Philips, 1st Earl of Mulgrave and then of the Earl of Carlisle which gave him access to the art collection of Castle Howard, the Earl’s residence. A contemporary source reports that he painted very rapidly and judged him a ‘correct rather than great’ artist (The Georgian Era: Political and rural economists. Painters, sculptors ...Clarke, 1834). He was renowned for a portrait of Canova, painted while on a visit to Italy; a portrait of Lady Dover exhibited in 1823 brought him recognition in England.

Collections BM: 2010,7081.4507 Exhibitions Catalogue numbers Location of original Not known

Title 25. Dolbardurn Tower after Charles Marshall Dimension/Size Image height 106mm x width 140mm; plate height 143mm x width 172mm; sheet height 183mm x width 220mm Date 1830 Medium Mezzotint Publisher Samuel Hollyer Description E2228-2016 - In the centre the lower part of a ruined tower stands on a low hill with looming mountains behind. Clouds loom over the scene to the left, rain falling from them but bright sun above. To the right of the tower, tangled bushes and trees spread up the rocky mountainside. The tower stands over a lake, left, where four sheep graze on the shore; further out a man wades through the water. The lake extends into the distance up to mountains where a village is lit by sunlight.

E2227-2016 – A clearer, sharper state, unlettered and before the wading man was added.

Inscription Marshall pinx.t // Lucas sculpt // Dolbardurn Tower // Published by Samuel Hollyer, 2 Everett Street, October 1830

Subject Dolbardarn Tower was one of the most popular scenic views in Snowdonia in the 18th and 19th centuries, JMW Turner exhibiting a celebrated painting in 1800. A total of 20 different pictures of the view were exhibited at Royal Academy exhibitions between 1776 – 1876 (Vision and Revision: Mountain Scenery in Snowdonia, 1750 – 1880, Peter Bishop, PhD Thesis, Swansea, 2001). The tower was a relic of the castle held for many years by Llewelyn, the last native Prince of Wales, at the time of Edward I.

Further information Charles Marshall (1806 – 1890) painted backdrops for London theatres, especially at Covent Garden and Drury Lane. He practised as a landscape painter throughout his life, exhibiting at the Royal Academy, British Institution, and Suffolk Street with 149 works at the Society of British Artists during his career. He painted many English and Welsh rural scenes, as well as landscapes of France,

Germany and Switzerland, from which engravings were made. He was a contributor to “A Select Illustrated Topography of Thirty Miles Round London: Comprising Views ... etc”, published in 1839 with 34 engravings.

Collections VAM: E.2228-2016 – first state VAM: E2227-2016 – second state Exhibitions Catalogue numbers Location of original Not known

Title 26. The Water Lily after Edward Henry Corbould Dimension/Size Image height 129mm x width 109mm; sheet height 163mm x width 130mm Date 1830 Medium Mezzotint Publisher Samuel Hollyer Description A young girl in a light coloured dress reclines on the grassy bank of a stream, her bare arms on the grass as she gazes at the surface of the water and a patch of reeds. Behind to the left, trees and a rocky outcrop rise darkly, the branches reaching over to the right, the sun slanting through to illuminate the girl. In the distance two small cottages amongst fields lead up to distant hills.

Inscription Drawn by Corbould //Engraved by Lucas // The Water Lily (open letter) // Published by Samuel Hollyer, 2 Everett St, Nov 1830

Subject William Makepeace Thackeray comments on this picture in Fraser’s Magazine for Town & Country, (December 1837: no XCV1: p758) in a piece entitled ‘A Word on the Annuals.’ He reviews several recent publications with disparaging remarks on painters such as Corbould and subjects such as the water lily “a little sham sentiment is employed to illustrate a little sham art”. However, he notes that ‘the public will buy nothing else’ even though the ‘taste is execrable’.

Further information Henry Corbould (1787 – 1844) was a student at the Royal Academy and studied under Fuseli. He exhibited history scenes and also copied the sculpture collections of the aristocracy, working for many years in the British Museum. Bryan’s dictionary describes him as primarily a book designer. His son, also an illustrator, was appointed as drawing master to the royal children in 1851.

Collections VAM: E.2242-2016 Exhibitions Catalogue numbers GF 104 Location of original Not known

Title 27. Nicholas William Ridley-Colborne, 1st Baron Colborne, after John Jackson Dimension/Size BM: height 410 mm x width 332mm NPG: sheet height 529mm x width 400 mm; plate height 414mm x 331mm FW: image/sheet height 325mm x width 260mm Date 1831 Medium Mezzotint with engraving Publisher Molteno & Graves Description BM: A three quarter length figure, facing to his right but turning towards the viewer, the subject relaxes in a tapestry covered chair. A dark curtain behind his head, to the right, is drawn back to reveal (left) a bookcase holding large leather bound volumes. A map of Britain has been unrolled beside him. Leaning his arms on the chair, he holds a book in his right hand which rests on his leg. He

wears a dark tail coat, unbuttoned, over a lighter waistcoat and white shirt, with cravat.

FW: the head and shoulders of the subject are shown completed. The remainder of the figure and the furnishing to the left are lightly engraved; the right hand side has not yet been started, remaining white. At the lower left hand corner a note in pencil in Lucas’ hand states ‘trial proof’.

Inscription Painted by J. Jackson, Esq. R.A. // Engraved by David Lucas. // Nicholas William Ridley-Colborne, 1st Baron Colborne (open letters) // Published March 1, 1831, by Mess.rs Molteno & Graves, Pall Mall.

Subject Nicholas William Ridley-Colbourne (1779 – 1854) was an MP for various constituencies from 1805 until 1837; and raised to the peerage in 1839.

Further information This print was one of the works that Constable suggested Lucas should submit to the Academy when standing for election as an associate in 1835. Collections BM: 2010,7081.4508 open letter state NPG: D39779 open letter state FW: P.231-1954 trial proof Exhibitions Catalogue numbers Location of original Not known

Title 28. Her Most Gracious Majesty, Queen Adelaide after Robert Bowyer Dimension/Size Height 595 mm x Width 470 mm Date 1831 Medium Mixed method mezzotint Publisher Mary Parkes; printed by H Peters Description The Queen sits half turned to her left, facing half right to look at the viewer. Behind her an ornately decorated wall sets off the royal crown at her left elbow, on a table. Her hair is in ringlets, simply adorned with a few flowers. She wears a formal silk gown with ruff-like collar, and puff sleeves, with a single string necklace of pearls. A long chain carrying a locket around her shoulders falls to her waist.

Inscription Painted by Robert Bowyer Esq.r (open letter) / Portrait Painter in Water Colours To His Majesty. (open letter) // Engraved by David Lucas. (open letter) // Her Most Gracious Majesty, Queen Adelaide (open letter) // London Published April 2d. 1831, by R. Bowyer & M. Parkes, 46 Pall Mall. // Proof.

Wellcome: as above plus /Printed by H. Peters/

Subject Princess Adelaide came to the throne in 1830 on the accession of William IV. Further information Collections BM: 1934,0217.122 and 2010,7081.4509 Wellcome: 570359i Exhibitions Catalogue numbers Location of original Not known

Title 29. Feeding the Robin after William Collins Dimension/Size Date 1831? ref The Athenaeum, 1833

Medium Mezzotint Publisher Description No extant copy Inscription Subject Mentioned as one of the ‘embellishments’ among other engravings in the 1833 edition of the annual ’The Amulet’ where it is described as a landscape. The Literary Gazette refers to an engraving by Finden, and notes that the painting was made as a pendant to “the charming Stray Kitten”.

Further information The biography of Collins by his son Wilkie refers to the picture as ‘The Venturesome Robin’ and the Stray Kitten as a third companion piece. Collins claims a line engraving was published by F G Moon and that the picture was copied twice on commission (Vol II, pp21-22). Feeding The Robin is listed separately and the only engraving is by William Finden.

Collections Exhibitions Catalogue numbers GF 15 Location of original Not known

Title 30. Lady Pentweazle after Robert Smirke Or: An artist seated before the model for the portrait on his easel Or: A vain woman (Lady Pentweazle) sits to a portrait-painter (Carmine) while a servant holds her lapdog Dimension/Size BM 1832: Image height 337mm x width 420mm; plate height 445mm x width 522mm; sheet height 560mm x width 640mm BM 1844: height 426mm (trimmed) x width 502mm (trimmed) Wellcome: image 34omm x 416mm FW: P.14214-R image height 360mm x width 415mm Date BM 1832; reprinted 1844 FW 1832 Wellcome 1832 Medium Mezzotint with etching Publisher 1832: David Lucas 1844: Mary Parkes Description In a shadowy room, a fireplace to the right has two ornamental sculptures – a seated Buddha with oriental hat; and a Venus De Milo with arms complete. A servant emerges from behind a screen at the back, carrying a furry lap dog. On the right, a young man dressed in black sits, facing left, right hand on his heart. His legs are crossed, showing silk stockings below knee breeches. He wears a gown over a dark suit with white short and cravat. His left arm hangs at his side, holding an artist’s palette and half a dozen brushes. An occasional table is to his left, with jars laid out, perhaps of paint. To his right, a large painting on an easel shows a seated goddess, lap dog at a feet an in her lap, with a cherub flying towards her. Picture left, a large lady sits in a blaze of light, hands folded in her lap, shoes emerging from under a voluminous silk dress with toes coyly touching. She wears a high wig, ornamented with large feathers, a string of pearls around her neck and a chain with a large locket. Her chubby and grinning face looks bashfully upwards.

Inscription BM 1832:"Oh! That Look, - that, - I must despair of imitating" // Foot's Comedy of Taste // Lady Pentweazle (open letter) /From the original painting in the possession of Sir George Willoughby Beaumont, Bart, &c, to whom this Print is with permission gratefully dedicated By his obliged humble servant David Lucas; // Proof

BM 1844: '"Oh! That Look, - that, - I must despair of imitating" / Lady Pentweazle (open letter) // Foot's Comedy of Taste' // Painted by Robert Smirke, Esqr. R.A. / Engraved by David Lucas. / London Published February 28th 1844 by Mary Parkes at the Bowyer Gallery 22 Golden Square and at Paris / Proof

FW: Inscription on the back, in pencil "Pubd by the engraver 57 Harrow Road, Paddington, Jan 1832. ”Oh! that Look, - that, - I must despair of imitating'. Foot's Comedy of Taste. Took (the actor) in one of his parts."

Subject The scene is from a play of 1752, ‘Taste’ by Samuel Foote, satirising the contemporary art market. The play was not greatly successful (Art in England - Notes and studies by Dutton Cook, 1869). The vain Lady Pentweazle has her portrait painted by the impoverished artist Carmine.

The engraving gives Lady Pentweazle a stronger expression than the original painting, and other changes have been made; the occasional table has one leg in the print but four in the original painting.

Further information Robert Smirke (1752-1845) made his artistic career as the painter of scenes from literature. Subjects included Dr Johnson, Milton’s Comus, Don Quixote and the poems of James Thomson. He illustrated scenes from the Arabian Nights and the Bible, winning commissions from John Boydell at the Shakespeare Gallery and from Robert Bowyer for the History of England.

As a young man he was apprenticed to a coach painter before joining the RA schools at the age of 20. He became a full academician in 1793. He was known for his revolutionary sympathies. His sons also distinguished themselves in their careers; Robert was architect of the new British Museum.

Sir George Howland Willoughby Beaumont, 8th Bart (1799-1845) was the cousin and heir of Sir George Beaumont, the latter being a patron and friend of John Constable and other artists; and donor of many pictures to the National Gallery.

Samuel Foote spent many years in London writing and producing plays satirising the cultural establishment, including artists, authors and other playwrights. His life was celebrated in a 2012 biography, Mr Foote’s Other Leg, Ian Kelly, Picador, 2012).

Collections BM: (1832) 1902,1011.7978 BM: (1844) 1888,0716.262 Wellcome: ICV No 49708 FW: P.14214-R (Incomplete state showing principle figures only, trial proof) and P.14205-R (proof before letters)

Exhibitions Catalogue numbers GF 8; GF 140 engraver's proof Location of original Government Art Collection

Title 31. Hampstead Heath after Charles Marshall Dimension/Size Height 180mm x width 225mm Date 1832 Medium Mezzotint Publisher Samuel Hollyer & Henry Gibbs

Description The sun breaks through clouds above Hampstead Heath, looking across a valley to a dark line of trees (left), with distant hills on the horizon beyond (right). Two walkers, left, follow a road that will lead to a distant house among the trees. Centre left, men work by a cart drawn by two horses. Centre right, down in the sunlit valley, other men work among cows, with another horse drawn cart.

Inscription BM: Drawn by C. Marshall / Engraved by D. Lucas / Pubd by Samuel Hollyer 7, Compton Str East & H. Gibbs, 23, Gt Newport Str. 1832 // Plate 31

Subject Genre scene Further information Collections BM: 1927,1126.1.19.26

Exhibitions Catalogue numbers GF 148 Location of original Not known

Title 32. The Revd. Charles Boyton F.T.C.D. after Thomas Clement Thompson Dimension/Size Image height 259mm x width 205mm; sheet height 353mm x 253mm Date 1833 Medium Mezzotint Publisher Dublin : London : Allens, Dames St, February 1833. Walkers, Suffolk St.; Mr.M. Colnaghi, Cockspur St Description The Reverend Boyton is shown half length, standing and facing the viewer, his head looking away to his right. He wears a black coat over a wing collar shirt, fastened with a cravat.

Inscription Painted by T.C. Thompson, Esqr. R.H.A.(open letter) / Engraved by David Lucas. (open letter) // The Rev.d Charles Boyton F.T.C.D (open letter // To the Earl of Roden and the Protestant Conservative Society of Ireland, this portrait is most respectfully inscribed.// Published feb.y 1833 at Mr. Allens, Dames St, Mr. Walkers, Suffolk St. Dublin; and at Mr.M. Colnaghi, Cockspur St, London

Subject Charles Boyton was a celebrated scholar at Trinity College, Dublin, pre-eminent in the Protestant community and frequent speaker on political issues. The Dublin Evening Mail noted that ‘no individual was ever more uncompromising in his principles’ (reported in Blackwoods Magazine, Vol 34, 1833). In 1836 he formed the Irish Metropolitan Conservative Society.

Further information Thomas Clement Thompson (1780 - 1857) studied art in Dublin and painted miniatures at the start of his career before progressing to large scale portraits sometime after 1803. He moved to London in 1817 and exhibited frequently at the Royal Academy, achieving success with his portraits of society figures and the royal family.

Collections National Library of Ireland EP BOYT-CH (1) II Exhibitions Catalogue numbers Catalogue of Engraved Irish Portraits and Original Drawings / Rosalind M.Elmes. - Dublin 1937, P. 23. Location of original Not known

Title 33. Sir Charles Mansfield Clarke after Samuel Lane Dimension/Size Height 505mm x width 350mm Date 1833

Medium Mezzotint on chine collé Publisher Description Smiling slightly, his face resting in his right hand, Sir Charles Clarke is shown sitting in a padded arm chair angled slightly to one side. He looks directly at the viewer. His right elbow rests on the arm of the chair, his left hangs down, holding a letter in his left hand, as if he had just been reading. He is in court dress, wearing light stockings under silken knee breeches, a velvet waistcoat with watch chain under a dark jacket and over a white shirt with cravat. Beside him to his right are several documents, an ornate silver inkstand and ink well on a table covered by a patterned cloth. Behind is a thick velvet curtain, drawn back on the left to reveal the base of a column and a view of trees.

Inscription BM: Painted by Saml Lane, Esqr / Engraved by David Lucas

Subject Sir Charles Mansfield Clarke, 1st Baronet (1782 – 1857) was a renowned surgeon and physician from a medical family. He adopted midwifery as his subject when studying, on the advice of his older brother, and joined him in practice, acting also as surgeon to Queen Charlotte’s Lying-In Hospital. Appointed as Queen Adelaide’s Royal Physician at the time of the coronation, he was made a baronet in 1831. Among other achievements he received degrees from both Oxford and Cambridge universities. His entry in the National Archives states “Highly thought of within the profession, Clarke was the personal friend of its leading celebrities, but he would go out of his way to attend the families of unknown doctors. He was president, and an enthusiastic supporter, of the Society for the Relief of the Widows and Orphans of Medical Men”.

A mezzotint of this portrait was also made by Thomas Hodgetts (1833; NPG D33278 and D33279) and an engraving by J. Cochran (for the National Portrait Gallery 1846/48).

Further information Samuel Lane (1780–1859) was an English portrait-painter who began submitting work to the Royal Academy in 1804 and in his life time sent 217 works. He was highly regarded for the accuracy of his portrayals. As a student he had studied under Thomas Lawrence and was his assistant from 1802-1804. An obituary in the Gentleman’s Magazine, 1859, reports that he was totally deaf due to a childhood accident.

A letter from Thomas Lawrence quoted in the same source records the high opinion the older artist held for Lane’s abilities and integrity. Constable, on the other hand, disliked his regular requests for financial help (Beckett p392), and he was not able to pay Lucas for the engraving work he had done, having to borrow the money he owed from Constable.

Collections BM: 1914,0406.49 - untitled state

Exhibitions Catalogue numbers GF 105 Location of original Royal College of Physicians

Title 34. Twenty One Views in Norway after Edward Price Dimension/Size 85 pages; 21 leaves of plates BM: Height 139mm x width 186mm Date 1834 Medium Mezzotint with etching Publisher London: Hamilton, Adams, and Co. Printed by D Marples & Co, Liverpool

Description 1. Falls of the Gotha – (BM 1898,1123.14; 153mm x 182mm; VAM 1170-2016; note on reverse stating “Rejected????A variant was used in Plate 1)) – Bare ground leads down through dark trees to a small lake lying among mountain slopes and forests, with a fence running along the slope to the left. A grey sky is crossed by a double rainbow. 2. View from Trollhatta (Trollhaettan) – (BM 1898,1123.15; 154mm x 187mm; VAM 1168-2016; the word ‘proof’ has been engraved on this version; and ‘London Published by Hamilton Adams’) – centre right the sun bursts through clouds, just above the horizon. To the right, wooded hillsides border the fjord where waves foam and break against the shore. To the left, several wooden houses stand on the high bank, a stream descending as a waterfall between them. A man stands by the water’s edge, centre, silhouetted against the sunlight, another man slightly behind him. 3. The Tyrifj-ord – (BM 1898,1123.16; 150mm x 183mm; VAM 1167-2016; 1166-2016) – a high vantage point looks down a mountain side towards the fjord, far below. To the right extend steep, rock strewn slopes. To the left, the mountain side is wooded. Centre, two men are working on a tree trunk, perhaps recently felled. 4. The Hensf-ield (Hens-fjeld) – (BM 1898,1123.17; 152mm x 185mm) – the entrance to a wide valley is marked by boulders rearing up amongst bushes to right and left. Bare mountain slopes surround the long valley, centre, lit by an evening (or dawning) sun from the left, which touches distant snow covered peaks. 5. A Brawling River of the Fillefield (Fille-fjeld) – (BM 1898,1123.18; 151mm x 183mm) – a river falls through a wide valley from centre right towards the left, drawing its water from cascades in the mountains. Widening out, a mill on the right is fed by a stream diverted from the river. A figure stands near the wooden house on the opposite bank, from where a road winds out among the trees on the mountain slopes. 6. The Fjord between Tunes and Dale – (BM 1898,1123.19; 149mm x 183mm; VAM 1165-2016) – the smooth surface of the fjord extends across the picture, with a fisherman centre left hauling nets into a rowing boat, two gulls swooping over the water to the right. Small settlements on the far shore lie under cliffs and craggy mountains through which a bright sun shines. Black clouds appear to retreat on the right as if a storm had passed. 7. The Pass between Dale and Dalsjeld (Dalseidet) (Frontispiece) – (BM 1898,1123.20; 151mm x 184mm; VAM 1169-2016)) - viewed through the gap between rocky cliffs, a small settlement is shown centre right, lit by sunlight, beneath vast mountains with sheer sides. Streamers of cloud hang above the settlement, on the mountainsides, and thickly at the summits. Sun breaks in from the left along the valley, while to the right, dark mountains are silhouetted against a brighter sky and clouds. 8. (9) Dalsjed (Dalseidet) –(BM 1898,1123.21; 152 mm x 184 mm; VAM1164- 2016) – sheer cliffs rise from a stream into the sky, right. Below, a few houses huddle on the river bank, smoke drifting from chimneys. Cows or goats stand by rocks in a meadow. Left, across the stream, mountain slopes climb towards a peak encircled by clouds. 9. (8) A forest near Vossevangen – (BM 1898,1123.22; 152mm x 188mm; VAM 1163-2016) – to the right, conifers on a low hill are backed by white clouds swirling up from a valley towards a mountain. The hillside falls away to a broad plain, centre and left, through which a river winds. Patches of sunlight brighten the plain and mountain slopes in the distance. 10. A cataract between Kongshun and Vassenden (Vasenden) – (BM 1898,1123.23; 152mm x 184mm) – centre, huge cascades of water emerge from bright sunlight to cascade across boulders to a river which flows into a valley to

