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Home , Hadleigh Castle, John Crome, John Linnell (painter), John Sell Cotman

ENGLISH LANDSCAPE ARTISTS Drawings and Prints Prints and Drawings Galleries/June 26-September 6,1971

r,«> V ' ^JKtA^fmrf .^r*^{. v! •,\ ^ ^fc-^i I- 0 It has long been recognised that there is a special affinity between the English people and landscape. As painters and sketchers of landscape, as lyrical nature poets, and as landscape gardeners (of the Nature-Arranged school as distinct from the formal continental embroidery-parterre style) the XVIIIth and early XlXth century English outstripped everyone else. Moved by more than just the romantic spirit of the times, the English, although fascinated by impassioned anthropomor­ phic renderings of storms, also enjoyed serene pictures of the familiar out-of-doors. Starting at least as far back as the XVIIth century with a topographical interest, portraits of their own homes and countryside have always appealed to the English, the way color snapshots of favorite places still do. The people who could afford to have painters and engravers make bird's-eye views of their house and grounds in the XVIIth century were also travelling on the continent, looking at the Roman campagna and collecting both paintings and drawings of it to take home. By the XVIIIth century, having trained their eyes to accept and even enjoy drawings, English gentlemen hired drawing masters to teach their children how to "take a landskip". Many a drawing master and even well-known painters, finding that they needed to supplement meagre incomes, wrote and illustrated books of instruction. While a few drawing books were produced elsewhere, they were mainly devoted to figure drawing, but the English (and also the American) ones were extremely nu­ merous, and almost entirely devoted to landscape.

The experimental, imaginative landscapes of Alexander Cozens set an example for his very talented son, John Robert Cozens, whose watercolor views (usually of Swiss and Italian sites, for he traveled extensively on the Continent) bring English draughtsmanship to the peak of perfection. These watercolors stand as independent works of art that may be compared with the finest landscape paint­ ing. Gainsborough had earlier established the fashion of imaginary landscape views in a tradition that harks back to the lyrical landscape manner of Claude Lorrain, whose style was also a paramount influence in the work of . Cozens brought the art of drawn records of actual sites to a new poetic intensity. It is not surprising that both Turner and Girtin's early training in Dr. Monro's "Academy" was based on the copying of J. R. Cozens's landscape drawings. is an exceptional figure, somewhat out of the main stream, and his observations of the countryside at Shoreham are charged with a mystic intensity. Turner, of course, unquestionably dominates the nineteenth century, and his in­ comparable gifts as a painter of landscapes are as much apparent in his drawings and watercolors as they are in this full-scale paintings.

To illustrate drawing and travel books, printmakers began developing existing print techniques in order to imitate drawings and to reproduce paintings and watercolors accurately. Soft-ground etchings and crayon manner were used to imitate line drawings extremely successfully by , , and John Robert Cozens. Very often one must look twice to be sure whether one has a drawing or a print in hand. Watercolor drawings were imitated in aquatint by Paul Sandby (who imported the technique from France), by the Havell family, and by Joseph Stadler. Even though aquatints were finished by hand with touches of color, the underlying color-printing technique was exquisitely precise, conse­ quently in most aquatints there is nothing free and swift. For that effect in prints one must wait until 1841 for the lithographer James Duffield Harding. Striving toward the imitation of wash drawings, Harding used an idea of the lithographic printer and publisher, C. Hullmandel, to make what he called lithotints - in effect, strong brush drawings in black ink.

Mezzotints were used by David Lucas to reproduce 's paint­ ings. Constable supervised the production of the mezzos very closely, correcting and reworking the plates so many times that the over-finished results lack the dramatic spontaneity of the early stages. The museum's very early proof of Lucas' mezzotint of Hadleigh Castle, with its masses of dark wind-swept clouds pierced by blinding light creates the very feel of the wind and the rain, even the noise of the sea birds calling as they ride out the storm on the air currents; the finished plate is dull and less interesting by comparison.

Turner's paintings and drawings were reproduced in many different tech­ niques, but probably the most successful were those finished in mezzotint by other artists working over Turner's own outline etchings. Inspired by Claude Lorraine's Liber Veritatis as mezzotinted by Earlom, Turner produced his Liber Studiorum, which was published in parts, containing five prints each, from 1807 to 1819- The wrappers were labelled "Part — of Liber Studiorum, Illustrative of Landscape Composition, viz. Historical, Mountainous, Pastoral, Marine and Archi­ tectural". The kind of composition represented in each print is indicated by a letter at the top margin, as M for Mountainous, etc. The publication, whatever else it might also be, is a kind of drawing book.

