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Full text of "Samuel Cousins"

SAMUEL COUSINS, R.A. 



* * 
* 



This edition consists of 600 copies. Fifty Large 
Paper copies have also been printed on handmade paper 
with the plates on Japanese vellum. 



SAMUEL COUSINS, R.A. 
1879 

FROM A DRAWING BY FRANK HOLL, R.A. 



NINETEENTH CENTURY MEZZOTINTERS 

SAMUEL 
COUSINS 



BY ALFRED WHITMAN 

OF THE DEPARTMENT OF PRINTS AND 
DRAWINGS BRITISH MUSEUM 




LONDON 

GEORGE BELL & SONS 
1904 




CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
TOOKS COURT, CHANCERY LANE, LONDON. 



PREFACE 

IT is deemed a privilege, whilst so many who could claim Samuel 
Cousins as a personal friend, or with whom he had more or less 
intimate business relations are still with us, to be permitted to work 
out in proper order and lay before the print collecting world and 
that of the immense number of those interested in mezzotints, the 
artistic achievements of this eminent and accomplished engraver. 
Those who knew him well cherish pleasant memories of their inter- 
course with him; but many incidents, now common knowledge 
among Cousins enthusiasts and connoisseurs, would in the ordinary 
course of things fade away and be forgotten within the space of a 
comparatively few years. To prevent anything so unfortunate, the 
present writer has taken up the task of fixing the memories in 
the black and white of the printed page, and of cataloguing and 
describing the whole of his engraved works in all their variety of 
state. 

The special attention of collectors is invited to the observa- 
tions on " states " and to the definition of the term as employed 
in the following pages, which appear in the introduction to the 
catalogue on page 31. 

The personal friends of Samuel Cousins, and those who admire 
and collect his mezzotints, have most generously placed their know- 
ledge and treasures at the disposal of the writer in order that the 
result may be as faithful and complete as the talents of the great 
mezzotinter justify and deserve. 

The warmest thanks are most gratefully offered to Mr. Ernest 
Leggatt of Enfield to whose kind persuasion the book is to some 
degree due for the ve"ry liberal manner in which he has granted 

v 



SAMUEL COUSINS, R.A. 

access to his incomparable collection of the prints of the master 
(many of the impressions belonged to the engraver himself, and 
were acquired soon after Cousins's death), for the great amount of 
information he has given, and for his kind permission to allow his 
impressions of Edmund Kean, Lady Ravensworth, Mrs. Braddyll, John 
Hunter and The Sunshine of Love, and also his original Frank Holl 
drawing of Samuel Cousins, to be reproduced as illustrations. To 
Mr. John Charrington of Shenley for allowing the fullest notes of 
his choice collection to be made, and for his kind help in many 
important ways. To Lord Westbury for permitting his very rich 
collection to be examined in detail. To Mr. Algernon Graves for 
much kind advice and helpful information. And thanks are also 
gratefully tendered, for particulars of prints, advice, and encour- 
agement, among others, to the Baroness Burdett-Coutts, Miss Pettit 
of Aldeburgh, Mr. Frank Falkner of Bowdon, Mr. E. F. Sheppard 
of West Didsbury, Mr. E. O. Schneider of Whalley Range, Dr. 
Lloyd Roberts, of Broughton Park, Manchester, Mr. H. S. Theo- 
bald, K.C., Mr. Marcus B. Huish, Mr. Morland Agnew, Mr. 
Edward Clayton, Mr. F. R. Rowley of Exeter, Mr. W. Walker, 
Mr. E. F. Strange and Mr. Martin Hardie of the Victoria and 
Albert Museum, Mr. Harvey, Mr. T. McLean, the Fine Art 
Society, and the Printsellers' Association. 

For many facts in the life of the engraver, the writer desires 
to acknowledge his indebtedness to the brochure by the late George 
Pycroft, published at Exeter shortly after the death of Samuel 
Cousins. 

Though much ground has been carefully covered, and many 
collections examined, states will from time to time come to light 
that are not here recorded; and the writer will be glad to be in- 
formed of any such. On page 32 will be found an explanatory 
note as to the omission of some of the states of the more modern 
plates. 