the left. A small bridge crosses one part of the stream. To the right, trees and bushes spread over the broad river bank, right and centre. 11. A scene between Kongshun and Ulvig – (BM 1898,1123.24; 151mm x 182mm; VAM 1163-2016, proof copy) – a road circles, right, to a bridge across a torrent, disappearing among trees. Beside the road, left, sits a man holding his hat, with a staff propped on the rock beside him. Above, stony hillsides lead to mountains. A village across the river, lies at a higher level with another bridge further upstream. Sunlight streams through clouds in to the valley. 12. Dairy of cows on the fi-eld (Fjeld) – (BM 1898,1123.25; 153mm – 183mm) – Clouds hang over a valley with mountain slopes to the left. A small wooden building, one of three, is reflected in a pool of water, centre right. Behind lie fields with a herd of cows in sunlight. 13. (14) A reach of Hardanger Fj-ord (Hardanger-Fjord) – (BM 1898,1123.26; 151mm x 185mm) – centre foreground, two figures on horseback stand at a cliff edge, looking right towards the road that circles down towards a distant lake; a sunlit mountain peak beyond. Behind, left, a mountain rears up, half smothered with black clouds. To the right, more cloud rises from the mountains, circling across the scene to fill the sky above. 14. (15) A River on the Oxenfi-eld (Oxen-fjeld) – (BM 1898,1123.27; 152mm x 183mm; proof before letters 1914,0406.43; VAM E.1160-2016 with the word ‘proof’ engraved; E.1161-2016 with lettering, as published, sheet size width 156mm x heath 104mm; possibly cut from a book) – centre, bright sunlight streams through clouds into a valley where a river flows. To the right a wooden hut is perched on the bank beneath thin trees. To the left, smoke drifts up from a distant building in the foothills. 15. (13) The waterfall at Herrinsholden (Heransholmen) – (BM 1898,1123.28; 144mm x 188mm) At centre a great waterfall feeds into a river which flows through massive rocks to the foreground where a wooden hut stands. To the right, trees grow among boulders. In the background, cliffs surround the waterfall under a mountain peak, clouds floating high above. 16. Mill near Orre (BM: 1898,1123.29; 154mm x 186mm) – to the right, a group of trees above a winding stream. Centre, a hut with wooden roof tiles on the waterside. On the opposing bank, centre left, cows at pasture. Low mountains beyond under a light sky, streaked with cloud. 17. Hellandshoin (Hellingso)– (BM 1898,1123.30; 154mm x 184mm; VAM E.1157.2016) – a massive rock centre foreground, with behind and centre a group of ramshackle houses, smoke drifting from their chimneys. Behind to the right steep mountain sides climb to a sharp peak. Dark clouds to the right suggest a strong wind across a distant lake to the left,. 18. Mills in the fi-eld near Hellandshoin (Mills near Hellingso) (BM 1898,1123.31; 147mm x 186mm; VAM E.1159-2016; and E.1158-2016) – to the left a small wooden building by a low dam in a stream, backed by dark conifers. High mountains in sunlight dominate the scene, the source of a torrent rushing down among rocks to feed the millstream. To the right, on the mountain slopes, small houses and fences can be seen receding up the mountainside. 19. Christiansund – (BM 1898,1123.32; 139mm x 186mm; VAM E.1156-2016) A bright sky and sunshine to the left reflect off a long inlet, centre, as dark clouds sweep in from the right. Extreme left a village sits by the waterside. Right and centre, on the far side of the inlet, lies a town, with houses built over the water. Roads cross a dark foreground, winding down to the shore. 20. (21) Sneehatten – (BM 1898,1123.33; Height: 154 mm x Width: 185 mm ; VAM E.1157.2016) – against a bright sky, with distant snowy mountain peaks, centre, stand sunlit uplands where a river runs towards the shadowed valleys. To the left foreground are heaped vast boulders. Centre foreground a deer stands, lit by a ray of sunshine, facing a small herd. To the right, a dog runs towards the deer.

One picture in the published work was engraved by James Egan.

21. (20) The Inn at Dfnt (The Inn at Dfnet near Drivstuen) – (BM 1898,1123.34) a group of houses stand centre right in a broad pasture. Smoke rises from one house, the Inn, in front of which a man stands. To the left, mountains reach up to a clear sky. A fence of slanting poles on uprights divides the road from the field in the foreground. To the right, a wide valley opens up with a lake or river winding through forests towards (or from) distant mountains.

Inscription Drawn by Edward Price. // Engraved by David Lucas // London. Published by Hamilton Adams & Co. 33. Paternoster Row.

BM Curator’s notes: • First state of the plates are lettered with publication line and "Proof" (1898,1128.14-24). They are dated 1834 according to the cover of the prints (i.e. 175.c.10). • Second state is without the word "Proof" • Third state is with the plate cut down and reworked, new lettering substituted, numbers inserted over the right corner of subjects, and republished in 'Norway and its Scenery, comprising the journal of a Tour by Edward Price, Esq, with considerable additions', edited by Thomas Foster (Bohn's Library, 1853; e.g. 1912,0912.1). • There are also proofs before letters, before the first state (1914,0406.41-43).

Subject The journal presents a relatively brief account of the author’s visit to Norway between June and November 1826. It contains 21 mezzotint engravings taken from the sketches he made at the time.

Further information The book “Norway – Views of Wild Scenery: and Journal” by Edward Price, Esq, quarto, (priced at the time £21. 12s. 6d. boards. Proofs, £3.13s.6d) was published in 1834 and widely advertised (see announcement in Edinburgh Review, Vol 59, July 1834, and elsewhere).

Boydell published a volume of 80 copperplate engravings of Norwegian scenery in 1820 based on drawings by John William Edy. That notable, and sizeable, publication may have helped to generate the interest in Norwegian exploration which began in that decade. Edward Price’s book continued to attract interest as travel in the region became easier with the advent of steam ships in the 1850s, leading to re-publication in 1853 through Henry G Bohn under the editorship of Thomas Forester (NAL 6540 25.A.21).

In the second edition Prices’ plates, which had been purchased by Forester, are full page, trimmed to the image with lettering below. Some passages of Price’s text were omitted with new material interpolated to provide additional information for the traveller. The order of the plates was altered and re-lettered to amend the place names and spelling (see entries in brackets above).

Edward Price (ca. 1800/1801 – ca. 1885/1889) was born in Barton under Nead, Staffordshire, son of a clergyman. He is described in the 1851 census as ‘Artist, Landscape Painter’ having begun his training with local landscape artists. He may have been a pupil of John Glover (1767-1849), landscape painter and founder member of Society of Painters in Oils and Water-Colours. His work in England was concentrated in the Midlands and especially around Sheffield, Nottingham and locations in Derbyshire.

The journey to Norway was made in the 1820s as a young man seeking to explore what was largely unknown territory, although at least one guide to Norway had been published prior to his visit. He was among the first to publish an illustrated journal after such an expedition. A number of his works on Norwegian subjects are held in collections; an oil painting of Lake Lugano suggests a visit to Switzerland at some time; he also reportedly travelled to Iceland. He continued to paint into the final years of his life.

Price worked for a time as a landscape painter in the household of the Duke of Sutherland at Trentam House, seemingly in the late 1820s or early 1830s. Subsequently financial security eluded him, as evidenced by requests for financial support in letters written to the Duke by both Price and his wife (1836 and 1848; among the Ducal papers, now held by the Staffordshire and Stoke on Trent Archive).

David Lucas was one of several engravers working with the artist. John Linnell had already engraved 6 plates of 8 subjects from drawings by Edward Price in 1827 and 1828 (see list of works in Appendix to the Life of John Linnell on Victorian Web).

Collections BM: see above Met: 1970.556.1 VAM: 19.A.10 PRICE, E Exhibitions Catalogue numbers GF 67; GF 117-137 Location of originals Not known

Title 35. Negro Emancipation after Alexander Rippingille Dimension/Size BM: Height 360mm x Width 255mm Date 1834 Medium Mezzotint Publisher Ackerman; Boys & Graves; F G Moon Description Light breaking through a cloudy sky is shown between a palm tree to the right to which an abolition notice has been attached; and a thatched shelter with tree behind on the left. Centre, a man stands, full figure, raising his arms with a joyful expression. He wears a length of fabric round his waist and stands on a whip which lies on the ground. To the left a woman sitting on a bench holds up a baby wrapped in a white cloth. She wears a coloured head scarf, patterned tunic top and dark dress. Beside her on the bench is a large book. To the right of the picture, under the palm tree a boy in shirt and trousers holds up a pair of manacles, ready to throw them into a hole which another boy, centre right, wearing white shirt and trousers, has been digging. At their feet kneels a small girl in patterned dress and headscarf, looking up at the boy digging. In the background a sailing ship is anchored in a bay and a crowd of people assemble on the beach centre left.

Inscription Painted by Alex.r Rippingille. // Engraved by David Lucas. // To the Friends of NEGRO EMANCIPATION, this Print is Inscribed,/ A GLORIOUS AND HAPPY ERA, ON THE FIRST OF AUGUST, BURSTS UPON THE WESTERN WORLD,/ ENGLAND STRIKES HIS MANACLES FROM THE SLAVE, AND BIDS THE BOND GO FREE./ London, Pubd by F G Moon, Bookseller to the King; 20 Threadneedle Street, August 1, 1834,/ Sold also by Hodgson Boys & Graves, 6, Pall Mall; Ackerman, Strand; & C. Tilt, Fleet St.

Subject The picture was produced after the 1833 Slavery Abolition Act had been passed by Parliament bringing slavery to an end in British governed territories. The slave trade had been abolished in 1807.

Another mezzotint was made of this picture at the same time by Stephen Henry Gimber (Peabody Essex Museum Collection, Museum, Salem, MA) in which the fabrics worn by the man and girl are different.

Further information Alexander Rippingille (c.1796–1858) was a Bristol-based portrait artist and brother of Edward Villiers Rippingille (c. 1790–1859), also a professional painter and a leading light of the Bristol School. Little else is known about Alexander, for whom few works remain; the most notable being a portrait of Joseph Sturge (Birmingham Art Gallery Accession Number: 1978V796), a leading anti-slavery campaigner.

Collections BM: 2010,7081.4512 BM: The Lennox-Boyd database describes a later state with the title in strengthened letters. National Maritime Museum PAH7366 Exhibitions Catalogue numbers GF 141 Location of original Not known

Title 36. Confession of an Italian Brigand after Horace Vernet Dimension/Size Height: 340mm x width 465mm Date 1834 Medium Mezzotint and etching Publisher Thomas Maclean, F G Moon Description A road running through a mountainous landscape is depicted, with villages in the distance to the left and centre right, a ruined temple on a hill top. To the right, a staircase runs up to a monastery, with priest observing the scene below. Centre, a young man in white shirt and dark trousers is lying on a two wheeled cart that tilts towards the viewer, the oxen yoked to it sitting on the road. A priest in vestments bends towards the young man as if listening. To the left of the cart, a mounted dragoon looks down on the confessing brigand, while soldiers in uniform stand guard over a group pf men kneeling with hands tied behind their backs; a woman, handcuffed, kneels by the wheel of the cart. To the right stand two more priests, surrounded by dragoons, one with his arm in a sling, and a group of townspeople. The carter leans on his ox goad, facing the brigand on the cart.

Inscription Painted at Rome by H Vernet // Engraved by D Lucas. // Confession of an Italian Brigand; La Confession D’un Brigand Italien // London Published October 4th 1834 by Tho. McLean 26, Haymarket and F. G. Moon, Threadneedle Street

Subject The lawlessness of central and Southern areas of Italy was a common theme in 19th century art and literature, offering both the thrill of violent action and the glamour of the outlaw. After the Napoleonic invasions which led to military conscription in the Papal States brigandage had taken on political overtones, adding a further dimension to its appeal as a subject.

Further information Émile Jean-Horace Vernet (1789 – 1863), was the son and grandson of professional painters. His career extended to the Crimean War during which he accompanied the French Army. From 1828 to 1835 Vernet was Director of the French Academy in Rome; an experience that resulted in many works with Italian

themes. As an artist he rejected the classical, historic style and specialised in portraits, dramatic battles and contemporary scenes. He was noted for realism and the speed of his painting. Contemporary accounts report that he was twice invited to visit both the Emperor of Russia and the King of Prussia.

This work was very popular and enjoyed a high volume of sales, according to the Art Journal of 1857. Collections BM: 1953,0223.2 Exhibitions Catalogue numbers GF 139 Location of original Not known

Title 37. Combat between the Papal dragoons and brigands after Horace Vernet Dimension/Size Height 340 mm x width 465 mm Date 1834 Medium Mezzotint Publisher Thomas Maclean, F G Moon Description Centre, on a mountain road, a uniformed dragoon on horseback is about to shoot in the head a brigand who is armed with musket and dagger. The dragoon’s helmet has fallen to the road as his horse twists. Centre right, a second dragoon stabs another armed brigand, while at his feet a woman kneels in the road, one arm raised in defence, another resting on a satchel, fallen to the ground. To the left, the road winds through a rocky defile where dragoons shoot at escaping brigands (picture right) as they lead their captives away into the mountains. Centre right, a second woman prays at a wayside shrine while a brigand crouches behind shooting at the dragoons; an accomplice escapes towards the hills behind him.

Inscription Painted by H. Vernet // Engraved by David Lucas // COMBAT BETWEEN THE PAPAL DRAGOONS AND BRIGANDS // COMBAT ENTRE LES DRAGONS DU PAPE ET DES BRIGANDS // London Published October 4th 1834 by Tho. McLean 26, Haymarket // F. G. Moon, Threadneedle street

Subject This painting was also engraved by Henry Dawe (BM 1892,0714.713, and 1907,0426.3)

Further information The title for this work in contemporary magazine reviews was ”Combat of Brigands against the Pope’s Riflemen”.

Collections BM: 1953,0223.1 Exhibitions Catalogue numbers Location of original Walters Art Museum in Baltimore, Maryland

Title 38. Corsair’s Isle, parting of Conrad and Medora, after James Duffield Harding Dimension/Size Image height 457mm x width 650mm; sheet height 550mm x width 688mm; no plate mark Date 1835 Medium Mezzotint and etching Publisher F G Moon Description Centre, two great cypress trees divide the picture, stark against a sunny sky. To the left stands a ruined classical temple, much overgrown, set into a cliff. In front of the temple a young woman stands with her face in her hands, turning

away from the distant sea, to the right, on which two white-sailed ships are already far from the shore.

Inscription Painted by J.D. Harding / Engraved by David Lucas // The Corsair’s Isle, parting of Conrad and Medora // London, Published Octr. 25 1835, by F.G. Moon, 20, Threadneedle Street, City

Subject The painting depicts the scene in Byron’s poem The Corsair, Canto i. Stanzas 14, 15:

“And is he gone?”—on sudden solitude How oft that fearful question will intrude! “’Twas but an instant past—and here he stood! And now”—without the portal’s porch she rush’d, And then at length her tears in freedom gush’d; Big—bright—and fast, unknown to her they fell; But still her lips refused to send—“Farewell!” For in that word—that fatal word—howe’er We promise—hope—believe—there breathes despair. O’er every feature of that still, pale face, Had sorrow fix’d what time can ne’er erase: The tender blue of that large loving eye Grew frozen with its gaze on vacancy, Till—Oh, how far!—it caught a glimpse of him, And then it flow’d—and phrensied seem’d to swim Through those long, dark, and glistening lashes dew’d With drops of sadness oft to be renew’d. “He’s gone!”—against her heart that hand is driven, Convulsed and quick—then gently raised to heaven; She look’d and saw the heaving of the main; The white sail set—she dared not look again; But turn’d with sickening soul within the gate— “It is no dream—and I am desolate!”

The Literary Gazette of 24th October 1835 reviews the engraving as “Just such a noble print as might be expected from the united talents of two such excellent artists”, referring in Lucas’ case to “the alternate depth and tenderness of his tones and by the varied solidity and featheriness of his execution”. The Spectator (Volume 8) of the same month and year is unenthusiastic about the painting (which “we do not greatly admire”) but praises the engraving as “one of the largest and finest specimens of mezzotint applied to landscape that we have seen…. We have never seen etching on the mezzotint ground so boldly and successfully employed … it is painting on copper.”

Further information James Duffield Harding (1798 – 1863) painted English and Continental landscapes, showing natural talent at an early age, and receiving some tuition from Samuel Prout. He became a professional water-colourist at the age of 18 years, exhibiting with the Society of Painters in Watercolours from 1818 until his death. He painted extensively in Italy, visiting with Ruskin in 1845. In addition to his own work he taught painting and produced popular manuals on painting technique. Making extensive use of lithography when this method became available, his skill and the quality of the work led to recognition and medals awarded by the Académie des Beaux Arts in Paris. Harding was Ruskin’s drawing master and sketching companion, sharing the latter’s admiration for JMW Turner.

The original was exhibited in 1833 to much praise.

Collections BM: 2010,7081.6328 Touched proof before letters; attributed to Alfred Lucas; also 1872,0511.186 lettered state attributed to David Lucas Exhibitions A print was shown at the 1897 Victorian Era exhibition at Earl’s Court, lent by Thomas Frost. This print, the View of Venice (see below ) and the Return to Port Honfleur after Isabey were the only engravings by Lucas in that exhibition which were not after Constable paintings.

Catalogue numbers GF 38 Location of original Private collection (sold at auction 1992)

Works 1836 – 1840

Title 39. Girl at her studies after Gilbert Stuart Newton Dimension/Size BM: Height 350mm x width 232mm VAM: Plate height 307mm x width 233mm; sheet height 457mm x width 331mm RA: Image height 240mm x width 195mm sheet height 360mm x width 260mm Date BM, VAM: 1836 RA: 1843 Medium Mezzotint with etching Publisher Hodgson & Graves Description A girl sits in an ornately carved, high back chair, sleeping. She wears a light coloured dress of 17thc style with voluminous sleeves. Her right arm rests on the arm of the chair, her hand dangling above a large globe with books lying beside it and a pair of compasses on the floor. To one side a book and flowers in a glass vase stand on a small cloth-covered table. A large decorative mirror is half seen above. To her left, a guitar leans against the wall, under an open casement which holds back a curtain by a window through which roses can be seen growing outside.

Inscription G.S. Newton R.A./David Lucas // A Girl at her Studies // London Published July 1 1836, by Hodgson & Graves, Printsellers to the King, Pall Mall.

Subject The Court Magazine of June – December 1836 describes the engraving as of ‘high merit’, expressing the hope that this work (and two others) will meet with the support they deserve, as “the genius and misfortunes of Newton have excited admiration and sympathy in every true lover of art”. The Spectator was much less impressed describing this work and its companion piece (A Girl at Her Devotions) as “very far inferior to the exquisite lithographs by LANE, in expression, texture, and effect: indeed they are positively bad, as works of art,— being cold, hard, and meagre, and not truly characteristic of the originals”.

A lithograph of this work had also been produced in 1826 by Richard James Lane (NPG D22048, FW P.527-R).

Further information Gilbert Stuart Newton (1795 – 1835) was, the Spectator commented, “a painter of sterling talent and refined skill, but he was a mannerist, and spoiled his conceptions by affectation”. Newton was born in Boston Massachusetts, arriving in Europe to study art in 1817. He was elected an associate of the Royal Academy in 1829 and an academician in 1834. Later that year, as a result of mental illness, he was taken to Chelsea Asylum where he continued to paint until he died of consumption. His subjects were portraits, historical and fictional scenes; Walter Scott had a high opinion of his scenes from Moliere. Newton was a friend of Landseer and Charles R Leslie, his fellow American. The three artists made a visit to Scotland in 1824; Newton taking advantage of the opportunity to paint a portrait of Walter Scott.

A volume of engravings for his paintings was produced in Newton’s memory in 1843. The introduction notes that he was “more remarkable for the delineations in which beau-ideal drawing had little to do, but expression everything …(and) He excelled in female beauty”.