Having learned from the Italians to study light, to look at large vistas rather than intimate detail, and to compose a landscape by rearranging its elements and moving mountains if necessary, English artists also learned from the Dutch. Souvenirs of Ruysdael can be found in the work of John Crome and in the early paintings of . Rembrandt's etched landscapes can be seen echoed in Muirhead Bone's Southampton from Eling, done in 1903: the technique and choice of subject matter shout "Rembrandt".

Recognising the sources and the derivation of the work of English land­ scape artists is not our purpose in this exhibition. English artists did use the eyes and the techniques of others, especially the Romans and the Dutch, but they fused what they took into something truly English and truly beautiful by means of their own sensitivity to landscape of any kind.

This checklist supplies the essential information; bibliographical refer­ ences are limited to the standard and most recent publications, and in most cases these cite the full bibliography.

This exhibition has been jointly organized by Janet S. Byrne, Curator, Department of Prints and Linda Boyer Gillies, Assistant Curator, Department of Drawings. ENGLISH LANDSCAPE ARTISTS, DRAWINGS AND PRINTS

DRAWINGS

JOHN ABSOLON (1815-1895)

A Review in Hyde Park Watercolor. 8 1/2 x 14 1/2 inches (21.6 x 36.8 cm.) Lent by Charles Ryskamp

THOMAS SHOTTER BOYS (1803-1874)

A Street in Issy-les-Moulineaux (Seine) Watercolor. 12 15/16 x 8 13/16 inches (32.8 x 22.3 cm.) Bequest of Susan Dwight Bliss, 67.55.9

WILLIAM CALLOW (1812-1908)

Caesar's Tower, Warwick Castle on the River Avon, about 1850 Watercolor. 14 1/4 x 10 1/4 inches (36.2 x 26 cm.) Bequest of George D. Pratt, 48.149.24

DAVID YOUNG CAMERON (1865-1945)

Bridge at Angers Watercolor, over black chalk. 7 7/8 x 8 9/16 inches (19.9 x 21.7 cm.) Study for a picture, Dark Angers, in the City Art Gallery, Manchester, . Bequest of Susan Dwight Bliss, 67.55.12 DAVID COX (1783-1859)

Wooded Landscape with Castle in the Distance Watercolor. 9 7/8 x 14 5/8 inches (25-1 x 37.2 cm.) Lent by Mr. and Mrs. Ted Farah

JOHN ROBERT COZENS (1752-1797)

On the Gulf of Salerno, near Vietri, 1782 Watercolor, over faint traces of pencil. 14 3/8 x 20 7/8 inches (36.7 x 53 cm.) BibI: Jacob Bean, 100 European Drawings in the Metropolitan Museum of Art, New York, 1964, no. 99, repr. (with previous bibliography). Rogers Fund, 07.283-3

Vesuvius from Sir William and Lady Hamilton's Villa at Portici, 1782 Lead pencil on tracing paper. 7 1/2 x 18 7/8 inches (19-1 x 47.9 cm.) Bibl: C. F. Bell and , The Drawings and Sketches of John Robert Cozens, Walpole Society, XXIII, Oxford, 1934-1935, no. 238. Rogers Fund, 07.282.4

The Villa Lante on the Janiculum, Rome, about 1783 Watercolor. 10 x 14 1/2 inches (25.3 x 36.8 cm.) Bibl: C. F. Bell and Thomas Girtin, The Drawings and Sketches of John Robert Cozens, Walpole Society, XXIII, Oxford, 1934-1935, no. 364, pi. XXVIIb. Rogers Fund, 67.68

WALTER CRANE (1845-1915)

Italian Farmhouse Watercolor. 10 9/16 x 14 1/2 inches (26.8 x 36.8 cm.) Rogers Fund, 1971.66.3 PETER DE WINT (1784-1849)

10. A River Watercolor. 16 x 21 1/2 inches (40.6 x 54.6 cm.) Exhib: , Thos. Agnew & Sons, Ltd., "Loan Exhibition of Paintings and Drawings by P. de Wint", no. 26. Lent by Mrs. Walter C. Baker