The illustrations have been selected with the view of showing 
Cousins's work throughout his career; and range from his first 



VI 



PREFACE 

plate engraved in 1815 to the last, produced in 1884. The 
execution has been entrusted to the care of Mr. J. Hyatt of Mor- 
timer Street, who has made every possible effort to secure the finest 
reproductions of the delicate tones and gradations of the original 
mezzotints of which the Collotype Process is capable. 



vn 



CONTENTS 

PAGE 

MEMOIR ......... i 

INTRODUCTION TO THE CATALOGUE . . . . . 31 

CATALOGUE OF PORTRAITS ...... 37 

CATALOGUE OF SUBJECTS . . . . . . .113 

APPENDIX. CATALOGUE OF THE PLATES AFTER SIR JOSHUA 
REYNOLDS, ENGRAVED BY SAMUEL COUSINS FOR THE 
S. W. REYNOLDS SERIES . . . . . .137 

INDEX TO PAINTERS . . . . . . .141 

INDEX TO SUBJECTS . . . . . . .143 



IX 



LIST OF ILLUSTRATIONS 



SUBJECT 

Samuel Cousins, R.A. 
From a Drawing by . 

William Alexander. 
From a Drawing by . 

Edmund Kean. Drawn 
and Engraved by . . 

Lady Acland and Child- 
ren 

Page from list of plates 
engraved by Cousins, 
after Sir J. Reynolds, 
for the S. W. Reynolds 
series. Reproduced 
from Cousins's manu- 
script 

Master '. 

SirMich 

Miss Cr 

Robert '. 

Mrs. W 

Countes 
ren 

Lady D 

Countess Gower and 
Daughter .... 

Lady Peel 

John Hunter, M.D. . . 

Miss Peel 

Countess Grosvenor . . 

Nature 

Lady Ravensworth and 
Daughter .... 

The Pet Rabbit . . . 

The Sunshine of Love . 

Bolton Abbey in the 
Olden Time . 

Sir John Taylor Coleridge 



DATE OF 
PAINTER ENGRAVING 

Made in 
FRANK HOLL, R.A. 1879 

Made in 
SAMUEL COUSINS 1815 

SAMUEL COUSINS 1815 

SIR T. LAWRENCE, P.R.A. 1826 



yambton . 


SIR T. LAWRENCE, P.R.A. 


1826 


iel Shaw-Stewart 


SIR H. RAEBURN, R.A. 


1827 


)ker .... 


SIR T. LAWRENCE, P.R.A. 


1827 


Sums .... 


ALEXANDER NASMYTH 


1830 


alff . . . . 


SIR T. LAWRENCE, P.R.A. 


1830 


; Grey and Child- 








SIR T. LAWRENCE, P.R.A. 


1870 


)ver and Son 


SIR T. LAWRENCE, P.R.A. 