In 1837 the prints were published in parts, each of three images, with Lucas’ work in the first part. The parts were issued every 3 months to be completed in 10 or 12 months making up ‘one handsome volume’. Prints 12s; proofs £2.2s; large paper before letters, £1.11s.6d Grace

Collections BM: 1868,1114.469 VAM: E.2222-2016 RA: 07/1291 contained within Gems Of British Art, Designed By The Late G. Stuart Newton, Esq. R.A. And Engraved In Mezzotint By Eminent Artists. - With A Brief Memoir Of His Life, And Descriptive Notes. By Henry Murray, Esq., a collection of prints commemorating the artist published in 1843 by M.A. Nattali

Exhibitions Catalogue numbers GF 113 Location of original Private collection

Title 40. The Return to Port Honfleur after Eugene Isabey Dimension/Size Height 535 mm x width 692 mm Date 1836 Medium Mezzotint Publisher Hodgson & Graves Description Dark clouds hover over a harbour where large waves break, left, against mooring posts and the harbour wall. Above is a row of half-timbered houses where several people stand, hanging out clothing to dry in the wind. Centre, a small sailing ship with broken bowsprit is lowering its sails while a rowing boat attempts to come alongside. To the right, the further harbour wall is visible, with ships setting out to sea.

Inscription Eugene Isabey, Pinx.t // D. Lucas, Sculp.t

BM Curator’s comments: The Lennox-Boyd database records also a state with the title and publication line added: 'London, Published [Dec.r 1st. 1836], by Hodgson & Graves, Printsellers to the King, 6, Pall Mall.' Subject Genre scene – topographical with historical reference (to the Hundred Years War)

Further information Eugene Isabey (1803 – 1886), born in Honfleur, was a French water-colourist, producing landscapes in France and North Africa and specialising in historical and genre scenes, often with wild weather or violent action. In 1832 he became court painter for King Louis-Philippe. He took up art when travelling in Normandy with his father, also a painter. From 1829, with others, he contributed illustrations to the “Voyage pittoresque et romantiques de l’ancienne France”, which eventually ran to 26 volumes.

Advertised prices were £1.1s for a print, £2.2s for a proof and £3.3s for a proof before letters

Collections BM 2010,7081.6946 Exhibitions The catalogue for an exhibition held at the Guildhall Art Gallery, London, in 1894, featured Isabey’s painting (then in a private collection) describing it as “The original of the celebrated Mezzo-tint by David Lucas”.

A print was shown at the Victorian Era exhibition at Earl’s Court of 1897, lent by Stanley Brown, which with the View of Venice and the Corsair’s Isle (both after J D Harding) were the only engravings by Lucas that were not after Constable paintings.

Catalogue numbers GF 18 Location of original Not known

Title 41. Fair Head, Antrim – fox pursuing sheep after Captain H S Davis Dimension/Size 17 inches by 15 inches high (paper size) according to contemporary advertising Date 1836 (commenced in 1835 – see Constable letter, September; Beckett p422 ) Medium Mezzotint Publisher Description This work may be one of two listed in the Gooden & Fox catalogue but otherwise is only known from references in Constable’s letters and in Bent's Literary Advertiser, Register of Books, Engravings, &c. no. 376, June 10th 1836.

Inscription Subject Fair Head is a rocky headland at the north-eastern corner of County Antrim, used in reference to the length of Ireland "from Fair Head to Mizen Head". The location is famous for its spectacular views.

Several series of landscapes set in Northern Ireland were published between the 1820s – 1840s (see McInnes, R. and Benstead, S. 2015. ‘Art as a tool in support of the understanding of coastal change in Northern Ireland’. The Crown Estate. ISBN: 978-1-906410-54-4).

Further information A letter dated 1835 from Constable to Lucas refers to this work and the companion piece, asking about progress.

Henry Samuel Davis (1808 - 1851) was an army officer between 1827-1851. Promoted to Ensign in 1827, he purchased his way through the ranks, to Captain from Lieutenant (1835), Major (1839) and finally Lieutenant-Colonel (1850).

While quartered in Ireland he completed many paintings and became a member of the Society of Irish Artists. His regiment was posted to the West Indies and then Canada, from where he sent a series of landscapes (including one of Niagara) for the Royal Hibernian Academy exhibitions in 1833, 1835 and 1843 (see Dictionary of Irish Artists, 1913). He died in 1851 and is the subject of a memorial sculpture in St. Andrew`s Church, Kingham, Oxfordshire, near where he lived.

According to “Bengal Past And Present, Vol.44, nos.87-88” 1932; p119 “Capt. Henry Samuel Davis was the son of Samuel Davis, the artist friend of the Daniells and hero of Nandeswar House at Benares, who had a house at Kingham near Daylesford” – the incident took place in 1799. The Daniells’ were the celebrated landscape artists William and Thomas.

The Biographical Index of Artists in Canada states that H S Davis was born in Marylebone in 1809.

A volume of lithographs entitled “Views of the Falls of Niagara, Painted on the Spot in the Autumn of 1846, 1848, by Major Henry Samuel Davis” was published in 1848 by Thomas Maclean in London.

Collections Exhibitions Catalogue numbers GF 138 or 142 Location of originals Not known

Title 42. Fair Head, Antrim – Sunset, eagle devouring the sheep, after Captain H S Davis Dimension/Size 17 inches by 15 inches high (paper size) according to contemporary advertising Date 1836 (commenced in 1835 – see Constable letter, September; Beckett p422 ) Medium Mezzotint Publisher Description This work may be listed without details in the Gooden & Fox catalogue but otherwise is only known from references in Constable’s letters and in Bent's Literary Advertiser, Register of Books, Engravings, &c. no. 376, June 10th 1836.

2nscription Subject See above

Further information See above Collections Exhibitions Catalogue numbers GF 138 or 142 Location of original Not known

Title 43. St Peter’s and the Vatican after Sir Richard Digby Neave Dimension/Size BM: Height 315mm x width 351mm Date 1837 Medium Mezzotint with etching Publisher The Proprietor Vatican In an oval frame, with a landscape orientation, the dome of St Peter’s is seen to the left, with the church and other buildings extending across the scene. Foreground, left, iris leaves and a rustic fence extending across the picture with people running down into a valley in front of the buildings. A country track leads off to the right with distant people.

Inscription Digby Neave, Esqr, pinxt. / David Lucas, sculpt. // St Peter’s and the Vatican // London, Published May 1, 1837, for the Proprietor

Subject The Burlington Magazine 1914, under the title ‘An Unidentified Painting’, notes that Lucas engraved mezzotints of three Digby Neave paintings, including St Peter’s, the Horses of Duncan and a third, unnamed. The latter mezzotint was owned by E E Leggatt and was the only known copy. The painting was owned by Carfax & Co.

Further information Sir Richard Digby Neave (1793 – 1868) was an amateur painter who inherited an estate purchased with the proceeds of his grandfather’s success in business; he himself became an Assistant Poor Law Commissioner in 1836. According to Algernon Graves, Digby Neave exhibited at Burlington House in 1836 and the British Institution in 1864. Constable stayed at Pitt House, Epsom, the Digby Neave family home, and described him as the ‘most agreeable person in the world’.

Collections BM: 1862,0308.125 Exhibitions Catalogue numbers GF 40 Location of original Not known

Title 44. Horses of Duncan after Sir Richard Digby Neave Dimension/Size BM: Height 317mm x width 352mm FW: Plate height 320mm x width 357mm; sheet height 388mm x width 523mm VAM: Image height 235mm x width 300mm; plate height 320mm x width 355mm; sheet height 348mm x width 438mm Date 1837 Medium Etching and mezzotint Publisher The proprietor Description To the left, two seagulls fly above a sharp rocky outcrop rearing up against a dark sky, sunlight breaking through the low clouds and reflecting from the distant sea. On a level space among the rocks, centre, a black horse leaps, jaws open, upon the back of white horse, which twists its head to fight back. Another horse lies dead beside them. Below, a horse’s head is seen by a waterfall climbing up to join the fight. Picture right, two more horses fight in the valley near a bridge across a stream in front of high hills where a castle stands by a road.

BM: engraved below the image with the title Inscription Digby Neave, Esqr, pinxt. // David Lucas, sculpt. // London, Published May 1, 1837, for the Proprietor

Subject The scene refers to the lines spoken by Ross in Shakespeare’s Macbeth following the killing of Duncan:

And Duncan’s horses—a thing most strange and certain— Beauteous and swift, the minions of their race, Turned wild in nature, broke their stalls, flung out, Contending 'gainst obedience, as they would Make war with mankind.

Further information See above for artist details Collections BM: 1955,1014.5; 1862,0308.126 FW: P.2112-1991 VAM: E.2223-2016 Exhibitions Catalogue numbers Leggatt (Lucas) GF 112 Location of original Not known

Title 45. John Temple Leader after Bryan Edward Duppa Dimension/Size NPG: sheet height 523mm x width 442mm Date 1837 Medium Aquatint Publisher Thos. McLean Description John Temple Leader is in left facing profile, head and shoulders. He has long fair hair, extending to the collar of a white shirt, worn with black cravat. He wears a double breasted coat with broad lapels of a heavy dark material.

Inscription Painted by Bryan Edward Duppa Esq // Engraved by David Lucas // John Temple Leader Esq M.P. London Published August 31st 1837 by Thos. McLean 26 Haymarket

Subject John Temple Leader (1810 – 1903), born in Putney, was educated at Charterhouse and Oxford University. After inheriting a fortune from his father in 1828 he entered politics as a Liberal, becoming MP for Bridgwater in 1835. He was a radical and ardent supporter of the Chartists. After 1844 he lived first in

France, and then Florence, where he acquired a vast collection of art and antiques with properties in which to display them. Queen Victoria and William Gladstone were among the many visitors he received.

Further information Bryan Edward Duppa (1804 – 1866) was a portrait painter based in London. He also painted sporting subjects and dogs (eg the Tichlen Hounds, 1845, portraying a group of men on horses, dressed in red for the hunt, with their dogs). He exhibited 14 times in London (7 times at the Royal Academy, 6 at the Royal Society of British Artists and 1 at the British Institute) and was a member of the ‘Old Water-Colour Society’ (see History by Roget).

At some point before 1854 he took up photography, using the carbon print technique for pictures of Queen Victoria and Prince Albert which are now held in the Royal Collection. Listed as a patentee in photography and dealer in prints, he was sued for debts in 1856, at which time he lived in Rochester. As a young man, he appears to have been discommoned from Cambridge University in 1828 following a gambling dispute. In later years he was among the organisers of a new colony in New Zealand launched in 1841. His brother George went out with the emigrants but Bryan remained in England.

Collections NPG D5189 Exhibitions Catalogue numbers GF 115 Location of original Not known

Title 46. The Chillington Oxen after Lucas Beattie Dimension/Size Date 1837 Medium Mezzotint Publisher Description The existence of this work is suggested (though not conclusively) by the following report from a contemporary newspaper.

Wolverhampton Chronicle and Staffordshire Advertiser Wednesday 3 May 1837

Our townsman, Mr Lucas Beattie, the animal painter, is engaged in painting a portrait of the four fat bullocks, the property of T W Giffard Esq, of Chillington, which are to be exhibited at Brewood fair on the 11th instant, and which it is believed far excel any four breed, fed, and shown at one time by any gentleman in the empire. Edward Price, the author of Views in Norway, is engaged to paint the background, which will exhibit Chillington in the distance. The united exertions of these eminent artists will doubtless produce a picture of a very high order, and from it, we understand, a plate will be engraved by Mr David Lucas, of London, which can scarcely fail to afford equal gratification to the admirers of the fine arts and the admirers of beautiful and well-bred stock. The subscriptions for the plates will be one guinea each.

There are no extant copies of such a work by David Lucas. A hand coloured mezzotint of the painting is in the Yale Center for British Art, Paul Mellon Collection (B1985.36.268), which is attributed to the engraver John Porter, 9 Mary Street, Regents Park; published in 1838. A further copy of this latter work is held by the William Salt Library, Stafford (SV III.104). It is possible therefore that the commission to David Lucas was not followed through.

Inscription Subject The Chillington Oxen were famous animals, the result of selective breeding. The Chillington estate had set up a ‘model farm’ in the late 18th century. The Giffard family have been the estate owners for 800 years.

Further information Lucas Beattie (dates unknown) was a well respected artist and producer of portraits and especially animal and livestock pictures, based in Wolverhampton, Staffordshire.

Collections Exhibitions Catalogue numbers Location of original Not known

Title 47. Seascape with rainbow after Henry Scott Trimmer (Gale at Sea with Rainbow?) (VAM) Two ships at sea with a rainbow (BM) Dimension/Size BM: Height 239mm x width 262mm VAM: Image height 205mm x width 248mm; paper height 315mm x width 355mm Date 1837 Medium Mezzotint with etching; VAM chine collé Publisher Description A small yacht rides a large wave, right, with three figures aboard; a dark squall slanting in from the right. A rainbow arches across to the left where a distant two-masted ship rides another wave, illuminated by a shaft of sunlight.

Inscription Painted by H. Scott Trimmer 1811 // Engraved by David Lucas 1837

Subject Genre scene Further information The Reverend Henry Scott Trimmer (1778 - 1859) was an amateur artist and a friend of both JMW Turner and John Constable (from whom he commissioned a painting, noted in a letter from Constable in 1831). Two of his sons also painted. Family history suggests that none of the original paintings survive.

Collections BM 1947,0116.26 VAM E.1208-2016 Exhibitions Catalogue numbers GF 83 Location of original Not known

Title 48. Wild Fowl Shooting after Henry Syer Trimmer (alternatively ‘sportsman shooting birds by moonlight’) Dimension/Size BM: Height 287mm x width 328mm Date 1838 Medium Mezzotint Publisher Description A night sky with full moon shining through wind blown clouds centre left. Below an expanse of water with, in the foreground, a sandy bank with tufts of long grass. Among them a man in profile kneels on the bank silhouetted against the moonlight. He wears a large hat and is firing a long gun towards a bird which flies up centre right.

Inscription Painted and Engraved by H. Syer Trimmer (open letter) // Finished by David Lucas.(open letter) // 1838.

Subject Genre scene Further information Henry Syer Trimmer was the son of Henry Scott Trimmer and was vicar of Marston On Dove, in Derbyshire, of which the Duke of Devonshire was the patron.

Collections BM 1873,0412.20 Exhibitions Catalogue numbers Maybe GF 107 Location of original Not known

Title 49. Spring Ploughing after Henry Scott Trimmer Dimension/Size Date 1838 Medium Mezzotint Publisher Description No version of this work has been identified.

Inscription Subject Further information See above for artist details Collections Exhibitions Catalogue numbers GF 73 Location of original Not known

Title 50. Restive Plough Horse after Henry Scott Trimmer Dimension/Size BM: Height 174mm x width 222mm VAM: Image height 158mm x width 214mm; sheet height 288mm x width 432mm Date 1838 Medium Mezzotint Publisher Description Centre, a grey horse is, reluctantly, being backed into position between the shafts of a roller or farm machine. It rears back with one foreleg lifted. In front a farmhand in breeches with white shirt, waistcoat and hat raises both arms, one with a whip. To the left, the machine is pushed up against coppiced trees. To the right, a distant farm hand walks beside two horses pulling a harrow across a field, with houses in the distance. A fence marks the edge of the field, a line of trees beyond to the far right. Cumulus clouds fill the sky.

Inscription None Subject Further information See above for artist details Collections BM 1872,0713.22 (no mention of David Lucas); a better state VAM 1204.2016; progress proof touched to add birds, harrow and ribbons to knee breeches; and enhance whip Exhibitions Catalogue numbers GF 111 Location of original Not known

Title 51. Illustrations for On the Elements of Light Dimension/Size Date 1838 Medium Mezzotint Publisher Longman, Orme, Brown, Green and Longman Description Plate 1 (the frontispiece)

At the top, a horizontal bar labelled as No. 1 and coloured as a rainbow spectrum has dotted magnetic force lines emerging from each end; centre, labelled as No. 2, a circle comprised of six concentric rings in the colours of the spectrum has a dark dot in the centre; it sits against clouds; below, labelled No. 3, a similar circle with the order of the colours reversed contains dark clouds and a central white dot from which a band of light radiates upwards. Lightning from the clouds inside the circle flashes out below to each side

Plate 4

At the top, a circle labelled no 4. is divided into a rainbow spectrum. Centre, a second circle labelled No. 5 is divided unequally into red, yellow and blue sections (blue dominant) with the letters P and N within them. Below, a circle labelled No. 6 is divided into red, yellow and blue sections (red dominant) with the letters P and N within them, and N above outside the circle, P above below the circle.

Inscription In open letter below image: Drawn by Geo Field. Engraved by David Lucas. Subject Further information “On The Elements of Light…” is a scientific treatise written by John Howard Kyan (1774 – 1850), published by Longman, Orme, Brown, Green and Longman in London.

After Kyan’s father’s copper mining business failed, Kyan went to London and worked in a number of trades unsuccessfully before developing a treatment to preserve wood, later called kyanisation, which was used for 20 years before being replaced by improved methods. He became wealthy in 1836 when his patents were sold and from then turned to other studies. He moved within London’s scientific community and knew George Field whose work, first published in 1817, is referenced in his book. In 1839, in his own book Outlines of Analogical Philosophy, Field refers to “the facts and opinions advanced in the recent ingenious and valuable work of our friend John Howard Kyan”. Collections Getty Research Institute gri_c00033125011130891 Exhibitions Catalogue numbers Location of original Not known

Title 52. The Grand Canal Venice after James Duffield Harding Dimension/Size BM: Height 608mm (trimmed?) x width 728mm GAC: Height 610mm x width 740mm Date 1838; reissued in 1853 with hand colouring Medium Mixed method Publisher 1838: F G Moon 1853: Thomas Boys, 467 Oxford Street, London & E. Gambart & Co., 15 rue Charlot, Paris, Description A jetty, right, projects into the Grand Canal which stretches towards Sta Maria Della Salute, faint in the distance, centre. A group of people are on the jetty, a man sitting on various baskets and bundles, in conversation; a woman standing,

gesturing with one hand while talking to a seated woman. Two loaded rowing boats are moored to the end of the jetty, on one of which a woman appears to be negotiating a purchase. To the left, people enter a gondola from the entrance of a palace, while another gondola waits. To the right, two small boats carry cargo along the canal; behind, two sailing ships are moored in front of the buildings, with another gondola rowing away down the canal.

Inscription 1838 edition: no surviving copy; BM proof allows space for lettering

1853 edition: DRAWN BY J.D. HARDING [right] ENGRAVED BY DAVID LUCAS. / [centre] THE GRAND CANAL, VENICE. / Engraved from the Original Drawing, / To the Right Honorable The Lady Burghersh, / This Plate, is with Her Ladyship's permission, respectfully dedicated by the Obliged Servant Thomas Boys. / LONDON, REPUBLISHED FEB.Y 15, 1853, BY THOMAS BOYS (OF THE LATE FIRM OF MOON, BOYS & GRAVES) PRINTSELLER TO THE ROYAL FAMILY, 467, OXFORD STREET: PARIS, E. GAMBART & C.o, 15, RUE CHARLOT, DEPOSÉ. ORIGINALLY PUBLISHED NOV.R 1, 1838. [armorial in centre of lettering with motto NE VILE FANO]

To left of main lettering: IN VENICE TASSO'S ECHOES ARE NO MORE, / AND SILENT ROWS THE SONGLESS GONDOLIER; / HER PALACES ARE CRUMBLING TO THE SHORE, / AND MUSIC MEETS NOT ALWAYS NOW THE EAR / THOSE DAYS ARE GONE --- BUT BEAUTY STILL IS HERE. To right of main lettering: SHE LOOKS A SEA CYBELE, FRESH FROM OCEAN, / RISING WITH HER TIARA OF PROUD TOWERS / AT AIRY DISTANCE WITH MAJESTIC MOTION, / A RULER OF THE WATERS AND THEIR POWERS: / AND SUCH SHE WAS ---

Subject Venice remained a popular destination for British tourists, perceived as a city of exotic beauty, and a centre of art and culture, throughout the 19th century. The re-issued version followed shortly after the success of the book Stones of Venice by John Ruskin, which included mezzotints by Thomas Goff Lupton, among others.

The lines are by Byron from the fourth Canto of Childe Harolde’s Pilgrimage, 1812-18.

I stood in Venice, on the Bridge of Sighs, A palace and a prison on each hand: I saw from out the wave her structures rise As from the stroke of the enchanter’s wand: A thousand years their cloudy wings expand Around me, and a dying Glory smiles O’er the far times, when many a subject land Looked to the wingéd Lion’s marble piles, Where Venice sate in state, throned on her hundred isles!