GAINSBOROUGH DUPONT (1755-1797)

11. Two Figures with Cattle and a Goat Lead pencil. 10 15/16 x 7 3/4 inches (27.8 x 19.7 cm.) Bibl: Mary Woodall, Gainsborough's Landscape Drawings, London, 1939, no. 464, pi. 98 (as Gainsborough); John Hayes, "The Drawings of Gainsborough Dupont," Master Drawings, III, no. 3, 1965, p. 250. Rogers Fund, 11.66.1

THOMAS GAINSBOROUGH (1727-1788)

12. Wooded Landscape with Figure, Horse, and Cart Watercolor and gouache, over black chalk. 9 1/4 x 12 5/16 inches (23.5 x 31.3 cm.) Bibl: John Hayes, The Drawings of Thomas Gainsborough, London, 1971, no. 260. Mr. and Mrs. Isaac D. Fletcher Collection Bequest of Isaac D. Fletcher, 17.120.235

13- Hilly Landscape with Figure by a Pond and Distant Castle Charcoal, estompe, heightened with white chalk, on blue paper. 10 9/16 x 13 1/4 inches (26.8 x 33.3 cm.) Bibl: John Hayes, The Drawings of Thomas Gainsborough, London, 1971, no. 672 Rogers Fund, 07.283-5

3 - THOMAS GAINSBOROUGH (1727-1788)

14. Cottage with Cows and Sheep Pen and brown ink, blue and brown wash; varnished. 8 3/4 x 12 5/8 inches (22.2 x 32.1 cm.) Bibl: John Hayes, The Drawings of Thomas Gainsborough, London, 1971, no. 335 Lent by Walter C. Baker

THOMAS GIRTIN (1775-1802)

15. Holy Island Castle with Lindisfarne Abbey in the Distance, 1796/97 Watercolor. 15 1/16 x 20 7/16 inches (38.3 x 51-9 cm.) Bibl: Thomas Girtin and David Loshak, The Art of Thomas Girtin, London, 1954, pp. 62-63, fig. 32 Exhib: Detroit Institute of Arts, Philadelphia Museum of Art, "Romantic Art in Britian, Paintings and Drawings 1760-1860,"no. 113, repr. Rogers Fund, 06.1051.1

WILLIAM HENRY HUNT (1790-1864)

16. Bird's Nest and Primroses Watercolor. 7 1/2x9 1/2 inches (19.1 x 24.1 cm.) Exhib: London, Maas Gallery, "Victorian Paintings, Watercolors, and Drawings, " 1968, no. 74 Lent by David Daniels

JOHN WILLIAM INCHBOLD (1830-1888)

17. Flamborough Head, Yorkshire, 1849 Watercolor. 20 3/4 x 14 1/2 inches (52.7 x 36.8 cm.) Lent by Mr. and Mrs. Allen Staley

18. At Stratford-on-Avon Watercolor. 13 3/4 x 9 1/2 inches (34.9 x 24.1 cm.) Lent by David Daniels EDWARD LEAR (1812-1888)

19. View of Sciacca in Sicily, May 20, 1843 Pen and brown ink, over lead pencil. 13 15/16 x 19 15/16 inches (35.4 x 50.6 cm.) The Elisha Whittelsey Collection, 61.214

20. Views of the Dome of St. Peter's Seen from the Villa Doria Pamphili, June 21, 1843 Lead pencil. 9 1/2 x 14 1/2 inches (24.1 x 36.8 cm.) Rogers Fund, 61.4.2

21. The Valley of Zagore, Greece, April 14, 1857 Pen and brown ink, watercolor. 12 1/2 x 20 1/4 inches (31.8 x 51.4 cm.) Exhib: New York, Davis Galleries, "Edward Lear, Watercolors," 1968, no. 22, repr. Lent by Mrs. Jacob M. Kaplan

JOHN LINNELL (1792-1882)

22. Farm Building Pen and brown ink, black chalk, estompe, heightened with white, on tan paper. 11 3/4 x 17 1/8 inches (29-8 x 43-5 cm.) Lent by Charles Ryskamp

JOHN MARTIN (1789-1854)