i V^W 

1830 



SIR T. LAWRENCE, P.R.A. 1831 

SIR T. LAWRENCE, P.R.A. 1831 

SIR J. REYNOLDS, P.R.A. 1831 

SIR T. LAWRENCE, P.R.A. 1832 

SIR T. LAWRENCE, P.R.A. 1833 

SIR T. LAWRENCE, P.R.A. 1835 

MRS. ANNE MEE 1835 

Miss FANNY CORBAUX 1835 

JEAN RAOUX 1836 

SIR E. LANDSEER, R.A. 1837 

MRS.MARGARETCARPENTER 1838 

xi 



Frontispiece 
Facing page 4 

4 
8 



12 

16 

20 
2 4 
28 

3 2 

36 

40 

44 
48 

5* 
56 

60 
64 

68 
72 
76 

80 
84 



DATE OF 

SUBJECT PAINTER ENGRAVING 

The Return from Hawk- 
ing SIR E. LANDSEER, R.A. 1838 Facing page 88 

The Marquess of Staf- 
ford and the Lady 

' Evelyn Gower . . . SIR E. LANDSEER, R.A. 1840 92 

Lady Durham . . . . SIR T. LAWRENCE, P.R.A. 1843 96 
Beauty'sBath (Miss Eliza 

Peel) SIR E. LANDSEER, R.A. 1846 100 

Mrs. Braddyll . . . . SIR J. REYNOLDS, P.R.A. 1847 104 

The First of May . . F. X. WINTERHALTER 1851 108 

The Order of Release . SIR J. E. MILLAIS, P.R.A. 1854 112 
A Midsummer Night's 

Dream SIR E. LANDSEER, R.A. 1857 IJ 6 

The Strawberry Girl . SIR J. REYNOLDS, P.R.A. l %73 I2 

Simplicity SIR J. REYNOLDS, P.R.A. 1875 124 

The Princes in theTower SIR J. E. MILLAIS, P.R.A. 1879 128 

Samuel Cousins, R.A. . EDWIN LONG, R.A. 1884 132 



XII 



SAMUEL COUSINS, R.A. 

(BoRN 1 80 1 ; DIED 1887) 

To completely enjoy a collection of mezzotints, the work should 
show forth at least two prominent characteristics. The prints must 
display the skill of the hand, and also declare the mind that guided 
the hand. No interpretative engraving can better exhibit this com- 
bination of hand and brain than mezzotint; and in the work of 
the best craftsmen of the great period of the art, this dual charm 
exerts a powerful influence. When examining a collection of the 
mezzotints of Samuel Cousins, two facts early force themselves 
upon the attention of the amateur. At first he is almost amazed 
at the brilliance and skill of some of the plates, especially of those 
after Sir Thomas Lawrence, and he is startled by the supreme mas- 
tery with which all technical difficulties have been overcome. He 
is both captivated with the charm the prints exert, and attracted 
as a lover at first sight. By degrees other feelings come into the 
amateur's mind, and he begins to realize that in spite of the un- 
doubted skill, dexterity and power, something is lacking, and the 
resultant effect is not wholly satisfying. And, slowly, he begins to 
ask, Does the output of the brain quite equal the efforts of the 
hand? Then perhaps he recalls a recent comment which said, 
" Cousins must be relegated to the place of those who are merely 
accomplished." When his eye was first attracted by this line of 
criticism he revolted against such a statement; but the more the 
sentence is considered with the prints before his eyes, the more he 
feels there may be truth in what he originally considered to be harsh 
judgment. When his mind has begun to move in this direction, 
the connoisseur naturally asks himself, whence the reason? And 
turning over the pages of the catalogue of the master's work, he 
conceives the probable answer. Many of the great painters of the 
English school, whose canvases made the fame of the great masters 

I B 



SAMUEL COUSINS, R.A. 

of mezzotint, were totally unknown to the scraper of Samuel 
Cousins. No picture by Gainsborough, Hoppner, Romney, Opie, 
Constable, Turner, Cosway, Morland, Downman, Wheatley, Joseph 
Wright or Hamilton to mention only a dozen of nearly thirty 
names of representative English artists of which a list has been 
ma d e was ever interpreted by Cousins. On the other hand he 
worked after such painters as Sully, Allston, A. Archer, S. Cole, 
E. U. Eddis, Weigall and Ellerby, whose names are not even men- 
tioned in the greatest biographical dictionary in the English lan- 
guage. And so the amateur comes to the conclusion that, great as 
the man was and great he was undoubtedly, as we shall hope to 
prove he might have climbed to even a higher pinnacle of fame 
had he been only a little less successful. The very first plate 
Cousins mezzotinted on his own account was a pronounced success, 
the second a triumph; and from that moment he was almost over- 
whelmed with commissions. 

Had Cousins from the beginning confined his splendid talent 
and ability to the best paintings by England's greatest masters, what 
a wonderful series of plates would have been the result, and how the 
prints would be treasured at the present day! And had he practised 
and developed his natural skill with the pencil, and produced 
mezzotint plates, the outcome of his own personal original expres- 
sion (for as a draughtsman, his boyhood work gave marvellous 
promise), who could possibly estimate what his posthumous fame 
might have been? 