She looks a sea Cybele, fresh from ocean, Rising with her tiara of proud towers At airy distance, with majestic motion, A ruler of the waters and their powers: And such she was--her daughters had their dowers From spoils of nations, and the exhaustless East Poured in her lap all gems in sparkling showers: In purple was she robed, and of her feast Monarchs partook, and deemed their dignity increased.

In Venice Tasso’s echoes are no more, And silent rows the songless gondolier; Her palaces are crumbling to the shore, And music meets not always now the ear: Those days are gone--but Beauty still is here; States fall, arts fade--but Nature 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!

Contemporary reviews noted that the picture chose to show Venice under clouds, as a mysterious place, rather than in bright sunshine as was more usual. The Morning Post, 23rd May 1839 comments “… There is a very fine mingling of the sun and shade in the mezzotinto by which Mr Lucas has reflected Harding’s picture, the composition of which is, in all respects, effective. The artist has not painted a city burning and glittering under showers of gold, but has subdued its tone with shadows which fall naturally and with much beauty of contrast, darkly along the shaded buildings and deeply upon the transparent waters …”

The Literary Gazette and Journal of The Belles Lettres of 1839 commented “We well remember the original drawing, as being one of the most attractive ornaments of the exhibition last year of the Society of Painters in Water Colour. Of the almost innumerable views we had seen of Venice, it struck as being, at least, one of the best. The masterly manner in which the figures are introduced adds greatly to its interest and to its picturesque character. Mr Lucas, whose talents as a mezzotinto engraver are well known, has done it ample justice; and the result is one of the most splendid prints of the present day.”

It was also praised in the Art Union journal where it was mis-attributed to J. Lucas.

Further information See The Corsair’s Isle

Advertising by F G Moon for this print in 1839 noted that it was a companion piece to the Corsair’s Isle, also by Lucas after Harding.

Collections BM: 2010,7081.6330 GAC: 9287 Exhibitions A print was shown at the Victorian Era exhibition at Earl’s Court of 1897, lent by Henry Graves & Co. This print, the Corsair’s Isle and the Return to Port Honfleur after Isabey were the only engravings at that exhibition by Lucas that were not after Constable paintings. Catalogue numbers GF 17 Location of original Yale Center for British Art, Paul Mellon Collection. The original watercolour was painted in 1835.

Title 53. Duck Shooting after Henry Syer Trimmer Dimension/Size Image height 303mm x width 337mm; sheet height 313mm x width 357mm Date 1839 Medium Mezzotint Publisher Description Four geese fly in a line top right, in a cloudy winter sky. Below, thick woods with coppiced trees border a wide shallow stream, or pond, with a snowy surface. A huntsman in long coat, with dark hat, bag strap over his shoulder, long gun under his left arm, points with his right across the water to direct a dog towards

a duck, fleeing away across the water. On the left, the bare branches of a group of trees twist up against the grey sky.

Inscription Painted and Engraved by H. Syer Trimmer 1839 (open letter) / Finished by David Lucas (open letter)

Subject Genre scene Artist See above Collections VAM: E.1206-2016 Exhibitions Catalogue numbers Maybe GF 107 Location of original Not known

Title 54. Winter after Henry Syer Trimmer Dimension/Size Image height 220mm x width 265mm; sheet height 330mm x width 380mm Date 1839 Medium Mezzotint with etching Publisher Description On the far right, a man comes over a hill holding his hat to his head, with staff or gun over his shoulder and a dog by his side. Centre, two horses, one black, one white, stand close together, fetlock deep in snow, sheltering under a tree, its branches bare of leaves. Foreground a small pond; with to the right a small stile and plank laid across a ditch. Snow is falling gently in large flakes across the whole scene.

Inscription Painted and engraved by H. Syer Trimmer (open letter) / 1839 / Finished by David Lucas (open letter)

Subject Genre scene Further information See above for artist details Collections VAM 1205-2016 Exhibitions Catalogue numbers GF 58 Location of original Not known

Title 55. Driving cows in winter after Henry Scott Trimmer(?) Dimension/Size Image height 200mm x width 250mm; sheet height 295mm x width 350mm Date 1839 (assumed) Medium Mezzotint with etching Publisher Description From the left a man in a dark hat, hands in pockets, gun or staff under his right arm, struggles through knee-deep snow, his head down, accompanied by a dog. Ahead, picture centre, two cows walk through snow bordered by a fallen log and plants. To the right, the sun struggles to shine through clouds behind a large tree with bare branches. Snow is falling.

Inscription None Subject Genre scene Further information See above for artist details Collections VAM: 1207-2016 Exhibitions Catalogue numbers Location of original Not known

Title 56. A Devonshire Water Mill after Frederick Richard Lee BM: A River Scene in Devonshire Dimension/Size BM: 1861,0413.479: Image height 390mm x width 508mm; plate height 490mm x width 570mm; sheet height 510mm x width 605mm VAM: Plate height 495mm x width 573mm Date 1839 Medium Mezzotint, mixed method Publisher Art Union of London Description Under cumulus clouds in a bright sky, forest stretches across the scene with a river cascading over rocks, centre, running to the left. On the bank at left, two tall trees, with a third leaning over the river, growing among large rocks. Centre, trees grow on the shore where a millstream has been diverted in front of a mill house, visible among the trees to the right. Foreground, a young man hauls on a rope attached to a tree trunk to drag it back into the stream, left, as two men, trousers rolled to the knees, one in short sleeves, use poles to lever the tree trunk over rocks to continue its course through the cascades. Lower left, other tree trunks float in the water. Right foreground the bank of the river is strewn with rocks and plants, a dead tree rising against the sky, bright with a few clouds.

Inscription BM: 1861,0413.479: A River Scene in Devonshire // Painted by F.R. Lee, R.A. / Engraved by David Lucas // Engraved from a Picture in the Possession of George Brown, Esqre. for the Members of the Art Union of London, 1839 // Printed by Brooker & Harrison

BM: 1840,1128.1: F.R. Lee R.A. / David Lucas / Art Union London, 1839. Annotated in pencil on the recto A River Scene in Devonshire Engraved from a Picture in the Possession of [?]George Brown Esqr, / for the Members of the Art Union / Presented to the British Museum by the Committee of the Art Union.

VAM: E.340-2017 as above

VAM: E.239-2107: unlettered, trimmed to plate

Subject Genre scene Further information Frederick Richard Lee (1798 – 1879) briefly entered the army before leaving for health reasons to study at the Royal Academy in 1818, becoming an Associate member of the Royal Academy in 1834 and a full member in 1838. His work includes landscapes from across England and Scotland, extending to the Continent and beyond in later decades. Devonshire was a favourite subject and coastal themes frequently recur; Lee owned a yacht on which he spent much of his time. His financial success allowed him to purchase land in South Africa where he spent the remainder of his life.

According to the Art Union prospectus of 1845, £292.15 had been set aside for the cost of engraving and publishing for this work (Reports of Committees, Vol 7, p290). In criticising the work of the Union, Edward Edwards of the British Museum wrote in “The Fine Arts in England, their State and Prospects Considered Relatively to National Education” (1840) “…if the engravings thus issued do not become a means of elevating the taste of their possessors they will infallibly tend to degrade it” and that the “prints hitherto issued … possessed but little to recommend them as works of art … their subjects have not been of a lofty, or even very interesting character” (p252). A reference to this engraving is made in a footnote to those comments.

Collections BM: 1861,0413.479 (published state); and 1840,1128.1 (scratched letter state) VAM: E.339-2017; E.340-2017 Exhibitions Catalogue numbers GF 95 Location of original Not known

Title 57. Burns Monument after Patrick C Auld Dimension/Size BM: Image height 405mm x width 610mm; plate height 497mm x width 650mm; sheet height 504mm x width 670mm Date 1839 Medium Mezzotint, mixed method Publisher Maxwell Dick, Irvine, John Dick, Ayr, & Hodgson & Graves, London Description Across the foreground spreads luxuriant undergrowth, bushes and twisted trees. Centre right, an old hump backed bridge seen between trees crosses a river with woods on the far side, lit by the sun, where a road climbs a hill. At the summit stands a building with a tall cupola of Corinthian columns, topped with an ornate finial. Houses or farm buildings appear on the hill top to each side. To picture left, the river appears again among the trees, crossed by a new, higher level, bridge. Far left, a dense dark group of trees enclose the corner of another building.

Inscription Arranged around a coat of arms - Painted by P.C. Auld. // Engraved by David Lucas, 27 Westbourne St. Pimlico.// Burns’ Monument (open letter) // on the Banks of the Doon. / Engraved from the Original Picture, now in the possession of ARCHIBALD HASTIE, Esqre.. M.P. //and most respectfully dedicated, by express permission to the // OFFICE BEARERS and MEMBERS OF THE GLASGOW, AYRSHIRE SOCIETY (open letter). // by their Oblig’d servant, Maxwell Dick (name in open letter) // Proof // Printed by S.H. Hawkins. // Published 1839, by Maxwell Dick, Irvine, John Dick, Ayr, & Hodgson & Graves, Her Majesty's Printsellers, 6, Pall Mall London.

Subject The Burns Monument, designed by Sir Thomas Hamilton, in Brig a’Doon, Alloway, near Burns’ birthplace, was constructed in 1823 after 700 subscribers contributed to the building costs of £3,247. The subscription scheme was begun in 1814 and the foundation stone laid in 1820.

Archibald Hastie (1759 – 1857) was a collector of Burns relics and MP for Paisley (1836-57). He was one of the founders of the London Joint Stock Bank and owner for a time of Burns’ punch bowl, which he bequeathed to the British Museum. Further information Patrick Auld (1813 – 1866) painted two versions of this subject, one of which (dated 1839) is held by The Robert Burns Birthplace Museum and appears to be the original of this engraving. His work was almost exclusively landscapes and locations in Scotland. Auld was born in Ayrshire and established himself as a teacher of drawing and painting in Aberdeen during the 1830s. He worked in etching and lithography throughout the 1840s and 1850s, his subject matter including the stately homes of the aristocracy.

Maxwell Dick was a successful bookseller in Ayr and part time inventor who patented a suspended railway and assisted with development of the screw propeller. Fraser’s Magazine, August 1838, notes that “He has the merit, if there be any merit in it, of being, as it were, the beginner of the cheap publication system in Scotland. Mr Dick, in the year 1826, brought out at Irvine, county of Ayr, a monthly paper called the West Country Advertiser, price twopence, which was devoted to news; but, from its being published only once a month, not liable

to the stamp duty”. He was a founder and twice president of the Irvine Burns Club, one of the oldest continually existing Burns Clubs in the world.

Collections BM 1898,1216.13 on chine colle; an early state; 1888,0716.234 Exhibitions Catalogue numbers GF 99 Location of original The Robert Burns Birthplace Museum

Title 58. Grace Darling after Henry Perlee Parker and John Wilson Carmichael Dimension/Size BM: Height 660mm x Width 695mm Date 1839 Medium Etching and mezzotint Publisher F G Moon, 1839 Thomas Boys, Ernest Gambart, 1853 Description To the right foreground, a strong swell carries a small boat cutting through the waves towards a ship, keeling over, centre left. The boat is rowed by an older man, forward, and a young woman, looking back over her shoulder at him and towards the sinking ship. Their faces are clearly shown. Two poles and some rope are in the boat; to the left float pieces of wreckage. The ship, with waves breaking over a central paddle wheel and torn sails trailing from the mast, is heading towards a rocky cliff, on the horizon, where figures stand. Centre right, a lighthouse stands silhouetted against a stormy but brightening sky. Seagulls flock over the ship and above the lighthouse.

Inscription BM: Lettered below the image with a crest bearing the motto 'Esperance en Dieu' Painted by H.P. Parker & J.W. Carmichael. / Engraved by David Lucas. //

And below, in open letter, capitals, and varying font sizes

To His Grace The Duke of Devonshire, K.G. ETC. ETC. // This historical record of Female Heroism inspired by humanity, // As exemplified in the rescue on the 7th September 1838, on the Fern Islands, of the nine survivors of // the wreck of the Forfarshire steam packet, // by Grace Darling and her father, // (they having sat for their portraits in the dresses worn on the occasion and the artists sketches having been made on the spot, expressly for this picture,) // is by permission respectfully inscribed, by his Grace’s most obedient and very humble Thomas Boys

London Republished Feby. 15. 1853, by Thomas Boys, (of the late Firm of Moon, Boys & Graves) Printsellers to the Royal Family, 467, Oxford Street. / Paris, E. Gambart & Co. 15, Rue Charlot - Deposé. Originally Published Septr. 7, 1839

Also lines from the poem The Wreck of the Forfarshire by Thomas Kibble Hervey:

(Left side, under the wreck) At night she lay a riven thing The good ship and the free, The merry souls that sailed her, gone, Across a darker sea, - Hark! Did the wild wave send a cry, As of a soul in agony?

(Right side, under Grace and her father) This morn and to that echoing rock What bright and blessed form Comes gliding, like a thing of light, amid the wrathful storm! Hath mercy heard the human groans That rent the midnight air And God, his own sweet angel sent, In answer to the prayer?

Subject The rescue of passengers and crew from the steam ship Forfarshire received huge publicity. The ship went aground in September 1838 on Big Harcar, a rocky island near the lighthouse where Grace Darling’s father was the keeper and where she and her family lived. Nine people of the 62 on board were rescued. The heroism of the Darlings attracted many portrait painters (seven within six weeks of the wreck, according to a letter from William Darling) as well as many gifts and a subscription fund for the Darling family’s benefit to which Queen Victoria contributed. Grace Darling died four years later of tuberculosis.

The engraving was widely advertised by Francis Moon from January 1839 and continued at intervals for months (for example in the Monthly Literary Advertiser for October that year). The advertisement boasts that the picture was ‘painted on the spot’ and contains ‘portraits of the heroine and her father’. More advertising appeared in November 1842 in the Art Union Monthly Journal. Dedication to the Duke of Northumberland marks the interest he took in Grace Darling’s story which extended to supporting her efforts to manage the attentions of reporters and well-wishers.

F G Moon promoted the print as a companion to Sandfield’s The Wreckers (for example in the London Courier & Evening Gazette, 26th January 1839, while it was in production). He also arranged for a ‘penny exhibition’ in Fleet Street, with a showman to explain the picture and tell the story. The Art Union Journal for 1839 comments that “This print requires to be pushed into notice, and it has been so. It is a huge affair, with nothing to recommend it except the publishers puffs, which have been extensively circulated in prose and rhyme, and in a facetious mingling of both”.

Further information John Wilson Carmichael (1799–1868) was based in Newcastle and painted seascapes and river scenes around England and the North Sea. Two pictures (both now owned by the RNLI) present the story: in one, the boat heads to the wreck (as in the engraving); while the second version depicts the boat returning to the lighthouse with survivors on board. Carmichael was one of the first to visit the Darlings and returned their cooperation by sending a large parcel of books (as recorded in The True Story of Grace Darling, 1882).

Henry Perlee Parker (1795 – 1873) was born in Devon, moving north first to Sunderland, to stay with relatives, then to Newcastle from 1816. He painted his version of the story (now in the RNLI Grace Darling Museum in Bamburgh) immediately following a visit to the Darlings, having drawn Grace Darling’s portrait from life (see NPG) while with the family. As a result of the storm he remained a week. An interior view of the survivor in the lighthouse was published as an engraving in 1840. Parker was a founder in 1822 of ‘The Northumberland Institution for the Promotion of the Fine Arts,’ but in 1844 moved to London where he had been exhibiting pictures with some success. His subjects were initially portraits, later extending to maritime scenes, including smugglers, and notable events.

The original painting features wilder seas and darker skies, creating a more dramatic and terrifying image than the monochrome engraving, but his matched by the coloured states.

Advertised price to subscribers £1.1s; proofs £2.2s; before letters £3.3s

The print was also advertised by Currie & Bowman, printsellers in Newcastle, as their own publication, at a price of prints 21s; proofs 42s; and before letters 63s.

Collections BM 1897,0410.31 Greenwich PAI6608 Exhibitions Catalogue numbers GF 4 Location of original RNLI art collection, Bamburgh

Title 59. John Sims, MD, after Charles Robert Leslie Dimension/Size BM: Image height 182mm x width 145mm; plate height 325mm x width 253mm; sheet height 600mm x width 434mm NPG: Sheet height 502mm x width 351mm; plate height 325mm x width 252mm FW: Sheet height 451mm x width 357mm; plate height 326mm x width 253mm Date 1839 Medium Mezzotint Publisher Paul and Dominic Colnaghi & Co Description The picture, shows head, shoulders and chest, facing right of John Sims, a young man with sober but open expression. He wears a dark coat over a black satin waistcoat, with white cravat. Behind him, a plain wall with fluted column faintly shown to the left.

Inscription BM: untitled proof VAM: Painted by C R Leslie, RA 1824 // Engraved by David Lucas, 1839 // John Sims, M.D. (signature) NPG, Wellcome, FW, Innes Smith: as above plus: London: Published for the proprietor by Paul and Dominic Colnaghi & Co, Pall Mall East, 1839

Subject John Sims (1792 – 1838) was born in Stockport, the son of a chemist. He was apprenticed between 1809-1813 and appointed to the Manchester Infirmary in 1815 as house surgeon. Completing his MD training in Edinburgh by 1818, he took up practice in London in 1819 and by 1831 was honorary staff member at the Marylebone Infirmary. He died in 1838 of a fever contracted in the Infirmary. His obituary notes that “Dr Sims was remarkable for the energy with which he carried out those plans which he considered would be beneficial for the profession, and, what ever difference of opinion might exist as to the value of those projects, every one must have admired the energy with which they were pursed” (The Lancet, Vol 1, 1839). His projects included the re-organisation of medical education, a subject on which he gave evidence to a Parliamentary committee in March 1834.

Further information Charles Robert Leslie (1794 – 1859) was born in England of American parents and spent the first five years of his life here. He became determined to make a career in art and returned to London in 1811, studying at the Royal Academy and becoming RA in 1826. Portraits formed part of his work but more success came with detailed depictions of scenes from great literature; and in teaching at the RA. In 1833 he returned briefly to the USA before resuming his career in London. He became a close friend of Constable, corresponding with him

frequently and publishing a Life of Constable in 1843. He continued to collaborate with Lucas after Constable’s death.

Collections NPG: D41709 VAM: E.2233-2016; E2230-2016 Wellcome: 8782i FW: P.224-1954 Innes Smith Collection of Medical Portraits, Sheffield: 5.12 Exhibitions Catalogue numbers Location of original Not known

Title 60. James W Farrer after John Partridge Dimension/Size BM: Height 414 mm x width 333 mm NPG: Height 391mm x width 277mm Date 1839 Medium Mixed method mezzotint with engraving Publisher James Anthony Molteno Description James Farrer smiling, half turned towards his right, leans slightly back in an ornate chair with curling arms, looking to the viewer. His left arm, bent at the elbow, rests on the back of the chair. He holds a book in his right hand, arm extended across his lap to rest the book on the chair arm. Right leg crossed over the left, he wears dark trousers and a dark jacket with rolled collar, unfastened. A lighter waistcoat, buttoned, is worn over a dark cravat, with the high wing collars of a white shirt just visible. To his right is a cloth-covered table with a blotter, four books, a writing set with quill pen and four glass pots of ink. A folded letter lies beside them. Behind the table, at the left edge, is a partially drawn curtain and the corner of a window frame.

Inscription Painted by J. Partridge. / Engraved by David Lucas. // James William Farrer Esq // Master in Chancery // London, Published July 8, 1839, by J. A. Molteno, 20, Pall Mall Subject James Farrer (1785-1863) was a barrister and a member of the family law firm Farrers (advisers to Charles Dickens and the Royal family, among other clients) who lived in Inglesborough in Yorkshire. He was related by marriage to the Earl of Eldon who appointed him a Master of Chancery in 1818. Farrer inherited land in the village, spending considerable sums on re-building cottages, the school and the hall in which he lived.

Further information John Partridge (1789 -1872) was a portraitist, rising to the position of 'portrait painter-extraordinary' to Queen Victoria in 1843. He was born in Glasgow and moved to London in 1816, having exhibited a painting at the Royal Academy the year before. Living in Italy between 1823-27 led him to branch out into landscapes and making copies of Renaissance masters. An immensely productive artist, he delivered over 200 pictures between 1827 – 1845, more than twenty a year on average. In the following years, refusing to exhibit at the Royal Academy due to a dispute, and losing the Queen’s favour, his commissions declined in number and many pictures remained unsold at his death.