23. Joshua Commanding the Sun to Stand Still Pen and brown ink, brown wash; squared for transfer in black chalk. 15 7/8 x 24 inches (40.3 x 61 cm.) Study for a lithograph dated 1827 by R. J. Lane; the drawing is also related to a picture exhibited at the Royal Academy in 1816 and now in the Freemason's Hall, London. Bibl: Thomas Balston, John Martin, His Life and Works, London, 1947, p. 43; Thomas Balston, "John Martin: New Discoveries," Burlington Magazine, November 1954, p. 350. Lent by Harry G. Sperling

-5 - SAMUEL PALMER (1805-1881)

24. The Bridge at Shoreham, about 1828

Pencil, pen and brown ink, gray wash, heightened with white, on gray paper. 8 3/4 x 10 3/4 inches (22.2 x 27.3 cm.) Bibl: Geoffrey Grigson, Samuel Palmer, The Visionary Years, London, 1947. pp. 60, 91, 172, pi. 28; Geoffrey Grigson, Samuel Palmer"s Valley of Vision, London, I960, p. 21, pi. 39- Lent by Walter C. Baker

25. The North Coast of Devon, 1835/36 Watercolor over black chalk. 10 3/4 x 15 inches (27.2 x 38.1 cm.) Rogers Fund, 1970.178

SIR JOSHUA REYNOLDS (1723-1792)

26. Church Steeple in a Mountainous Landscape Black chalk. 7 1/2x5 inches (19.1 x 12.7 cm.) Page from a sketchbook used by the artist on his trip to Italy 1749-52 Gift of William A. White, 18.121

DAVID ROBERTS (1796-1864)

27. Pilgrims of the Rhine, 1832 Watercolor. 10 5/8 x 8 1/4 inches (27 x 21 cm.) Study for an illustration in Sir Henry Bulwer's Voyages Down the Rhine, 1834 Lent by David Daniels

28. The Capitoline Hill from the Tiber, 1853-54 Watercolor. 9 3/4 x 12 15/16 inches (24.8 x 32.9 cm.) Exhib: London, Maas Gallery, "Victorian Paintings, Watercolours, and Drawings," 1968, no. 94. Lent by David Daniels

-6- THOMAS ROWLANDSON (1756-1827)

29. Derby Day Pen, brown and gray ink, watercolor. 8 15/16 x 14 3/16 inches (22.7 x 36 cm.) Bibl: Selwyn Image, "The Serious Art of Thomas Rowlandson," Burlington Magazine, XIV, 1908, p. 12, repr. p. 10. Rogers Fund, 08.227.17

JOHN RUSKIN (1819-1900)

30. A Mountain Valley Pen and brown ink, watercolor, over pencil. 7 15/16 x 10 7/16 inches (20.2 x 26.5 cm.) Bequest of George D. Pratt, 48.149-22

PHILIP WILSON STEER (1860-1942)

31- Chepstow Castle on the River Wye, Monmouthshire, 1905 Watercolor. 9 7/8 x 14 1/2 inches (25.1 x 36.8 cm.) Rogers Fund, 08.227.18

FRANCIS TOWNE (1739/40-1816)

32. Near Glaris, 1781 Pen and brown ink, brown wash, over traces of black chalk. 18 5/16 x 11 3/16 inches (46.5 x 28.4 cm.) Bibl: Metropolitan Museum of Art Bulletin, February 1969, no. 6, repr. Rogers Fund, 68.93

- 7 - JOSEPH MALLORD WILLIAM TURNER (1775-1851)

33- Sisteron, Basses Alpes, 1833/35 Watercolor. 7 3/4x11 inches (19-7 x 27.9 cm.) Bibl: Claus Virch, Master Drawings in the Collection of Walter C. Baker, New York, 1962 [privately printed], no. 110. Lent by Walter C. Baker

34. The Lake of Zug, 1843 Watercolor and gouache, chalk, over a little pencil. 11 3/4 x 18 5/16 inches (21.9 x 46.6 cm.) Bibl: Claus Virch, Metropolitan Museum of Art Bulletin, April 1962, pp. 248-256, repr. pp. 250-251. Marquand Fund, 59-120

RICHARD WILSON (1714-1782)

35- St. Peter's and the Vatican from the Janiculum, 1754 Black chalk, estompe, heightened with white, on gray paper. 11 1/4 x 16 5/8 inches (28.6 x 42.2 cm.) Bibl: Claus Virch, Master Drawings in the Collection of Walter C, Baker, New York, 1962 [privately printed], no. 87 Lent by Walter C. Baker

36. The House of Pompey at Albano, 1753/56 Black chalk, heightened with white, on gray paper. 8 5/8 x 15 inches (21.9 x 38.1 cm.) Exhib: Detroit Institute of Arts, Philadelphia Museum of Art, "Romantic Art in Britain, Paintings and Drawings 1760-1860," no. 2, repr. Rogers Fund, 06.1042.20

- 8- JOSEPH WRIGHT, known as WRIGHT OF DERBY (1734-1797)

37. An Italian House Pen and gray ink, gray wash. 8 x 10 11/16 inches (20.3 x 27.1 cm.) Page from a sketchbook used by the artist on a trip to Italy 1774-75. Rogers Fund, 57.102.2

9 - PRINTS UTV\ NirtJ-^AjJS^'A S^WVVJJ

MUIRHEAD BONE (1876-1953)

/ 38. Walberswick Ferry, 1914 ) Drypoint, signed in pencil lower right 7 3/4 x 10 inches (19.6 x 25.4 cm.) Dick Fund, 17.3.734 39- Southampton from Eling, 1903 Drypoint, signed in pencil, lower left D. 148, state I. 6 x 8 3/16 inches (15.1 x 20.8 cm.) Bibl: Campbell Dodgson, Etchings and Drypoints by Muirhead Bone, London, 1909. Dick Fund, 17.3.730

FRANK WILLIAM BRANGWYN (1867-1956)

40. Barnard Castle Etching. 14 3/4x11 7/8 inches (37.6 x 30 cm.) Bibl: Catalogue of the Etched Work of Frank Brangwyn, London, 1912. Rogers Fund, 23-52.15 (2)

DAVID YOUNG CAMERON (1865-1945)

41. The Valley, 1914 Drypoint. R. 453, state VI 6 29/32 x 9 29/32 inches (17.6 x 25.2 cm.) Bibl: Frank Rinder, D. Y. Cameron, An Illustrated Catalogue of his Etchings and Drypoints, 1887-1932, Glasgow, 1932. Dick Fund, 17.3.2389

42. The Avenue,1905 Etching and Drypoint. Signed in pencil, lower right R. 373, state III. 5 11/16 x 6 7/32 inches (14.5 x 15-8 cm.) Dick Fund, 17.3.2275

- 10 - DAVID YOUNG CAMERON (1865-1945)

43- The Vale of Clyde, 1898 Etching. Signed in pencil. R. 283 6 29/32 x 11 29/32 inches (17.6 x 30.3 cm.) Dick Fund, 17.3-2234

JOHN CLERK OF ELDIN (1728-1812)

44. Pont y Prydd (Bridge of Beauty) Etching. Lumsden 48, state I. 4 7/16 x 11 11/16 inches (11.2 x 30 cm.) Bibl: E. S. Lumsden, "The Etchings of John Clerk of Eldin," in Print Collectors' Quarterly, 1925, vol. XII, pp. 14-39. Dick Fund, 26.72.212

JOHN SELL COTMAN (1782-1842)

45- Millbank on the Thames Plate from Liber Studiorum, 1838 Softground etching. 6 1/2 x 9 3/4 inches (16.4 x 24.5 cm.) Bibl: A. E. Popham, "The Etchings of John Sell Cotman" in Print Collectors' Quarterly, 1922. Vol. IX, p. 236-273 Rogers Fund, 22.100 (8)

ALEXANDER COZENS (fl. before 1746, died 1786)

46. Fallen Tree Plate from A New Method of Drawing Landscape Touched with pencil and wash. 8 31/32 x 12 inches (23 x 30.4 cm.) Bibl: A. P. Oppe\ Alexander and John Robert Cozens, London, 1952. Rogers Fund, 06.1042.17

- 11 ALEXANDER COZENS (fl. before 1746, died 1786)

47. Ruined Castle and Trees A blot drawing 10 1/2 x 16 3/4 inches (27 x 42.7 cm.) Bibl: A. P. Oppe" Alexander and John Robert Cozens, London, 1952. Dick Fund, 30.49.11

JOHN ROBERT COZENS (1752-1799)