Collections BM 1868,0808.1577 NPG D36664 Exhibitions Catalogue numbers Location of original The original work, dated 1837, was sold at auction by Christies in 1981 to a private collection

Title 61. Landscape in Suffolk after David Lucas Alternative title ‘Sunset’ (VAM) Dimension/Size FW: Image width 112mm x height 74mm; plate height 100mm x width 133mm; sheet height 146mm x width 182mm VAM E661-1993: Image height 74mm x width 114mm; plate height 110mm x 134mm; sheet height 205mm x width 238mm Date 1839 Medium Mezzotint Publisher Description A group of tall, wind tossed trees rise against darkening clouds to the right. Centre and left, a country landscape spreads out towards ruins or a castle on far hills, a flock of birds flying above. A river runs across the middle distance, shining in the sun. The sky is streaked with clouds as the sun sets.

Inscription Scratched in the plate in the lower left corner D Lucas 1839. Subject Landscape Further information No artist is indicated but Lucas’ name is inscribed where an artist would usually be credited Collections FW: P.225-1954 VAM: E661-1993; E.2262-2016; E.2261-2016 Exhibitions FW: Centenary Exhibition of Mezzotints by David Lucas (1802-1881). 1981-04-14 - 1982-07-05 Catalogue numbers Location of original Not known

Title 62. John Joseph Lawson after James Sant Dimension/Size NPG: Plate height 356mm x width 268 mm; sheet height 515mm x 388mm VA: Height 356mm x width 268mm Date 1840 Medium Mezzotint Publisher F G Moon Description John Lawson sits in an armchair, half turned to his left, looking to the viewer. He wears a checked coat with broad velvet cuffs over a dark waistcoat with a white wing collar shirt and dark stock. His left arm is across his chest, the left hand in his waistcoat. His right arm rests on the chair, one hand with a ring on the little finger, holding a newspaper. Behind him to the left the frame of a window with heavy iron bars outside. On the window sill, an ink pot and quill pen. Beneath, on a shelf, an open book lies face down on a pile of papers.

Inscription Painted by James Sant / Engraved by David Lucas // John Joseph Lawson (signature) // February 1839 (signature) // Published March 1840 by F. G. Moon Printseller to Her Majesty, 20 Threadneedle Street.

Subject John Lawson (1802-1852) became editor of The Times in 1830, and was part owner having inherited shares from his father, the paper’s printer. In the following years it gained its nickname, The Thunderer, and made substantial gains in circulation volume through investment in steam driven printing presses and distribution by rail. He was involved in a series of libel cases including one in in 1839 against Sir James Conroy which resulted in imprisonment; later he was attacked in print by William Cobbett, the radical author and lobbyist.

Further information James Sant (1820–1916) was at the time of this picture setting out on a long career as a portrait painter and depicter of childhood scenes. He first exhibited

at the Royal Academy in 1840. After several highly regarded pictures of the royal family, he was appointed Principal Painter in Ordinary (official portraitist) in 1871 to Queen Victoria. He also painted landscapes and gardens.

Collections NPG: D37224 VAM: 27548 Exhibitions Catalogue numbers Location of original Not known

Title 63. William Thompson after William Bewick Dimension/Size BM: Height 726mm x width 480mm Date 1840 Medium Mezzotint Publisher William Bewick Description William Thompson is shown full length, turning to his right, looking to the left, beyond the picture. Standing on a patterned carpet, he is dressed in a dark suit, with a tail coat, white shirt and dark stock. His left hand is raised to waist level, palm up, as if in exposition. His right hand rests on a table beside him, resting on some papers, next to an ink well, quill pen and writing set. The table is covered by a large embroidered carpet or rug. Large folds of patterned material hang from or are draped from the wall behind to the right. To the left the wall ends, revealing a scene of tall ships under full sail passing under a high bridge, seen from a height.

Inscription Painted by William Bewick, Esq. / Engraved by David Lucas. // William Thompson // This Engraving from a Portrait Painted by William Bewick Esq: has been made at the instance of his Friends and Constituents at Sunderland // as an affectionate testimonial of the high respect they entertain for his private and public Character and his able and most efficient services // as representative of that Borough. // Published Septr. 1, 1840, by William Bewick, London.

Subject William Thompson (1793-1854) was MP for Sunderland, Lord Mayor of the City of London in 1828 and 1829, director of the Bank of England and several railway companies among many other commercial engagements. He came from a line of businessmen, with his uncle a London silk merchant, a trade that William remained connected to although he became a merchant and financier with iron work interests in Tredegar in South Wales; and lead mining in Westmoreland. He was a noted ship owner, investing his own capital, having benefited from a large inheritance. Believing strongly in free trade in earlier years, he became a protectionist later. He was an advocate of emancipation of slaves and support for distressed silk weavers in Spitalfields.

Further information William Bewick (1795–1866) was born in Darlington, began drawing and painting in his teens with a local artist, before arriving in London in 1820 to study under Benjamin Haydon. He was initially successful as a copyist, receiving commissions from Thomas Lawrence (who sent him to Italy for three years from 1826) and (via Benjamin Haydon) Goethe. As a painter of historical scenes and portraits he found limited success in the 1830s and returned to north-east England in the early 1840s where the final years of his life were less active. He is noted for his wide circle of acquaintance which included Hazlitt, Wordsworth, Keats, Shelley, Scott and others.

Collections BM: 2010,7081.7510 Exhibitions

Catalogue numbers Location of original Not known

Title 64. Sir George Henry Smyth after Archibald Archer Dimension/Size BM: Height 432 mm x width 332 mm NPG: Sheet height 434 mm x width 332mm Date 1840 Medium Etching and mezzotint Publisher Thomas Knibb Description George Henry Smyth is shown three quarter length, half turning to his right, seated in an armchair, with his left hand on his right leg, and his right arm on a table beside him. He wears a dark coat and trousers with a dark stock over a white wing collar shirt. Behind him a shadowy wall, with drapery hanging to the right. On the table, an ink well, a scroll and other papers.

Inscription Painted by A. Archer, Esqr. / Engraved by David Lucas. // Sir George Henry Smyth, Bart, M.P. (open letter) // Colchester Published Nov 1840 by Thos Knibb. 15 High Street Subject Sir George Henry Smyth (1784 - 1852) was twice an MP for Colchester and Sheriff of the county of Essex. He was a contemporary of Byron at Cambridge University but was sent down after a dispute with a tradesman (according to a letter from Byron). His father, an MP and radical thinker, became a banker in Paris after the Revolution, counting Tom Paine among his friends. By contrast, his son George spent his life largely in Essex where he was a respected landowner and dignitary advocating conservative, anti-Catholic, principles.

Further information Archibald Archer (1791-1848) worked in London as a portrait painter. His most notable work is “The Temporary Elgin Room in 1819 with portraits of staff, a trustee and visitors”, a painting made in 1819 and presented to the British Museum in 1872 having been in private ownership up to that time. Archer included himself in the picture.

Collections BM 1902,1011.3115 NPG D41794 Exhibitions Catalogue numbers Location of original Colchester & Ipswich Museum

Title 66. Unidentified landscape with cows after Henry Scott Trimmer Dimension/Size VAM 1209-2016: Image height 170mm x width 223mm; sheet height 201mm x width 246mm VAM 1210-2016: sheet height 323mm x width 405mm Date 1840 Medium Mezzotint with etching Publisher Description Cumulus clouds float in the sky, where birds circle in flight. To the right, a group of trees with two cows, one sitting, one standing, on a grassy bank. Beyond, centre and left, a road crosses the scene then curves towards a hill with a windmill at the summit. Centre of the scene is a small village around a church with tall spire.

Inscription VAM 1210-2016: Painted and Engraved by H Syer Trimmer / 1840 / Finished by David Lucas Subject Genre scene

Further information See above for artist details Collections VAM: 1209-2016; 1210-2016 Exhibitions Catalogue numbers Location of original Not known

Works 1841 – 1852

Title 66. The Right Honourable Charles Kendal Bushe after William Stevenson Dimension/Size BM: image height 504mm x width 367mm; plate height 507mm x width 377mm; sheet height 685mm x width 506mm VAM: sheet height 687mm x width 474mm NoI: image height 410mm x width 316mm; plate height 508mm x width 373mm; sheet height 669mm x width 497mm Date 1841 Medium Mixed method mezzotint Publisher Andrew Milliken Description Charles Kendal Bushe, an older man with white hair over his collar at the back, is shown from his left side, sitting in an arm chair, facing to the right. He is dressed in a dark suit with waistcoat, white shirt and cravat. His left hand supports one side of a writing portfolio on a cloth covered table in front of him, his right hand resting on the paper, holding a pen, as if he paused for thought while writing. Some books are at his right, on a table with a box containing three ink wells and a quill pen.

BM/NoI: the picture has rounded corners at the top; the lower corners have been trimmed diagonally

Inscription BM: This portrait of the Rt Honourable Charles Kendal Bushe, Lord Chief Justice of the Court of Queen’s Bench, Ireland, &c, &c, &c. is most respectfully inscribed to the Irish Bar, by the publisher, Andrew Milliken. // Dublin, Decr 30th 1841. Andrew Milliken, Bookseller to the Lord Lieutenant, The Kings Inn Library, &c, &c. London F G Moon, Publisher in Ordinary to her Majesty, Threadneedle Street

NoI: The Right Honourable Charles Kendal Bushe Lord Chief Justice of the Court of Queen's Bench, Is most respectfully inscribed to the High Bar by the Publisher, Andrew Milliken. 1841 Dublin. Painted by W Stevenson Engraved by D Lucas.

VAM: Painted by W. Stevenson / Engraved by D. Lucas // Dublin Decr. 30 1841 Andrew Milliken Bookseller to the Lord Lieutenant The Kings Inns Library &c. &c. London F. G. Moon Publisher in Ordinary to Her Majesty, Threadneedle Street

Subject The Right Honourable Charles Kendal Bushe (1767-1843) was an Irish lawyer who became Lord Chief Justice of the Court of Queen's Bench. His eloquence earned him the nickname ‘silver tongued Bushe’. As a member of the Irish parliament, he opposed the Act of Union in 1800, describing Britain’s treatment of Ireland as "six hundred years of uniform oppression and injustice". This view did not prevent him from accepting high office when it was offered, as observers noted at the time. He retired in 1841.

This print was one of the works that Constable suggested Lucas should submit to the Academy when standing for election as an associate in 1835.

Further information No information is available about the artist.

Collections BM chine colle 2010 - 7081 - 4511 NT 216485 VAM 25820 India proof before letters Exhibitions

Catalogue numbers Catalogue of Engraved Irish Portraits and Original Drawings / Rosalind M. Elmes. - Dublin : Stationery Office, [1938], p. 31 Location of original Not known

Title 67. Sir Philip Crampton after William Stevenson Dimension/Size BM: height 510mm x width 382mm NGI 10116: plate height 510mm x width 384mm; sheet height 534mm x width 410mm NGI 10033: plate height 510mm x width 384mm; sheet height 550mm x width 417mm McGill University: height 675mm x width 490mm; height 635mm x width 470mm; height 600mm x width 510mm; height 590mm x width 465mm Date 1842 Medium Mezzotint Publisher Andrew Milliken, William Spooner Description Sir Philip Crampton reclines in an armchair, half turned to his left, facing picture right. Several books are propped against the chair, foreground left. He wears a dark coat, with wide lapels, buttoned up over a waistcoat and white shirt with black cravat. His hands are clasped in his lap. He sits beside a plain wall, at a desk, where an open book is propped at an angle.

Inscription BM: Painted by W. Stevenson. // Engraved by D. Lucas. // Surgeon general to the Forces and Surgeon in Ordinary / to Her Majesty in Ireland // Dublin Dec. 20. 1842 Andrew Milliken Bookseller to the Lord Lieutenant. - The King's Inn's Library, &c. &c. // London, William Spooner, Printseller & Publisher 377 Strand.

NGI 10116: Painted by W. Stevenson. // Engraved by D. Lucas. // Dublin Dec. 20. 1842 Andrew Milliken Bookseller to the Lord Lieutenant. -- The King's Inn's Library, &c. &c

McGill/Osler first: PAINTED BY W. STEVENSON. / ENGRAVED BY D. LUCAS. //Philip Crampton (signature) // Dublin, Dec. 20, 1842, Andrew Milliken, Bookseller to the Lord Lieutenant. The King's Inn's Library &c. &c.

Wellcome, McGill/Osler 2nd – 4th: PAINTED BY W. STEVENSON. / ENGRAVED BY D. LUCAS. // The Portrait of // SIR PHILIP CRAMPTON BART. M.D. F.R.S. (open letter) // Surgeon General to the Forces and Surgeon in Ordinary // to Her Majesty in Ireland. // Dublin, Dec. 20, 1842, Andrew Milliken, Bookseller to the Lord Lieutenant. The King's Inn's Library &c. &c. London, William Spooner, Printseller & Publisher 377 Strand.

Edinburgh, NGI: PAINTED BY W. STEVENSON. (open letter) / ENGRAVED BY D. LUCAS. (open letter)

Subject Sir Philip Crampton (1777-1858) was born in Dublin. He joined the army when a young man and became an assistant surgeon. He graduated in Glasgow in 1800. Returning to Dublin he set up a private medical school as well as becoming Surgeon-General for the army in Ireland and in 1821 founding a children’s hospital. His interests extended to zoology, publishing papers on the anatomy of birds; and he was president of the Royal Zoological Society of Ireland. In 1862 a monument was erected to him in Dublin.

Further information No information is available about the artist.

Collections BM 2010, 7081 4503

Wellcome ICV No 6700 Edinburgh University 0077032 NoI EP CRAM-PH (4) IV NGI 10033 and 10116 McGill University, Osler Collection: OPF000265; OPF000266; OPF000810_C1; OPF000882 Exhibitions Catalogue numbers Catalogue of Engraved Irish Portraits and Original Drawings / Rosalind M. Elmes. - Dublin : Stationery Office, [1938], p. 51 Location of original Not known

Title 68. Henry Hurton after Bennett Hubbard Dimension/Size Date 1842 Medium Publisher Description No extant work identified Inscription Subject Henry Hurton (17?? – 1851) was a bookseller and stationer in Louth.

Further information A work of this title was reported in the Lincolnshire Chronicle, 19th August 1842:

Louth – The Subscription Likeness – Mr David Lucas has just completed the engraving of Mr Henry Hurton’s likeness from the oil painting by Mr B Hunnard. It is considered quite a novelty; and with regard to price, unparalleled. Those who previous to inspecting it were ready to cast reflections and hint it would be a mean and paltry production, have been agreeably and wonderfully surprised, and now manifest no reluctance to attaching their names to the subscription list. If the promoters of the scheme by the sale pay the heavy expenses incurred, it will indeed be surprising, but it is anticipated nearly a thousand individuals will avail themselves of the present opportunity of obtaining the likeness of one of Louth’s most popular, honourable and facetious tradesmen.

A mezzotint portrait of Henry Hurton has been at auction in recent years. No artist, engraver or publisher is indicated.

Bennett Hubbard (1806 – 1870) was born and lived in Lincolnshire where a number of his works are held in museum collections. He painted sporting pictures, portraits, landscapes and genre scenes, and gave drawing lessons. A pupil of William Etty, he exhibited on occasion at the Royal Academy.

Collections Exhibitions Catalogue numbers Location of original Not known

Title 69. Rev Martin Joseph Routh after Thomas Clement Thompson Dimension/Size BM: image height 394mm x width 307mm; plate height 524mm x width 385mm; sheet height 540mm x width 434mm NPG (1): plate height 527mm x width 386mm; sheet height 552mm x width 412mm

NPG (2) published 2 January 1843 (1842); plate height 525mm x width 385mm; sheet height 618mm x 485mm VAM: Image height 398mm x width 310mm; sheet height 690mm x 500mm Date 1843 Medium Mezzotint and etching Publisher William Johnstone White Description Martin Routh is shown three quarters, standing turned to his left, in clerical attire, bands, surplice, etc, wearing a white wig and holding his hands folded in front of him. He stands in a pulpit of Gothic style, a large book open in front of him resting on a cushion with large tassels at the corners. Narrow columns to each side support an unseen canopy with two ornate pendants from it above his head.

Inscription BM 1870,0514.1980; 2010,7081.4504; NPG (2) Beneath the picture: T C Thompson, Esq, RHA Pinxt / David Lucas Sculpt // The Rev’d M. I. Routh, D.D. (open letter) // President of Magdalen College, Oxford // To the Right Revd C. R. Sumner, Bishop of Winchester // Visitor of Magdalen College, &c, &c. // To whom this plate is with his Lordship’s permission most respectfully inscribed by his obliged servant, Will.m Johnstone White // London, Published Jan.y 2nd, 1843, by W J White, 14, Brownlow Street, Holborn

BM 1870.514.1981; 1938,1230.4: proofs before letters

Lennox-Boyd identified a state before title, inscribed: Published Novr 1st 1842 by W.J. White, 14 Brownlow Street Holborn London.

Subject Martin Joseph Routh (1755 – 1854) was the President of Magdalen College, Oxford for 63 years and a celebrated scholar of the classics who edited works of the 2nd and 3rd century Christian writers. He supported the High Church movement at Oxford led by Cardinal Newman in the 1830s/40s. Noted for his concern with accuracy, he reportedly advised a young academic: "You will find it a very good practice always to verify your references, sir!". At his death his library contained 16,000 books.

Papers in the Routh archive make reference to engravings of the Thompson portrait. Letter from Francis Faber (address not given) to Martin Routh, 17 Nov (year not given; 1843?). Faber reports on the appearance of an engraving of Routh based on his portrait by Thompson, which is generally held to be a very poor likeness. (The engraving is dated Jan 1843, so the letter presumably dates from the same year) Letter from William White, (address, London, Brown Court) to Martin Routh, 22 May 1842. White has prepared an engraving based on a portrait of Routh by Thompson, paying £50 for the privilege. White now passes on some comments on the print by one Mr. Collins (probably Thomas Collins, F. 1805–16), who called it “ a complete failure”, and asks Routh to deny this is the case. Printed prospectus for ordering an engraving by David Lucas of a portrait of Martin Routh by T. C. Thompson, n.d. (c. 1843). Letter from Philip Bliss (address, Clay Hall near Stevenage) to Martin Routh, 30 Jul 1850. Bliss reports that Karl Hartmann has sold his portrait of Routh to a certain Mr. Ryman for 25 guineas to make an engraving from it, and not for 80 guineas, as rumour had it. Printed leaflet advertising engravings of the portrait of Routh by H. W. Pickersgill, 22 May 1850. This was engraved by Henry Cousins

Source: Index of Martin Routh papers, Magdalen College, Oxford

Further information See above for artist details Collections BM 1938.123040; 1870.514.1981; 2010,7081.4504; 1870,0514.1980 NPG D14370; NPG D39901 VAM 24633 Exhibitions Catalogue numbers Location of original The Routh papers indicate that the original portrait was in private hands. A copy is held in Magdalen College. Photograph of a portrait of Martin Routh made by Thomas Thompson in 1849. A note on the back, written in the same hand as that on fol. 1, suggests that in 1935 this portrait had been in the position of R. A. Routh, who lived at Amport, Hants.

Title 70. Master George Routh after Thomas Clement Thompson Dimension/Size Date 1843 Medium Publisher Description No version of this work has been identified. It is contained in the list of works provided by the Dictionary of Irish Artists Inscription Subject Portrait Further information See above for artist details Collections See A, 1913, http://www.libraryireland.com/irishartists/thomas-clement- thompson.php Exhibitions Catalogue numbers Location of original Not known

Title 71. The Rescue after William Drummond Dimension/Size BM Height 578mm (trimmed?) x width 454mm (trimmed?) Date 1843 Medium Mezzotint Publisher Samuel Hollyer Description Centre left, a girl kneels on one knee on rocks, hands clasped in prayer. She wears a full length flowing white dress, her long dark hair loose, and gazes with a fixed look to the right. Behind her, a woman stands with her right arm protectively on the girl’s shoulder. The woman is wearing a flowing gown, with loose scarf, and her long hair is blown by the wind. They stand on a rocky outcrop of a headland, shown through storm blown clouds behind them. To the right, the mast of a sinking ship can be seen among dark waves breaking on the rocks. In front, in the right foreground, the face and shoulders of child or woman float among the waves, her clothing gripped in the teeth of a dark haired dog which gazes anxiously forward as it swims towards the shore.