48. Cedar Softground etching, printed in brown ink. 9 5/8 x 12 1/2 inches (24.5 x 31.7 cm.) Bibl: A. P. Oppe, Alexander and John Robert Cozens, London, 1952. Dick Fund, 30.49.4 (11)

49. Weeping Ash Softground etching, printed in brown ink 9 1/2 x 12 3/8 inches (24 x 31-5 cm.) Dick Fund, 30.49.4 (5)

50. Cypress and Umbrella Pines Softground etching, washed with brush and brown ink 9 1/2 x 12 3/8 inches (24.2 x 31.7 cm.) Elisha Whittelsey Fund, 1970.654.11

JOHN CROME (1768-1821)

51. Hoveton St. Peter Softground etching. C. E29 6 3/4x9 1/4 inches (16.4 x 23.8 cm.) Bibl: Derek and Timothy Clifford: John Crome,, London, 1968. Rogers Fund, 22.17.28

- 12 SIR ALFRED EAST (1849-1913)

52. St. Ives Etching. 11 13/16 x 14 1/2 inches (30.4 x 37 cm.) Rogers Fund, 23-52.24 (1)

THOMAS GAINSBOROUGH (1727-1788)

53- Landscape Published by J. & J. Boydell, August 1, 1797 Softground etching, hand colored. W.l 12 7/8 x 15 1/2 inches (32.7 x 39-3 cm.) Bibl: Mary Woodall, Gainsborough's Landscape Drawings, London, 1939- Dick Fund, 42.27.1

54. Landscape Softground etching. W.8 10 3/8 x 12 7/8 inches (26.3 x 33 cm.) Dick Fund, 37.43-10

THOMAS GIRTIN (1775-1802)

55. View of Paris from the Terrace near Pont de St. Cloud Etched proof, colored by hand by the artist 6 1/8 x 18 3/4 inches (15 x 47 cm.) Dick Fund, 26.72.7

SIR FRANCIS SEYMOUR HADEN (1818-1911)

56. Wareham Bridge, 1877 Etching H. 176 (D). 5 7/8x8 7/8 inches (15 x 22.5 cm.) Bibl: H. Nazeby Harrington, The Engraved Work of Sir Francis Seymour Haden, Liverpool, 1910. Dick Fund, 17.3-2045

13 SIR FRANCIS SEYMOUR HADEN (1818-1911)

57. One Tree Farm, 1873 Etching, touched proof. Initialed in pencil, lower left H. 205, before state I. 6 13/16 x 4 3/4 inches (17.4 x 12 cm.) Dick Fund, 17.3.2052

58. The Three Cows, 1877 Etching. H. 180, state II 5 1/8x8 inches (14 x 21 cm.) Dick Fund, 17.3.2082

JAMES DUFFIELD HARDING (1798-1863)

59. Italian Landscape Lithotint, chine colle 8 3/4 x 12 3/4 inches (22 x 32.6 cm.) Dick Fund, 30.60.2

60. Le Casset Vallee du Monetier, Dauphine Lithotint, printed by C. Hullmandel, chine colle 9 1/2 x 13 (24 x 32.3 cm.) Dick Fund, 23.21.15

ROBERT HAVELL AND SON (1812-1837)

61. Park Place near Henly upon Thames after W. Havell Plate from Picturesque Views of Noblemen's and Gentlemen's Seats, 1812. Aquatint, partly colored by hand. 7 3/4x11 1/4 inches (21 x 30.4 cm.) Dick Fund, 37.28 (3)

- 14 ROBERT HAVELL AND SON (1812-1837)

62. Wanstead House after W. Havell Plate from Picturesque Views of Noblemen's and Gentlemen's Seats, 1812. Aquatint, partly colored by hand. 7 3/4x11 1/4 inches (21 x 30.4 cm.) Dick Fund, 37.28 (6)

63- Sion House after W. Havell Plate from Picturesque Views of Noblemen's and Gentlemen's Seats, 1812. Aquatint, partly colored by hand. 7 3/4x11 1/4 inches (21 x 30.4 cm.) Dick Fund, 37.28 (12)

64. Blenheim after C. Fielding Plate from Picturesque Views of Noblemen's and Gentlemen's Seats, 1812. Aquatint, partly colored by hand. 7 3/4 x 11 1/4 inches (21 x 30.4 cm.) Dick Fund, 37.28 (14)