Inscription Drawn by W.M. Drummond. / Engraved by David Lucas // London: Feb.y 28th. 1843, S. Hollyer, 89, Chancery Lane Subject The story of a drowning child rescued by a dog was most famously painted by Landseer (entitled Saved, exhibited 1856), following news reports of the exploits of a dog at a lighthouse in Newfoundland. This painting and engraving precede that work, suggesting the story has older origins, either in fact or as fable. Such

events are still reported. Rescuing people struggling in water is said to be a characteristic of the Newfoundland breed.

Further information The artist appears to have been a painter, draughtsman and lithographer based in London who attracted some notable clients including Queen Victoria, Prince Albert and the author William Thackeray

Collections BM 2010,7081.4513 Exhibitions Catalogue numbers Location of original Not known

Title 72. George Field after David Lucas Dimension/Size Image height 142mm x width 120mm; sheet height 164mm x width 139mm Date 1843 Medium Mezzotint Publisher Description George Field is shown half figure, facing left, half turned to his right. He wears a thick double breasted top coat, buttoned, with a broad collar, over a dark jacket and white shirt with wing collar, held at the neck by a black cravat. To the right, a tall glass jar with large pointed stopper in the top. In front of him, picture left, s scientific instrument in a case and a second instrument in a glass bell jar stand on a desk. Behind the figure, the half lit panel of an interior wall.

Inserted into George Field’s presentation copy of Chromatics.

Inscription None Subject Portrait Further information A note written in George Field’s hand beneath the print on the page to which it is attached states “G.F. engraved from the Person 1843.” Collections FW P.303-1954 VAM E2220-2016 Exhibitions Catalogue numbers Location of original Not known

Title 73. Frederic Trimmer, Esq.re In the Landscape, Tutbury Castle, Staveordshire, with the River Dove, after David Lucas Dimension/Size Plate height 445mm x width 519mm Date 1843 Medium Mezzotint engraved on steel Publisher Private Description Frederick Trimmer stands centre right, full figure, half turned to his right, a breeched shotgun under his left arm. He holds a silk top hat by the brim in his right hand, and wears dark shoes, light coloured trousers, a light waistcoat, white shirt and cravat. Behind him to the right are two large trees, in full leaf, sky showing through. At his feet are two dogs; to the right a spaniel sits, looking at the viewer; to the left a dark coloured dog lies, looking at Trimmer. To picture left a river stretches into the distance, with a low hill on the far bank on which stands a ruined castle, under a bright, cloud filled, sky.

Inscription Frederic Trimmer, Esq.re In the Landscape, Tutbury Castle, Staveordshire, with the River Dove. // To the Rev.d Henry Scott Trimmer, this Portrait Engraved from Life, is dedicated by his very obliged & obedient Serv.t David Lucas.

Subject Frederick Trimmer (1813 - 1883) was the youngest son of the Revd Henry Scott Trimmer, friend and executor of JMW Turner and an acquaintance of Constable. He was brother to Revd Henry Syer Trimmer, who also painted as an amateur. Frederick was a landowner, businessman and Justice of the Peace.

Further information Collections The Late Honourable Christopher Lennox-Boyd Ref: 29004 now held by Grosvenor Prints Exhibitions Catalogue numbers Location of original Engraving from life

Title 74. William Conygham Plunket after Richard Rothwell Dimension/Size BM: Height 425mm x width 340mm NoI: sizes not available Date 1844 Medium Mezzotint with engraving on chine collé Publisher The Proprietor Description Sir William Plunkett is shown full face, a three quarter length figure sitting in an ornately carved arm chair, the back just visible behind him against a dark background. He is turned slightly to his left, with his right hand grasping the chair arm. Sir William wears a black coat over a dark waistcoat with white cravat.

Inscription Painted by Richard Rothwell. / Engraved by David Lucas. // Plunket (manuscript) // Late Lord Chancellor of Ireland // London, Published by the Proprietor, 31 Devonshire St Subject William Conyngham Plunkett (1764 – 1854), 1st Baron Plunkett, a renowned lawyer and politician, Presbyterian by birth but supporter of Catholic emancipation. Born in Enniskillen, educated at Trinity College Dublin, he was admitted as a student at Lincoln’s Inn before being called to the Irish Bar. Elected as an MP for Claremont in Ireland in 1798, he strongly opposed the Act of Union, which was passed in 1800. After acting for the Government in the prosecution of a nationalist (Robert Emmett), Plunkett was appointed a member of the Privy Council of Ireland in 1805. Between 1812 – 1827 he was an MP in the British House of Commons. He became Attorney General for Ireland in 1822, supporting Catholic Emancipation in line with Government policy, seeing the Emancipation Act passed in 1829. He was raised to the peerage as 1st Baron Plunkett in 1827, and served as Lord Chancellor of Ireland twice before retiring in 1841.

Further information Richard Rothwell (1800 – 1868) was born in Athlone, Ireland and studied art in Dublin from the age of 14 years. Embarking on a career as a portrait painter he moved to London in 1829, working for a time in the studio of Sir Thomas Lawrence. Commissions were plentiful and he was able to raise his prices to 80 guineas. He travelled in Italy between 1831 – 34 to address his ignorance of the Italian masters. On returning, commissions were harder to come by and he determined to attempt historical scenes, ignoring Sir William Beechey’s advice that the only way to earn a living would be portraits. Between 1847 – 54 he lived again in Ireland and subsequently made several journeys to America and Rome,

returning to London at intervals. In 1862 he engaged in a dispute with the Royal Academy about the poor location of his pictures at the exhibitions.

Collections BM: 1919,1015.111 NoI: EP PLUN-WI (7) III and EP PLUN-WI (7A) IV and EP PLUN-WI (7B) IV Exhibitions Catalogue numbers Catalogue of Engraved Irish Portraits and Original Drawings / Rosalind M. Elmes. - Dublin : Stationery Office, [1938], p. 168. Bibliography BM: O'Donoghue 1908-25 3 (Supplement) Location of original Not known

Title 75. Jerusalem after David Roberts Dimension/Size Not known Date 1845 Medium Mezzotint Publisher Description Not known. Roberts produced many scenes of Jerusalem which might have been selected for this engraving.

Inscription Subject Landscape Further information David Roberts (1796 – 1864) was born in Stockbridge, Scotland and at 10 years old was apprenticed to a housepainter while studying art in the evenings. He spent some years in house painting and the design of theatrical scenery before commencing landscape painting in 1821. A tour of Normandy in 1824 resulted in a series of topographical views, after which he worked in both landscape painting and scenery design until the 1830s when JMW Turner encouraged him to concentrate on fine art.

Between 1838 – 1839 he travelled extensively in Egypt and the Middle East. Always a hard worker, a large number of sketches and paintings resulted from this excursion and provided the basis for a series which he worked on with lithographer Louis Haghe to produce an edition which eventually ran to 247 scenes. The series was funded by F G Moon at considerable expense (he paid £3,000 to Roberts for the copyright and his involvement) but proved a very rewarding investment. Roberts continued to produce landscapes for the rest of his life, most notably an Italian series; and views of the Thames, on which he was working at the time of his death.

Collections Exhibitions Catalogue numbers GF 39; unpublished Location of original Not known

Title 76. George Field after Richard Rothwell Dimension/Size BM: Height 148mm x width 130mm NPG: Plate height 185mm x width 154mm; sheet height 272mm x width 200mm VAM: Plate height 186mm x width 155mm; sheet height 428mm x width 298mm Date 1845 Medium Mezzotint with etching Publisher George Field Description A half length portrait of George Field, leaning towards the viewer, dressed in a dark coat with large collar. A wing collar shirt is visible under a dark cravat.

Inscription VAM: R. Rothwell, R.H.A. Pinxt. (open letter) / D. Lucas Sculpt (open letter) BM, NPG: proof before letters Subject George Field (1777-1854) was a chemist and manufacturer of colours for artists. Born and educated in Berkhamsted, he experimented with the application of chemistry to pigments and dyes and made a number of inventions for the preparation of paints. Working closely with Sir Thomas Lawrence, he provided a service testing new colours from other suppliers as well as creating his own. He was the author of a book entitled “CHROMATICS, or, the analogy, harmony and philosophy of colours…”, which ran to a second edition in 1845 with illustrations engraved by Lucas.

Further information See above for artist details Collections FW P.300-1954 (trimmed and mounted in book) BM 1875,0814.1044 (1845) NPG D20848 Wellcome L0019270 VAM E.2220-2016 Exhibitions Catalogue numbers Location of original Not known

Title 77. Illustrations after George Field for Chromatics or, The analogy, harmony and Philosophy of Colours – A New Edition, Augmented by George Field Dimension/Size Height 229mm x width 152mm (medium octavo), 263 pages Date 1845 Medium Mezzotint Publisher David Bogue, Fleet Street, London Description Plate 1: Aureole (opposite frontispiece) On a dark circular section at the lower edge sits a circle, labelled No. 3, consisting of three concentric thin rings of blue, yellow, red and grey, with the remainder black, a white dot in the centre. From this space, two lightning bolts shoot out to the lower corners of the picture. Around the circle swirl clouds, becoming lighter above where a second circle (labelled No. 2) with rings of the same colour float, the inner area grey/white and patterned as the iris of an eye, with a black dot in the centre. Below, Drawn by Geo. Field; Engraved by David Lucas.

Plate II: Chromatic Equivalents – engraved by W A Beever

Plate III: Scale of Primary Colours – (unsigned, assumed Lucas); above, Ex XIII. At the centre of the page a circle is described by lines of yellow, red, white and blue (from the outside to the centre); in the middle, a smaller black circle overlaid on two triangles which are imposed to create six points in red, black, indigo, green, yellow and orange. Seen through the large circle and around it in an oval shape, a misty landscape with a castle or rocky outcrop to the left, above a valley, right, under a cloudy sky. Below, a musical stave indicating the treble clef, with six crotchet notes in the same colours as the shape above, with the colours repeated on a diagonal bar next to the notes, leaning to the right across the stave. Below, Ex XIV

Plate IV: Scale of Primary And Secondary Colours – (unsigned, assumed Lucas); above the illustration, Ex XV. In the centre a circle of yellow, red, white and blue rings. Within, two triangles superimposed to create six points and a number of segments, variously coloured to combine red, orange and blue, the colour of the points. Behind, a landscape in an oval shape with a dark coloured sky and a line of clouds above the horizon, after sunset, a bar of light remaining. A distant line

of hills and a level plain in front, a far distant house to the right. Centre, a tree in a field, a line of trees and hedging behind, a field of grass in front. Overlaid below, a musical stave, in treble clef, with a series of seven minims, rising in tone, coloured to match the triangles above, a diagonal bar with the same colours to the right. Beneath, Ex XVI

Plate V: Scale of Secondaries – (unsigned, assumed Lucas); above the illustration, Ex XVII. In the centre a circle of yellow, red, white and blue rings. Within, two triangles superimposed to create six points and a number of segments, variously coloured to combine red, green and blue, the colour of the points. Behind, in an oval, a landscape, high white cirrus clouds in a grey coloured sky above the circle, below, a mountain slope running down from right to left, with a rocky outcrop centre, and behind to the left part of a castle or large house, rough ground to the fore. Superimposed below, a musical stave, in tenor clef, with a series of seven minims, rising in tone, coloured to match the triangles above, a diagonal bar with the same colours to the right. Beneath, Ex XVIII.

Plate VI: Scale of Tertiaries – (unsigned, assumed Lucas); above the illustration, Ex XIX. In the centre a circle of yellow, red, white and blue rings. Within, two triangles superimposed to create six points and a number of segments, variously coloured to combine red, green and yellow, the colour of the points. Behind, in an oval, a landscape with small clouds floating against the grey coloured sky to right and left of the circle. Below to the right a rounded hill top, with to the left a windmill, overlooking hedgerows. Five cows graze in the field to the left, long shadows across the grass in the foreground. Superimposed below, a musical stave, in bass clef, with a series of seven minims, rising in tone, coloured to match the triangles above, a diagonal bar with the same colours to the right. Beneath, Ex XX.

Plate VII: Universal Scale – (unsigned, assumed Lucas); In the centre a circle of yellow, red, white and blue rings. Within, two triangles superimposed to create six points and a number of segments, variously coloured to combine red, blue and yellow, the colour of the points. Behind, in an oval, a seascape with a calm flat sea, the horizon below the circles. Above, a cloudless sky, to the left, the sun with many elongated rays. Superimposed below, a musical stave, in bass clef, with a series of seven minims, falling in tone, coloured to match the triangles above, a diagonal bar with the same colours to the right. Beneath, Ex XXII

Plate VIII: Analogous Scale of Sounds And Colours – unsigned, coloured wood engraving

Plate IX: Chromascope – picture of equipment; beneath, Engr. W A Beever

Plate X: Metrochrome – picture of equipment, unsigned; presumably W A Beever

Plate XI: Scales of Nature, &c. – a grey background is marked with a border of two black lines, separated. Three circles arranged above each other of equal size, all in black line with white centres, variously sub-divided by lines into segments. At the top, Fig 1. Primary Scale of Newton: segments marked (clockwise from the top) Orange, Yellow, Green, Blue, Indigo, Purple, Red; Fig II: Primary Scale of Nature – Red, Yellow, Blue; Fig III: Secondary Scale – Orange, Yellow, Green, Blue, Purple, Red; colours fall across 24 triangular segments formed by lines across the circle. Below, Drawn by Geo Field; Engraved by David Lucas.

Inscription As indicated in the Descriptions

Subject George Field’s book was widely read and admired, resulting in 36 editions published between 1835 and 2012 in 3 languages (according to Google’s Online Computer Library Center, Inc. accessed 2017).

The first edition had been produced in 1817 as Chromatics; or, an Essay on the analogy and harmony of colours (Newman, London). The book introduced the idea that colour and sound were related and attempted to create a theoretical explanation of the creation of colours from primary and secondary tones. The illustrations set out the proposed relationships diagrammatically without the landscape and pictorial elements introduced by David Lucas for later editions. Further information Collections Courtauld Collection FW: PB 1817.1 – George Field’s own copy with notes and containing his book plate inside cover, as well as various items inserted Exhibitions Catalogue numbers Location of originals Not known

Title 78. Cottage, Syon Hill Park after unknown artist, possibly David Lucas Dimension/Size FW (1) Image height 90mm x width 134mm; sheet height 93mm x width 138mm FW (2) image as above; plate height 120mm x width 153mm Date 1845 Medium FW (1) Mezzotint FW (2) Mezzotint with etching Publisher FW (1) Proof FW (2) George Field Description FW (1) Long evening shadows are cast by trees across a field in which a group of three large trees stand, in front of denser woods. Nestled among them is a house, one wing on three floors with a tall gable; to the left, a two floor wing with smoke rising gently from a chimney. A small figure stands in front of the house. A flock of birds rises into a bright sky beyond trees. Above the print is pencilled in George Field’s hand “Bosomed deep in tufted trees”, a popular quotation from Milton’s Paradise Lost, in full:

Bosomed deep in tufted trees Where perhaps some beauty lies The cynosure of neighbouring eyes

Trimmed to size; a double line border drawn in the plate. One of the extraneous objects inserted by George Field into his presentation copy of his book 'Chromatics', the 1817 edition, which is annotated and revised in the author’s own hand.

FW(2) the same in much thinner and more worn impression. Below the image, David Lucas Sculpt; and Syon Hill Park in open letter; and Published by Geo Field, Isleworth Sep 1845. With a pencil note ‘Mr Field’s House’. Inscription Subject Landscape Further information FW (1) A pencil note beneath gives the title and ‘D. Lucas‘ in George Field’s hand. On the print D Lucas is added in pencil in the same hand both on the right and left sides. Collections FW (1) within PB.1817.1 FW( 2) P.301-1954 Exhibitions Catalogue numbers

Location of original Not known

Title 79. Pertabgurh after Lieutenant Constable Dimension/Size FW: Plate height 279mm x width 357mm; sheet height 288mm x width 395mm VAM: Image height 240mm x width 344mm; sheet height 310mm x width 385mm Date 1849 Medium Etching, mezzotint Publisher The proprietor Description Castle walls and houses stand on a hill top that extends across the picture under a bright sky. The bare hill side falls away steeply in front of the castle into a valley. The foreground is scrubby, with a small tree to the far right and a small square shrine to the far left.

Inscription FW: unlettered, Petabgurh in graphite, manuscript VAM lettering: PERTABGURH (open letter) / Drawn by Lieut C Constable I.N.1846 // Published for the Proprietor //Engraved by David Lucas // This fort is situated about 80 miles S E of Bombay. It is more than 3000 feet above the level of the sea, which is seen to the left beyond the lower land of the Concan, nearly 40 miles distant. It was built by Sivajee in 1656. In the foreground is the tomb of Afzool Khan, the Beejapore General, who was murdered here by Sivajee in 1659.

Subject Petaburgh is given as a synonym for the town of Preptagar, India, in an account of the Indian Mutiny written by Mary Louise Goldney in 1858 (British Library). The town and fort are now known as Pratapgarh or Pratapgad, located in the Western Indian state of Maharashtra. The dramatic location and historical associations make it a popular tourist destination.

Further information Lieutenant C Constable is Charles Golding Constable, son of John Constable, who went to sea at 14 years of age. When his father died in 1837 he was on a ship bound for Bombay. The History of the Indian Navy (1613-1863) by Charles Rathbone Low, 1877 (reprinted 2012), records that Constable joined the Indian Navy in 1839 becoming a surveyor in 1844; he was promoted to lieutenant in 1845 but was in England in 1847-48 when the contents of his father’s studio were sold. He completed many surveys in India and the Middle East, where his work received official commendation, returning to England in 1862 when the service was disbanded. Collections FW: P.1682-R VAM: E.2243-2016 Exhibitions Catalogue numbers Listed by GF, no number given Location of original Not known

Title 80. Abraham Colles after Martin Cregan Dimension/Size Image height 315mm x width 255mm, plate height 415mm x width 336mm; sheet height 685mm x width 509mm Date 1850 Medium Stipple Publisher Dublin : Hodges & Smith, January 1850 Description NoI description: subject shown nearly three-quarter length, to right, looking to front, seated in armchair, left hand on lap holding seal on chain, left elbow on table to right where are inkstand and paper with death's head.

Inscription A. Colles (manuscript)

Subject Abraham Colles (1773-1843) was a surgeon born in Kilkenny whose medical education began with a book on anatomy lent to him by the local doctor. He graduated in Edinburgh and reportedly walked to London where he spent two years before returning to Ireland. He became resident surgeon to Stevens’ Hospital and was professor of anatomy and surgery in the Irish College of Surgeons for 32 years from 1804. He ran a very successful practice, earning £5,000 per year, and was a well regarded teacher.

Further information Martin Cregan (1788-1870) spent his life as a distinguished portrait painter in Ireland. He lived in London between 1812-1821. One of the original founding members of the Royal Hibernian Academy in 1823, he became president in 1832. In that year he wrote to John Constable, his friend, requesting contributions to the annual exhibition, to establish its quality; receiving two pictures from the painter (letter from Constable in the National Gallery of Ireland).

Collections National Library of Ireland, EP COLL-AB (1) IV Exhibitions Catalogue numbers Catalogue of Engraved Irish Portraits and Original Drawings / Rosalind M. Elmes. - Dublin : Stationery Office, [1938], p. 43 Location of original Not known

Title 81. Anne Fitzroy (née Liddell), Duchess of Grafton, artist unknown Dimension/Size NPG: image height 89mm x width 66mm; sheet height 222mm x width 140mm Date 1852 Medium Mezzotint Publisher Richard Bentley Description The Duchess is shown head and shoulders, in half-profile, looking to the right, turning towards the viewer. Her dark hair is brushed up high on her head, the long tresses left loose, gathered to fall around her neck on to her left shoulder. She wears a pearl pendant earring and has a string of pearls or gemstones in her hair. She wears a light gown loosely over her right shoulder. The image is an oval shape on the paper.

Inscription NPG D2469: Engraved by David Lucas // Anne Liddell // Duchess of Grafton and Countess of Upper Ossory (manuscript) // FROM A CRAYON DRAWING IN THE POSSESSION OF THE RT HON R VERNON SMITH MP

NPG D2497: below inscription – London Richard Bentley 1852 (possibly 1857)

Subject The Hon. Anne Liddell (1737–1804) married the 3rd Duke of Grafton in 1756 but was divorced in 1769 on the grounds of his immoral liaisons (supposedly triggered by her own gambling habit). She later married the Earl of Upper Ossory, an art connoisseur and MP for Bedfordshire. She was a great friend of and regular correspondent with Hugh Walpole.

The Rt. Hon Robert Vernon Smith (1800-1873), MP for Northampton and 1st Baron Lyveden, married Lady Emma Mary Fitzpatrick, the co-heir to the Ossory estate, in 1823, thereby inheriting estates in Bedfordshire and Northamptonshire on the earl’s death in 1841.

Further information Collections NPG: D2497; D2469 Exhibitions Catalogue numbers Location of original Not known

Works of unknown date after known artists

Title 82. Revd Richard Watson after John Jackson Dimension/Size Plate height 203mm x width 165mm; sheet height 434mm x width 295mm Date Medium Mezzotint Publisher John Mason Description The Reverend Richard Watson is shown half figure, sitting in an armchair with ornate back, facing to his left, his head turned to the right looking at the viewer. He wears a dark double breasted overcoat, with large collar, over a black jacket and white cravat.

Inscription VAM: Painted by John Jackson Esq, R.A. (open letter) / Engraved by David Lucas (open letter) // Published by John Mason 14 City Road and 66 Paternoster Row Subject Reverend Richard Watson (1781–1833), a theologian, played a key role in the development of Methodism in Britain. Born into a dissenting family but early educated by an Anglican cleric, he gave his first sermon at the age of 15 years. He was a talented and prolific writer and opponent of slavery. In common with many other Methodists he supported the development of missionary activity in India and prepared the plan for a Wesleyan Missionary Society. He served as President of Conference in 1826.

Further information See above for artist details Collections VAM: E.2234-2016 and E.2236-2016 Exhibitions Catalogue numbers Location of original Oxford Brookes University

Title 83. Alexander Henry of Ardwick after David Henry Parry Dimension/Size Image height 347mm x width 273mm; plate height 430mm x width 324mm; sheet height 440mm x width 330mm Date Medium Mezzotint Publisher Description Alexander Henry is shown three quarter figure, sitting, his left arm resting on the chair. He wears a white stock and is dressed in black knee breeches and stockings, with a double breasted, wide collared jacket buttoned at the 2nd and 4th of five buttons. He looks to the right, his right elbow resting on a side table, with a small quill pen in his hand. On the table is a document, three books and two ink wells. A plain wall behind.

Inscription BM: Painted by the late D H Parry // Engraved by David Lucas

Subject Alexander Henry of Ardwick (Green) (1766 – 1862) was a merchant in Manchester and MP for South Lancashire 1847 – 1852. Born in Ulster, he emigrated to Philadelphia in 1783, enjoying considerable success in trade before returning to England in 1804. With his brother Samuel he founded A & S Henry & Co Ltd I 1805, trading in many varieties of cotton products. The business expanded across the British Isles, operating for many decades and generating a considerable fortune for the owners.

Further information See above Collections BM: 1922,0612.22 Exhibitions

Catalogue numbers Listed by GF, not numbered Location of original Not known

Title 84. E J Trelawney engraved from life Dimension/Size Height 93mm (cut) x width 78mm (cut) Date Possibly 1840s Medium Mezzotint Publisher Not published Description An unfinished impression from a cancelled plate, showing Edward John Trelawny, turned to his left, facing to his right to look at the viewer. His hair is brushed loosely to one side, he wears a white shirt, open at the neck, and a dark coat. A wide moustache and beard covering his chin and neck complete a somewhat unkempt look.

Handwritten note in pencil in Lucas’s hand mounted with the portrait: “Portrait of Trelawny of Cornwall, author of the adventures of a younger son engraved from life on copper the only proof for Trelawny himself scratched out the head because he said they had made him look like an assassin for which they said he should (word unclear) the name under it (word unclear) Greek dryad as proof it ...... ” (remaining text obscured by British Museum catalogue stamp)

Inscription None Subject Edward John Trelawny (1792 – 1881) was a writer and adventurer, friend of Shelley and Byron. Sent to join the Navy at 13 years of age, he travelled to India and left the service after six years. On a visit to Italy he met Byron and Shelley, teaching them sailing and telling (reportedly somewhat fictional) stories of his navy experiences. Following Byron to Greece, he became involved in the war for independence before being wounded by an assassin and returning to England, where he spent the remainder of his life. He enjoyed the company of London society and artists, making a living by publishing well-received books, of which the best known are Adventures of a Younger Son (1831), and Recollections of the Last Days of Shelley and Byron (1858).

Various other portraits remain from throughout his life. Based on his appearance this representation seems likely to have been produced in the 1840s.

Further information Collections BM: 1878,0713.1438 Exhibitions Catalogue numbers GF listed, not numbered Location of original None

Title 85. Edward Hamlin Adams after Samuel Lane Dimension/Size BM: Height 295mm (trimmed?) x width 203mm (trimmed?) Date After 1828 Medium Mixed method mezzotint Publisher Description Seated in front of an ornate curtain or wall hanging, Edward Adams is half figure, turned to his right but facing left to the viewer. He wears a white wing collar shirt and cravat, with white waistcoat, under a black double breasted jacket.

Inscription S. Lane, Pinx.t 1828. / D. Lucas, Sculp.t // Edward Hamlin Adams, Esq.r (open letter)

Subject Edward Hamlin Adams (1777-1842) was a merchant and banker, born and raised in the West Indies but located in England from the 1820s. He resided in Carmarthenshire from 1824 after buying Middleton Hall (now the National Botanic Garden of Wales) for £54,700 and was elected as MP for 1833-34. He was highly litigious and refused to pay tithes to the local church. According to the Centre for the Study of the Legacies of British Slave-ownership (based at University College, London), Adams was a “supplier of enslaved labour to the British state in Jamaica”. A memorial was placed in Llanarthney church, Carmarthenshire.

Further information See above for artist details Collections BM: 2010,7081.4510 Exhibitions Catalogue numbers Location of original Not known

Title 86. Henry & Emma after William Hamilton Dimension/Size Date Medium Mezzotint (assumed) Publisher Description No version of this work has been identified.

Inscription Subject Possibly based on a painting of the scene in a poem of the same name by Matthew Prior, published in 1709. It portrays a love affair with many dramatic and colourful images. Famous in the 18th c., although Dr Johnson described it as a ‘dull and tedious dialogue’, it is known mainly from a reference in Jane Austen’s novel Persuasion.

Further information See above for artist details

Collections Exhibitions Catalogue numbers GF101 Location of original Not known

Title 87. Interior with man and woman, after a painting formerly attributed to Rembrandt Dimension/Size Height 196mm x width 232mm Date Medium Mezzotint Publisher Description Centre left a man in 17th century costume stands looking at the viewer. He wears a large hat with a feather, and holds a string of pearls. He is behind a table on which a mirror is set at an angle, with a small casket behind it, a book leaning against it. Centre right sits a woman in a full dress with an embroidered cloak, held by a chain over her left shoulder. She wears a chain belt, and is leaning forward, both hands raised to her ear and her head tilted towards the viewer as she inspects an earring. Behind the figures hangs a large curtain with broad tasselled fringe.

BM: proof before letters; after a painting formerly attributed to Rembrandt.

Inscription Subject Genre Further information The artist is believed to be a follower of Rembrandt Collections BM: 1914,0812.4; also 1861,1109.289. Exhibitions Catalogue numbers Location of original The Royal Collection; in Buckingham Palace

Title 88. Robert Banks Jenkinson, 2nd Lord Liverpool after John Hoppner Dimension/Size BM: Height 225mm x width 164 mm VAM: Image height 100mm x width 82mm; plate height 227mm x width 165mm; sheet height 397mm x width 252 mm Date Medium Mezzotint Publisher Description Robert Banks is shown half figure, seated and turned to his right, head facing left to the viewer. He wears a dark double breasted overcoat, top button fastened, with a white wing collar shirt open at the neck to show a white cravat beneath. Embroidered curtain or wall hanging behind him.

Inscription BM, VAM: proof before letters

Subject Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828), was Prime Minster between 1812 – 1827, the youngest ever and one of the longest serving. He was MP from 1790 – 1803, joined the militia during the French wars, and entered the government in 1801, remaining a government minister for most of his life.

His portrait was painted by a number of artists (Thomas Lawrence among them), many published as engravings. The Hoppner portrait was engraved by Henry Meyer and published in 1815 (see NPG D3596)

Further information John Hoppner (1758 – 1810), London born of German parents, entered the Royal Academy in 1775. In 1782 he received the gold medal, the highest award available. Although at first a landscape artist he became most successful as portraitist of high society and royalty. According to the Encyclopædia Britannica (1911), many of his pictures suffered over time due to poor quality materials. Robert Banks was a subject several times in his career.

Collections BM: 1896,0821.26 VAM: E.2237-2016 Exhibitions Catalogue numbers GF 145 (attributed to Thomas Lawrence) Location of original Not known

Title 89. Mr Sheepshanks after Charles Robert Leslie Dimension/Size Date Medium Publisher Description No version of this work has been identified.

Inscription Subject John Sheepshanks (1787 – 1863), partner in a Leeds based textile manufacturer founded by his father, retired at the age of 40 and moved to London. He was a friend of both Leslie and Constable, being a keen collector of the latter’s paintings (see C R Leslie biography), adding them to his large collection of British art. In 1857 he donated 233 paintings to the Victoria & Albert Museum, establishing its collection of pictorial art.

Further information Collections Exhibitions Catalogue numbers GF 109 Location of original Not known

Title 90. Dover Fishing Boats Returning after Charles Tompkins (assumed = Tomkins) Dimension/Size FW: Image height 100mm x width 140mm Date Medium Mezzotint on chine collé Publisher Description Foreground right a woman stands on the shore carrying a bundle under one arm; a second woman sits on a beached rowing boat with a basket beside her. Behind them the waves break on the shore and gulls fly over the surf. Out to sea, six sailing boats tack towards the shore. The roof tops of Dover are visible in the far distance, left, with the white cliffs rising to the right against a cloudy evening sky.

Inscription None Subject Landscape Further information See above for artist details Collections FW: P.1675-R Exhibitions Catalogue numbers GF 96 Location of original Not known

Title 91. Morning after Joseph William Allen Dimension/Size BM: Height 118mm (trimmed) x width 145mm VAM: Image height 106mm x width 143mm; sheet height 143mm x width 154mm Date 1830 Medium Mezzotint Publisher J Hendrick Description A flock of birds flies above a rocky outcrop to the right, overlooking a sloping, stony beach on which a small boat rests, with several men inside hauling up the sail. Next to it another boat has been beached and several more are afloat to the left, preparing to sail. A man and two children watch, one child pointing. The sea beyond is calm, under a cloud streaked sky, brightening in the distance where the sun is about to break through.

Inscription BM: Painted by J. W. Allen. / Engraved by D. Lucas. // Morning (open letter)

VAM: E.2254-2016 - as BM with Sketches Plate 17 / London J Hendrick 54 Leicester Square / Printed by S H Hawkins

VAM: E.2255-2016 – as BM with: Published by Samuel Hollyer, 2 Everett St, April 1830 VAM: E.2256-2016 – as BM with: I & F Harwood, 256, Fenchurch Street Subject Landscape Further information Joseph William Allen (1803 – 1852) entered the art world as assistant to an art dealer before becoming a painter himself. Working at first on theatrical scenes (alongside Charles Tomkins) he then took up landscape painting. His medium was watercolour, later also oils, and his subjects Wales, the North of England and the Midland counties. He was a professor of drawing at the City of London School. According to references in contemporary magazines he painted a companion piece to this work entitled Evening.

Collections BM: 1898,1123.8 VAM: E.2254-2016; E.2255-2016; E.2256-2016 Exhibitions Catalogue numbers GF 100 Location of original Not known

Title 92. Ouse Bridge, York after Thomas Girtin Dimension/Size Height 403mm x width 576mm Date Medium Mezzotint Publisher Description Right foreground several boats lie on the muddy river shore. A woman carrying a child meets an old man with a walking stick, who holds out his hand to a child reaching out to him. The stone built bridge stretches across the centre of the image. In the river below several men work on boats with sails furled, one brightly lit by a shaft of sunlight. Through the arch of the bridge carts can be seen on a dock on the opposite bank of the river. Behind and above stands a church with a clock tower and small steeple; alongside warehouses to the left. Dark clouds gather over the scene.

BM: unfinished proofs, margins not cleaned. 110, 145, peaceful skies, with grey cloud; 5509 skies to top right re-drawn to depict approaching showers

Inscription None Subject The Ouse bridge was demolished between 1810 and 1818 to make way for the New Ouse Bridge.

Further information Thomas Girtin (1775-1802) was born in London and having shown talent for drawing, was apprenticed to Edward Dayes, a topographical water colour painter. He became friends with JMW Turner and acquired wealthy patrons, producing several series of watercolour scenes from tours around England including the series entitled Liber Naturae, from which this work derives.

Samuel Reynolds owned many Girtin works. Reynolds himself made a mezzotint of this work (BM 1893,0612.82.7), engraved and published in 1823-24. It is possible that Lucas’ version dates to the period of his apprenticeship.

Collections BM: 1867,0112.110; 1862,0809.145; 2010, 7081.5509 Exhibitions Catalogue numbers GF listed, not numbered Location of original Yale Center for British Art

Title 93. View of Laythorne postern gate and bridge, York, after Thomas Girtin Dimension/Size Height 405mm x width 572mm (trimmed) Date Medium Mezzotint Publisher Description A road entering from the right leads up and over the bridge to a postern gate. A woman carrying a basket stands in front of a fence on the road at right, two men sit on the parapet of the bridge, one holding the reins of a horse. A woman carrying a bundle on her head is descending from the bridge to the road accompanied by a young girl. To the left a man sits on the ground by a tree, looking out over the river. Beyond the bridge stands the gate, in shadow, with a sunlit church behind to the right, other buildings to the left. Trees and hills under dark clouds to the right, a brightening sky to the left.

Inscription Unfinished proof Subject Landscape Further information See above. The Reynolds version is BM 1893,0612.82.5, entitled ‘Layerthorpe Bridge and Postern, York’ Collections BM: 1867,0309.1032 Exhibitions Catalogue numbers Location of original Whitworth Art Gallery, Manchester

Title 94. Peasant Boy in a storm after Thomas Gainsborough Dimension/Size BM: Height 170mm x width 140mm VAM: Plate height 172mm x width 141mm; sheet height 230mm x width 187mm Date Medium Mezzotint with etching Publisher Description Centre right, a boy dressed in a ragged coat, barefoot, sits sideways under a tree. He looks anxiously to picture left where rain slants down towards him from a grey sky in which a lightning bolt flashes. He leans on his left hand which holds a short stick. His right holds the coat closed against the wind. At his side, gazing up at him, lies a dark coloured dog, with hills in the distance, picture left.

Inscription BM, VAM: proof before letters. Subject Genre scene Further information Likely to be a companion piece and contemporary with The Woodman Collections BM: 1896,0821.25 VAM: E.2241-2016 Exhibitions Catalogue numbers GF 116 Location of original Not known

Title 95. Peasant Boy after Thomas Gainsborough Dimension/Size BM: Height 167mm x width 126 mm FW: Plate height 168mm x width 125mm; sheet height 300mm x width 245mm VAM (E.2248-2016): Sheet height 240mm x width 203mm; plate height 168mm x width 126mm 2249.2016: Sheet height 165mm x width 126mm 2250.2016: sheet height 148mm x width 107mm 2247.2016: plate height 168mm x width 127mm; sheet height 366mm x width 263mm

Date Medium Mezzotint with etching Publisher Description A young boy stands in a field, dressed in shoes and loose fitting stockings; knee breeches; waist length jacket with large buttons; a white cravat; and large soft hat. His face is in shadow, his left side lit by sunlight. Behind to the right, distant hills; to the left a large bush, a cloud behind his head, floating in a summer sky.

Inscription BM; VAM E.2248-2016: Engraved from an Original Drawing by David Lucas // Gainsborough (open letter) VAM 2250.2016; E.2247-2016: trimmed, no inscription VAM 2248.2016: Engraved from an Original Drawing by David Lucas. // Gainsborough (open letter) // I & F. Harwood. 26, Fenchurch Street Subject Genre Further information Likely to be a companion piece and contemporary with The Woodman Collections BM 1896,0821.23 and 1871,1209.5676 VAM E.2247-2016 and E.2250-2016 and E.2249-2016 and E.2248-2016 (hand coloured) FW P.68-2005 Exhibitions Catalogue numbers GF 106 Location of original Not known

Title 96. Piety after Guido Reni (?) Dimension/Size Height 265mm x width 185mm Date Medium Mezzotint with etching Publisher Dean & Munday Description A young woman is shown in profile, looking to the left, where the light falls through a window, one edge of which is seen. Her hair is loose and falling in curls to her neck. She wears a square cut dress of a dark material with a brooch holding several folds together at the centre, with large, loose sleeves of light material. Behind her, a plain wall.

Inscription 'Guido. Pinx.t / Lucas Sculp.t // Piety (open letter) // 'Teach us to pray - and, having taught, ... But with it _ powerful to save! / Edmeston // Published by Dean & Munday, Threadneedle Street Subject The verses quoted come from ‘An Evening Hymn’, by James Edmeston, (1791- 1867) which ends with the verse:

“Teach us to pray – and, having taught, Grant us the blessings that we crave; Without thy teaching, prayer is nought, But with it, powerful to save”.

James Edmeston was an architect and prolific writer of hymns and sacred verse, published in books such as The Cottage Minstrel (London: F. Westley, 1821) a highly popular volume which contains this poem.

Further information Attributed to Guido Reni (1575 – 1642) an artist with a high Baroque style. The picture bears some resemblance to his style but could well be by another artist. Collections BM: 2010,7081.7186 Exhibitions Catalogue numbers Possibly GF listed, not numbered Location of original Not known

Title 97. Seaford after Samuel Prout Dimension/Size Image height 100mm x width 141mm; sheet height 132mm x width 174mm Date Medium Mezzotint Publisher Description A woman stands on the shore, picture right, holding a basket on her right arm. Centre, a second woman sits on a rock or upturned boat. A lobster basket stands on its end next to the boat. Behind, waves break on the shore, with six sailing boats beyond the waves, sailing to and from a town shown in the distance, to the left. Rising up from the town to the centre of the horizon are white cliffs with grassland above them. A dark bank of clouds over the sea to the right, white clouds above the town to the left.

Inscription Subject Seaford, in Sussex, an isolated fishing village, became a popular resort after expansion of the railway network opened the Southern English coast to tourism from London.

Further information Samuel Prout (1783 – 1852) was born in Plymouth, attending Plymouth Grammar School where the headmaster encouraged his interest in art. In his early career he painted marine scenes and English landscapes but later found greater success with depictions of the mediaeval architecture of towns on the Continent. He attained the position of Painter in Water-Colours in Ordinary to King George IV in 1829, continuing under Queen Victoria. He also taught, counting Ruskin among his students, gaining much praise for his own work in Ruskin’s later writing.

Collections National Trust: NT 930375; at Dunham Massey, Cheshire VAM: E.2221-2016 Exhibitions Catalogue numbers Location of original Not known

Title 98. Snowdon after Charles Marshall Dimension/Size BM: Height 178 mm x width 230 mm Date Medium Mezzotint Publisher Henry Gibbs, Samuel Hollyer Description To the right, rocky slopes run down to the edge of a lake, where two groups of figures are fishing. Two riders, one on a white horse, look down from the slope above. A rowing boat is mid-lake, the water calm, reflecting the mountains. Across the lake the far shore is dark and wooded, with high mountains rising into a cloud filled sky.

Inscription BM: Drawn by C. Marshall. / Engraved by D. Lucas. // Plate 4th. // Snowdon (open letter) // Pub.d by S. Hollyer, &, Compton St. East Brunswick Square / and H. Gibbs, 23, Gt. Newport St. // Printed by S.H. Hawkins.

Subject Landscape Further information See above for artist details Collections BM 2010,7081.6331 VAM: entitled Lake View after JMW Turner (both proofs before letters) E.1202- 2016. A pencil addition below the image attributes the original to JMW Turner.

A label attached to the rear of the mount by Leggatt Bros states “Rare unpublished proof before all letters – Lake View after JMW Turner RA – by David Lucas” with a further label stating “only two proofs known of this”. VAM: 1203-2016 (a finer version, sharper definition) Exhibitions Catalogue numbers GF 1903, 17 according to the Lennox-Boyd database Location of original Not known

Title 99. A woman at a well after Henry Syer Trimmer Dimension/Size Plate height 212mm x width 179mm; sheet height 223mm x width 190mm Date Medium Mezzotint Publisher Description Very sketchily engraved, remaining dark over much of the surface. Centre, a circular stone wall around a large well, with rocks in front. To the right sits a woman, a jar on the wall of the well beside her. Behind her, an outcrop of rocks and hills in the distance. To the left a tall tree with bare trunk and thick foliage to the crown, stands by the well, with a distant view of hills and cottage or tower on a hill with smoke rising. A scene reminiscent of a Mediterranean setting.