65- View from Richmond Hill after W. Havell Plate from Picturesque Views of Noblemen's and Gentlemen's Seats, 1812. Aquatint, partly colored by hand. 7 3/4 x 11 1/4 inches (21 x 30.4 cm.) Dick Fund, 37.28 (17)

WILLIAM HAVELL (1782-1857)

66. An Island on the Thames near Park Place, Oxfordshire Plate from Views of the River Thames, 1818 Aquatint by Robert and Daniel Havell, partly colored by hand 14 1/8 x 19 3/4 (36 x 50 cm.) Dick Fund, 27.91 (17)

15 - WILLIAM HAVELL (1782-1857)

67. Wallingford Castle Plate from Views of the River Thames, 1818 Aquatint by Robert and Daniel Havell, partly colored by hand. 14 1/8 x 19 3/4 inches (36 x 50 cm.) Dick Fund, 27.91 (4)

68. View of Taplow Plate from Views of the River Thames, 1818 Aquatint by Robert and Daniel Havell, partly colored by hand. 14 1/8 x 19 3/4 inches (36 x 50 cm.) Dick Fund, 27.91 (10)

69- Staines Church Plate from Views of the River Thames, 1818 Aquatint by Robert and Daniel Havell, partly colored by hand. 14 1/8 x 19 3/4 inches (36 x 50 cm.) Dick Fund, 27.91 (13)

DAVID LUCAS (1802-1881)

70. River Stour, Suffolk, after Constable Mezzotint. Trial proof, W.5 7 x 10 inches (18 x 25.4 cm.) Bibl: Frederick Wedmore, Constable; Lucas, London, 1904 Dick Fund, 25.51-13

71. Weymouth Bay, Dorsetshire, after Constable Mezzotint. Trial proof, touched with white and pencil. W. 18. 7 x 9 inches (17.7 x 22.7 cm.) Dick Fund, 27.4.24

- 16- DAVID LUCAS (1802-1881)

72. Hadleigh Castle No. 2 after Constable Mezzotint. Very early trial proof. W.52 10 7/8 x 14 3/8 inches (27.7 x 37.4 cm.) Dick Fund, 27.4.61

JOHN WILLIAM NORTH (1841-1924)

73. The Sunny Pool, 1895 Lithograph Inscribed by North to the printer, Fred Goulding, "with grateful thanks for exquisite printing, Sept. 4, 1895-" 12 x 9 3/4 inches (30 x 24.5 cm.) Rogers Fund, 17.41.5

SAMUEL PALMER (1805-1881)

74. The Morning of Life Etching. L. 10. Initialed in pencil, lower right 7 x 10 inches (17.9 x 25.4 cm.) Bibl: Raymond Lister, Samuel Palmer and His Etchings, London, 1969- Gift of Theodore De Witt, 23-65.8

THOMAS ROWLANDSON (1756-1827)

75. Landscape Drawing, pen and ink with pencil. 11 1/2 x 18 1/4 inches (29 x 46.1 cm.) Whittelsey Fund, 59.533-1665

76. Deer Park Drawing, pen and brush, red and black ink 8 3/4 x 11 1/2 inches (22.4 x 29.4 cm.) Whittelsey Fund, 59.533-563

- 17 - THOMAS ROWLANDSON (1756-1827)

77. Wooded Hillside with Deer Drawing, pen and brown ink and wash with pencil 8 3/8 x 12 1/2 inches (21.6 x 32 cm.) Anonymous Gift, 68.548

PAUL SANDBY

78. Aust Ferry House on the Banks of the Severn Plate from Twelve Views in North and South , 1786 Aquatint, partly hand colored. 8 1/8 x 11 1/2 inches (21 x 29 cm.) Dick Fund, 36.8.69

79. Overton Bridge over the River Dee Plate from Twelve Views in North and South Wales, 1786 Aquatint, partly hand colored 8 1/8 x 11 1/2 inches (21 x 29 cm.) Dick Fund, 36.8.23

80. Pont Abber Glallin Plate from Twelve Views in North and South Wales, 1786 Aquatint, partly hand colored 8 1/8 x 11 1/2 inches (21 x 29 cm.) Dick Fund, 36.8.55

81. Episcopal Palace at Saint David's Plate from Twelve Views of North and South Wales, 1786 Aquatint, partly hand colored 8 1/8 x 11 1/2 inches (21 x 29 cm.) Dick Fund, 36.8.21

- 18 JOSEPH CONSTANTINE STADLER (fl. 1780-1812)

82. Battle Abbey after J. M. W. Turner Aquatint. R. 825. 15 1/4 x 22 1/4 inches (39 x 55-5 cm.) Bibl: W. G. Rawlinson, The Engraved Work of J. M. W. Turner, London, 1908-1913. Dick Fund, 25.10.4

83. Ashburnham after J. M. W. Turner Aquatint. R. 823. 15 3/8 x 22 1/8 inches (39-2 x 55.7 cm.) Dick Fund, 25.10.2

WILLIAM STRANG (1859-1921)

84. Brick Yard, Segovia, 1912 Etching. 7 7/8 x 12 7/8 inches (20 x 32.7 cm.) Bibl: William Strang, Catalogue of his Etched Work, Glasgow, 1906. Dick Fund, 17.3.2406

LUKE SULLIVAN (1705-1771)

85. A View of Cliefden in Buckinghamshire Printed for Thomas Bowles by J. Bowles Published March 1, 1759 Engraving. 14 1/4 x 20 3/4 inches (35.8 x 52 cm.) Dick Fund, 39.4.17

86. A View of Oatlands in , The Seat of the Earl of Lincoln Published March 1, 1759 Engraving. 14 3/8 x 20 1/2 inches (36.5 x 52 cm.) Dick Fund, 39.4.13

19 GRAHAM SUTHERLAND (1903-

87. The Village, 1925 Etching. Signed in pencil, below to right of center 7x8 3/4 inches (17.6 x 22.5 cm.) Gift of Dr. Herman T. Radin, 43-36

JOSEPH MALLORD WILLIAM TURNER (1775-1851)

88. Peat Bog, Scotland, 1812 Plate from the Liber Studiorum Etching and Mezzotint. 8 3/16 x 11 7/16 (21 x 29 cm.) Finberg 45, state I Bibl: Alexander J. Finberg, The History of Turner's Liber Studiorum, London, 1924. Dick Fund, 28.97.45

89. Solway Moss, 1816 Plate from the Liber Studiorum Etching and Mezzotint. 8 3/16 x 11 7/16 (21 x 29 cm.) Finberg 52, state I Dick Fund, 28.97.52

90. Berry Pomeroy Castle, 1816 Plate from the Liber Studiorum Etching and Mezzotint. 8 3/16 x 11 7/16 (21 x 29 cm.) Finberg 58, state I Dick Fund, 28.97.58

91. Winchelsea, Sussex, 1812 Plate from the Liber Studiorum Etching and Mezzotint. 8 3/16 x 11 7/16 inches (21 x 29 cm.) Finberg 42, state I Dick Fund, 28.97.42

92. Crossing the Brook, 1842 Engraved by R. Brandard, proof; R. 656 18 1/2 x 15 1/8 inches (47 x 38.4 cm.) Gift of Mrs. George W. Cane, 34.33-2

-20 - FRANCOIS VIVARES (1709-1780)

93- Landscape After a painting (1701) by Patel Published by Francois Vivares, February 1752 Engraving, dedicated to the Earl of Radnor. 16 3/8 x 19 1/2 (42 x 49.5 cm.) clipped Rogers Fund, 62.602.487

94. Landscape, after a painting by George Lambert Published by F. Vivares, 2nd June, 1749. Engraving. 16 1/2 x 19 1/2 inches (41.2 x 49 cm.) Gift of Miss Georgiana W. Sargent in Memory of John Osborne Sargent, 24.63.807

WILLIAM WESTAIL (1781-1850)

95. In the South Transept, Netley Abbey, 1828 Lithograph. 9 1/2x8 1/4 inches (24.1 x 21.4 cm.) Gift of Georgiana W. Sargent in Memory of John Osborne Sargent, 24.63-832 (192)

96. The South Transept, Netley Abbey, 1828 Lithograph. 10 x 8 1/2 inches (25.5 x 21.6 cm.) Gift of Georgiana W. Sargent in Memory of John Osborne Sargent, 24.63.832 (191)

97. The Fountain Court, Netley Abbey, 1828 Lithograph. 8 1/4 x 11 inches (21 x 28.3 cm.) Gift of Georgiana W. Sargent in Memory of John Osborne Sargent, 24.63.832 (193)

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