Inscription Subject Landscape Further information See above for artist details Collections VAM E.1193-2016 Exhibitions Catalogue numbers Location of original Not known

Title 100. Landscape after Sir Richard Digby Neave Dimension/Size Date Medium Mezzotint Publisher Description Inscription Subject Landscape Further information See above for artist details. The existence of both original and Lucas’ mezzotint are reported in the Burlington Magazine, Vol 26, 1914/1915, page 114 Collections No extant copies, only known version owned by E E Leggatt in 1914 Exhibitions Catalogue numbers Location of original Not known; in the possession of Mr A B Clifton of Carfax & Co in 1914

Works of unknown date after unknown artists

Title 101. An unknown Divine after unknown artist Dimension/Size Date Medium Publisher Description No version of this work has been identified.

Inscription Subject Further information Collections Exhibitions Catalogue numbers Listed by GF, no number given Location of original Not known

Title 102. A young woman after unknown artist Dimension/Size Height 352mm x width 265mm Date Medium Etching and mezzotint on chine collé Publisher Description Half length portrait of a young woman who sits sideways in a chair, leaning to her right, arm on her lap. Her hair is dressed in short ringlets, a snake-like bracelet on her right wrist, a ring on the third finger of her left hand. Her gown falls to expose her shoulders and left breast.

Inscription Unlettered proof Subject Portrait Further information Collections BM: 1914,0406.47 Exhibitions Catalogue numbers Location of original Not known

Title 103. Ruined abbey (moonlight) near a river after unknown artist Dimension/Size Date Medium Publisher Description No version of this work has been identified. Inscription Subject Artist Collections Exhibitions Catalogue numbers GF 100 Location of original

Title 104. Small Mountainous Landscape (Norway?) after unknown artist (VAM) Or: Mountainous landscape with a waterfall after unknown artist (FW)

Dimension/Size VAM: Image height 110mm x width 148mm; plate height 145mm x width 175 mm; sheet height 195mm x width 225mm FW: Image width 145mm x height 105mm; plate width 178mm x height 150mm; sheet width 195mm x height 163mm Date Medium Mezzotint Publisher Description Centre right a sunlit waterfall cascades over rocks, from which a stream emerges right, curving round a dark rocky outcrop. A bush stands foreground in sunshine. To the left, stony valleys recede into the distant mountains, patches of light cast across them from the broken clouds that wreath the peaks above.

Inscription Subject Landscape Further information Possibly after Edward Price Collections VAM: E.1175-2016 FW: P.1657-R Exhibitions Catalogue numbers May be GF89 Location of original Not known

Title 105. Country cottage by a stream after unknown artist Dimension/Size Height 138mm x width 138mm Date Medium Mezzotint Publisher Description A pond or stream extends across the foreground, a low bank rising to the left. On the far side, to the right, a cottage stands by steps leading down to the water, smoke drifting from its chimney. A tree stands in front of the cottage, looming over its roof. In front, by the stream edge, one figure stands while another bends to the water. Behind, centre, blocking the sky, four massive trees with thick dark foliage occupy the centre of the scene. To the left, a patch of sky and distant horizon framed by trees.

Inscription Subject Landscape Further information Collections BM: 1857,0520.337 Exhibitions Catalogue numbers Location of original Not known

Title 106. Unidentified landscape in the style of Rubens (1) Dimension/Size Image height 170mm x width 130mm; sheet height 265mm x width 265mm Date Medium Mezzotint Publisher Description Left of centre the moon shows through the branches of a group of trees, reflecting from the surface of a stream below as it winds through fields towards a distant house, roof just visible above the tree tops. Two figures, one standing, one sitting, are on the bank of the stream foreground left. To the right, beyond the stream, the moonlight is scattered across the leaves of trees and bushes.

Inscription Subject Landscape Further information Attribution and ‘proof’ added in pencil Collections VAM E.1195-2016 Exhibitions Catalogue numbers Location of original Not known

Title 107. Unidentified landscape with rainbow in the style of Rubens (2) attribution to David Lucas unsubstantiated Dimension/Size Image height 116 mm x width 155mm; plate height 125mm x width 165mm; sheet height 294 mm x width 430 mm Date Medium Mezzotint Publisher Description From a group of trees to the right a rainbow arches up into the sky, descending to the left behind another group of trees, backlit by diffused sunshine. Beneath, extends a wooded country landscape with two distant windmills. Under the trees to the left workers build a hay stack against the trunk, taking the hay from a cart. To the right swans and other birds swim in a stream in which six cows stand with their cowherd behind. Foreground left, a cart pulled by two horses carries hay up the road, the drayman astride one horse, greeting two young girls coming towards him, one carrying on her head a large jar.

Inscription Subject Landscape Further information Collections VAM: E.1219-2016 Exhibitions Catalogue numbers Location of original Not known

Title 108. Landscape with sheep after unknown artist (possibly H S Trimmer) Dimension/Size VAM: E.1176-2016 Height 290mm x width 285mm, no margin VAM: E.1172-2016 Height 358mm x width 338mm Date Medium Mezzotint with engraving Publisher Description Centre, a small flock of fourteen sheep sit and stand under a tree, its curving branches silhouetted against the sky, light breaking through clouds behind. They are positioned on a low promontory with the bank breaking down towards a scattering of plants bottom left; and a pond lower right. To the left, a view over a valley towards another promontory with distant windmill; above, dark birds wheel though the sky, suggesting a windy day.

Inscription Subject Landscape Further information After Henry Syer Trimmer? Collections VAM E.1176-2016 VAM E.1172-2016 (with margin); this work appears to be the earlier state with more precise detail especially to the left and at the pond’s edge, centre Exhibitions Catalogue numbers

Location of original Not known

Title 109. Unidentified landscape with a rider and two horses after unknown artist Dimension/Size Image height 290mm x width 342mm; sheet height 340mm x width 365mm Date Medium Mezzotint Publisher Description Centre foreground, a rider sits relaxed on a white horse sits as it walks down a country track. He wears a straw hat and carries a striped whip or stick. Beside him, a second horse carries a bundle of goods across its back. To the right, trees and bushes on a bank; a tree trunk lies in the road. To the left, a view across fields where a ploughman with two horses plough a field; beyond, a church and smoke rising from buildings. Birds are silhouetted against a light sky as dark clouds mount up from the right, a small rain shower trails below them over the hills behind the village.

Inscription Subject Landscape Further information Collections VAM E.1171-2016 Exhibitions Catalogue numbers Location of original Not known

Title 110. Unidentified landscape with cottage and bridge after unknown artist Dimension/Size Image height 128mm x width 200mm; sheet height 150mm width 230mm Date Medium Publisher Description Extreme right, one end of a large stone built bridge arches over a river which runs across the foreground. Behind the bridge a low hills with a ploughman silhouetted against an evening sky. Centre, the road from the bridge turns round the hill, a herd of cows coming off the bridge. Left of centre, a small white cottage, smoke drifting from a chimney, sits at the foot of wooded hills, above the steep river bank which falls away to the river below. A jetty or flat bottomed boat is dragged up on the shore and reflects in the still surface of the river.

Inscription Subject Landscape Further information Collections VAM: E.1191-2016 Exhibitions Catalogue numbers Location of original

Title 111. Unidentified seascape with ships in high winds after unknown artist Dimension/Size Image height 145mm x width 190mm; sheet height 335mm x width 500mm Date Medium Mezzotint Publisher Description Waves roll across the foreground, tops whipped by the wind. A two-masted sailing ship, centre, heading away from the viewer, is reefing its sails while at the

masthead flags and pennants stream in the wind blowing from the left. Seven other ships are scattered along the horizon. The sun breaks through grey clouds.

Inscription Subject Landscape Further information Collections VAM: 1192-2016 Exhibitions Catalogue numbers Location of original Not known

Title 112. Dark Landscape with rounded trees after unknown artist Dimension/Size Image height 77mm x width 98mm; plate height 85mm x width 103mm; sheet height 100mm x width 117mm Date Medium Mezzotint Publisher Description A group of trees stand centre, with grassy slopes running down from left and right, studded with bushes, before a line of low hills in the distance. Above a cloudy sky, darker to the right, with the moon (sun?) breaking through at centre.

Appears to be an unfinished state. Pencil note below image “October 9th 49” Inscription Subject Landscape Further information Collections FW P.1655-R Exhibitions Catalogue numbers Location of original Not known

Title 113. Sunrise after unknown artist (FW) Or: Sunshine in a mist after unknown artist (VAM) Dimension/Size FW: image height 74mm x width 114mm; plate height 101mm x width 133mm; sheet height 310mm x width 425mm VAM: E662-1993 - image height 75mm x width 114mm; plate height 101mm x width 134 mm; sheet height 210mm x width 240mm Date VAM: 1839? Medium Mezzotint Publisher Description Grassy slopes extend across the foreground, a few sheep dotted across the meadow. Beyond a group of trees to the left a valley stretches with the bright line of a river disappearing behind hills to the right. A distant church tower across the valley is touched by a ray of the sun that blazes out in the sky above, breaking through thin clouds that are heavier to the upper right.

Inscription Subject Landscape Further information It seems likely that Lucas was the artist Collections FW: P226-1954 VAM: E662-1993; E2259-2016; E.2260-2016 Exhibitions Catalogue numbers Location of original Not known

Title 114. Moonlit landscape with cows after unknown artist Dimension/Size Image height 82mm x width 112mm; sheet height 115mm x width 136mm Date Medium Mezzotint Publisher Description A landscape in an 18th century style. To the left, trees are silhouetted against the moon, which shines on a lake or pond in front of trees, a small fence on the nearer edge. Centre, a horse and a cow stand in the fields, while a large house with three chimney stacks stands among trees behind. Clouds above are lit by the moon.

Inscription Subject Landscape Further information Collections VAM: E.1189.2016 Exhibitions Catalogue numbers Location of original Not known

Title 115. Landscape with walkers on a country road after unknown artist Dimension/Size Sheet width 143mm x height 165mm; image width 140mm x height 138mm Date Medium Mezzotint Publisher Description Against a light sky, dark trees in the centre mark the turning point of a country road, circling in from the left and bending to the right among the trees. A man is walking on the left, another at the bend where the bank is white. In the distance, right, two other people are walking ahead. It appears to be evening.

Inscription Subject Landscape Further information Collections VAM: 1190.2016 Exhibitions Catalogue numbers Location of original Not known

Title 116. Approaching Storm, View on the Thames, after unknown artist Dimension/Size Image width 110mm x height 73mm; sheet width 165mm x height 112mm Date VAM: possibly 1829 Medium Mezzotint Publisher Samuel Hollyer Description The river extends darkly across the foreground, with one man rowing, another in the stern of a small boat, near the low shore to the right. To picture left, the bank rises up to trees against the night sky, where the moon breaks through storm clouds rolling in from the right. Foreground the broad and winding river reflects the moonshine.

Inscription Approaching Storm, View on the Thames // London Published by Samuel Hollyer, Everitt St, Russell Sq

Subject Landscape Further information It is considered that this might be after an unknown sketch by Constable but seems more likely to have been of two pieces made by Lucas from his own drawings to demonstrate his talents to Constable Collections VAM: E.1766-1991 Exhibitions Catalogue numbers Location of original Not known

Title 117. Thunderstorm in a rocky valley after unknown artist Dimension/Size VAM E2264-2016: image height 74mm x width 115mm; plate height 102mm x width 135mm; sheet height 200mm x width 312mm Date Medium Mezzotint with engraving Publisher Description A broad rocky valley extends across the foreground and back towards a high mountain, wreathed in black clouds. Sunlight seems to flash from the top right hand corner. The summit of the mountain is bright behind clouds, with two lightning bolts flashing to the right from the peak, another to the left, across the scene, causing an explosion among the rocks to the left.

Inscription Subject Landscape. The picture bears some resemblance to the dramatic scenes of John Martin; or might represent a volcanic eruption Further information Collections VAM: E2264-2016; E.2263-2016 (proof, left side unfinished) Exhibitions Catalogue numbers May be GF 85? Location of original Not known

Title 118. Views of America after unknown artist (possibly Henry Samuel Davis) Dimension/Size See list below Date Late 1840s if by Davis Medium Mezzotints, some with etching, drypoint or stipple Publisher Description 1. Niagara (BM 1907,1018.61; Height 180mm x width 224mm; one of the second set of five prints from the series; FW: unlettered; P.1670-R). Centre, six figures stand and sit in front of timber buildings. To the right, a wooden walkway leads between the buildings to a fenced area where two other figures stand. To the left, a huge waterfall sends up a cloud of spray. Below, a figure waves. On the horizon, woods and hills under windswept clouds, sunlight slanting through. Lettered with Niagara below the image.

2. Falls above Niagara (BM 1870,0514.2319 (proof before rework); 1907,1018.58; and 2010,7081.7177 - Annotated in pencil on the recto 'Eng.d by Lucas') Height 180mm x width 225mm; proof before letters; FW P.1668-R In the foreground, a ledge overlooking the falls, with rough wooden fence, and a gateway leading to steps. On the right, a cliff with bushes. A man in cloak and hat is silhouetted against the view, three others lean against the fence, with a basket and other items propped by it to the right. Beyond, centre, two waterfalls are divided by a rocky outcrop covered in trees. To each side, beyond the falls buildings can be seen under a cloudy sky.

3. A waterfall with anglers (BM 1870,0514.2320, proof before letters; height 228mm x width 180mm; FW P.1660-R). In an oval shape on the paper, a large waterfall cascades over a cliff framed by trees on the left. To the right, a low cliff with roof tops visible over the brow, among trees. Birds fly above the pool at the foot of the fall, which extends to a level shore in the foreground. One man, wearing a coat and hat, stands fishing with bag slung over his shoulder; another sits, a rod behind him bending towards the fall.

4. A light house on a cliff above a river (BM 1907,1018.62; height 175mm x width 226mm; proof before letters; VAM 1198-2016; FW P.1666-R). In a cloudy sky, a storm is appearing from the right, while the sun shines brightly on the clouds at left. Centre, a lighthouse stands on a headland, the land sloping away to the right above a bay in the foreground. Houses are scattered inland, on the edge of the bay and at the foot of the cliff below the lighthouse. Foreground centre, two men stand looking over the bay, one leaning on a staff, the second pointing over the bay; a third sits on the ground.

5. Landscape with a church, cattle in a meadow (BM 1907,1018.64; 1870,0514.2322 – early state; height 179mm x width 223mm; VAM 1174-2016; FW P.1665-R). A track stretches off to the left, across a level plain where cows graze. On the horizon, stands a church with ornate steeple alongside houses. Across the plain to the right, another group of houses. Two groups of three people, one with a child, walk towards the town along the track.

6. A waterfall and smaller cascades (BM 1907,1018.63; height 180mm x width 230mm; proof before letters; FW P.1669-R). The viewer looks out as if from a tunnel or cave to a mountainous scene where a path winds through the rocks along a sheer cliff face. A traveller walks on at left, braving a waterfall that descends from the cliff across the path, while other travellers are further ahead, centre. To the right, conifers stand among the rocks and behind, a mountain side; in the distance a sunny valley.

7. Lofty buildings on the shore of a river (BM 1907,1018.65; Height 179mm x width 230mm; FW P.1662-R). The river extends across the scene with a boat, its sail furled, to the right; distantly beyond, a group of houses on the mountainside. To the left, three men row a smaller boat across the river and another boat beyond has its sail raised. On the far shore, which rises sharply up to mountains, stands a group of tall buildings with the tallest connected by a long platform to the cliff top.

8. The falls of Niagara by moonlight (BM 1870,0514.2321, proof before letters; 1907,1018.66; height 220 mm x width 177mm; FW P.1664-R; VAM E.1188.2016 image height 105mm x width 165mm; sheet height 145mm x width 208mm ). A great rock juts out from a cliff at right, with the moon appearing round the highest point, top left. Tiny figures are visible at the summit. To the left, a vast cascade of water, creating a cloud of spray. A man stands under the rock, silhouetted against the white water. Tree trunks lie on the ground and against the cliff from which water drips.

9. View on a river with a raft (BM 1907,1018.60; Height 177mm x width 229mm; FW P.1673-R). Stormy waves in a lake fill the foreground. A huge raft of logs twists in the water as a man steers with a pole from the back, nearest to the viewer. Other men stand along the raft. Across the lake is a mountainous shore, with cliffs rising up

from the water. To the left, the sun brightens a church and other buildings high above the lake; to the right, the mountains are shadowed by stormy clouds.

10. View on a river with a man fishing (BM 1907,1018.59; height 178mm x width 230mm). Centre, a man stands on the shore of a small lake, facing right with a fishing rod extended over the water. He is framed by bare branched trees to the left, and a fallen tree trunk along the shore line. Beyond the lake, dark trees mark a view of sunlit fields and mountains.

11. Waterfall, rocks in the foreground (BM 1907,1018.68; height 178mm x width 229mm; FW P1661.R). To the left, dead trees stand on the river shore, with darker trees behind. Centre, rocks line the edge of pool at the base of a large waterfall, cascading over a lower cliff. A flock of birds is silhouetted against the white water, flying up from the shore. Clouds float above trees on the cliff.

12. River scene with bathers (BM 1907,1018.69; height 112mm (trimmed) x width 170mm; FW P.1663-R). Massive rocks stand on the left, hanging over a river. A water chute descends on poles from the cliff top to the shore line, centre. In the water, right, three men bathe while three more sit on the shore. To the left a rowing boat with three men in the river, while beyond the sails of several boats are visible, under dark clouds, lit by the sun from behind the cliffs.

13. Passengers waiting on a jetty (FW P.1671-R; image height 100mm x width 155mm; plate height 118mm x width 230mm; sheet height 254mm x width 317mm; also P.1672-R, a later (?) state with etching/stipple). To the left, a floating jetty projects into a lake. Two people, swathed in cloaks, one holding a pole, look across the water from the far end. At the shore, picture left, four more people stand among bundles. To the right, a rowing boat with two people crosses the lake. On the far shore, fields extend across a plain in the centre, while cliffs rise above the lakeside houses on the left. On the right are more houses with hills behind. Darkness extends across the sky as the sun sets, illuminating the highest clouds.

14. Flock of birds at the foot of the Falls (FW P.1667-R; image height 100mm width 157mm; plate height 180mm x width 230mm; sheet height 240mm x width 300mm) Centre, white clouds of spray rise from the falls, with high cliffs rearing to either side. The river fills the foreground, with a stony shore lined by trees to the left. A flock of birds rise together from the rocks towards a distant settlement across the lake.

Inscription See Descriptions above Subject Landscape Further information See entry for Captain H S Davis. The attribution is suggested on the basis of the existing relationship between Davis and Lucas. Paintings by Davis giving views of Niagara were published in lithograph by Thomas MacLean in London in 1848. (see the Albright-Knox Art Gallery, Buffalo, New York and Royal Ontario Museum) Collections BM: the series 1907,1018.57 Exhibitions Those held by FW - Print Room April – July 1981 Catalogue numbers GF19-29 as Eleven Views of American Scenery Location of original Not known

Other works

Title 119. Trial plate with head of a lady in living part after unknown artist Dimension/Size Date Medium Mezzotint Publisher Description Inscription Subject Portrait Further information Collections Exhibitions Catalogue numbers GF listed not numbered Location of original

Title 120. James Northcote, RA, after John Raphael Smith Dimension/Size Height 242 mm x width 194 mm Date Medium Watercolour Publisher Inscription Description Head and shoulders, looking to the left, wearing a high collared dark coat, buttoned, with red lining and stock. Grey, shoulder length hair, parted at the centre. Subject Portrait Further information Drawn by David Lucas after John Raphael Smith Collections BM 1904,0831.1 Exhibitions Catalogue numbers Location of original

Sources

Online collections

• British Museum (BM) • Fitzwilliam Museum (FW) • London Metropolitan Archives (Met) • National Portrait Gallery (NPG) • National Library of Ireland (NoI) • Royal Academy (RA) • Royal Collection (RC) • Tate Gallery (Tate) • Victoria & Albert Museum (VAM) • Museums in the USA and New Zealand

Dealers/Online auction sites

• Grosvenor Prints • Invaluable

Publications

• Gooden & Fox catalogue (GF) • Bents Literary Advertiser • The Athenaeum • British Newspaper Archive

Websites

• Dictionary of National Biography • Others as listed under entries