A student of painting roams from place to place, works in 
the open air, travels to foreign galleries, and seeks for knowledge 
wherever it is likely to be found. The effect of such a course of 
study is to broaden the mind, strengthen the experience, and widen 
the outlook. A student-engraver is in the main, and almost of 
necessity, a stay-at-home. His objects of study are enclosed within 
a portfolio, and his range of vision is chiefly restricted to a field that 
can be measured by a few inches. His mental outlook is therefore 
liable to be extremely limited. And so, while the horizon of the 
young painter is ever becoming broader and wider, the prospect 
before the young engraver is contracting and becoming more con- 
fined. These, then, are the vistas that open up and show the 
contrast between the life of a painter and that of an engraver; and 

2 



MEMOIR 

the fa<5t that many of the greatest mezzotinters were painter-mezzo- 
tinters, explains to a large extent why their work was so broad and 
their field so wide. 

The observations here offered to the student of mezzotint, 
may give the clue to some of the limitations in the career of the 
justly honoured mezzotinter, Samuel Cousins, whose work all lovers 
of the art so highly esteem. His early life seemed to encourage 
limitation of view. He received but little schooling, was appren- 
ticed when only thirteen and spent the ensuing seven years in an 
engraver's atelier, and then, as soon as he emerged into the world 
a free man, he was captured, or nearly so, by a fashionable painter, 
and his talent was almost monopolized by a somewhat restricted 
type of work. In saying this it is not intended to reflecT: by one 
word upon the paintings of Lawrence, but to emphasize the baneful 
result of an engraver confining himself so much to one field of 
interpretation. The question might readily be raised whether it 
would not have been better for Cousins and for the realm of 
engraved art, had he mezzotinted but a few of the best paintings 
by Sir Thomas Lawrence; and it is even possible that both the 
man and the craft might have gained. The thought opens up the 
prospedt of a by no means unprofitable discussion, but such a con- 
troversy would carry us beyond the scope of the present memoir. 

It has been said that Devonshire has produced more artists 
than any other county in England ; and whether the assertion be 
true or no, Devonshire claims among its children the subje6t of this 
memoir. Samuel Cousins's father was a tailor in Exeter for many 
years, and the boy was born in the cathedral city on May gth, 1801. 
He was the eldest but one of a family of five sons and four daughters, 
and his parents not being in well-to-do circumstances, he received 
his early education at the Exeter episcopal school without expense 
to his relations. His natural talent for drawing quickly developed, 
for he used to say he could not recoiled! the time when he did 
not draw, and distinctly remembered making drawings when he 
was only seven years of age. His inborn genius led him to por- 
traiture, and he possessed the rare gift of seizing a likeness often 
that of a playmate with an accuracy, and expression of character, 
that were considered amazing. To quote from Mr. Pycroft's 
brochure : " Without any instruction he set to work with a lead 

3 



SAMUEL COUSINS, R.A. 

pencil, and his first studies were heads . . . the heads of his 
father's customers and friends. He drew these admirably . . . and 
his fame as a boy producer of portraits soon spread spread even 
as far as the Globe Inn, round the corner, in the Cathedral Close. 
This comfortable old hostelry was much used by commercial 
travellers, and when they saw such capital likenesses, heard they 
were executed by a mere boy, who lived close by, and only charged 
five shillings for his work, they frequently sent for him." Thus he 
worked with success and profit in his earliest years ; and the pencil 
copies he made from engravings, as well as his original efforts, were 
exhibited in a shop window and obtained a ready sale. His pre- 
cocious genius might almost be said to have resembled that of Lucas 
van Leyden, who commenced to engrave in line at a very early 
age, and in 1508, when only fourteen, produced the engraving of 
" The Monk Sergius killed by Mahomet " which is signed with 
the initial L, and dated. So excellent is the quality of this engrav- 
ing that Bartsch considered it could have been by no means the 
first. In one respeft the two engravers differed exceedingly. Lucas 
van Leyden's life flickered out at the early age of thirty-nine, 
while Cousins lived to reach the ripe old age of eighty-six. 

The accounts of the events that led to the important step of 
Cousins's apprenticeship vary, but the one his brother John certified 
is followed here. The drawings by the young artist that were 
exhibited in the shop window at Exeter attracted the attention and 
admiration of Captain T. M. Bagnold, R.M., of Knightsbridge, 
as he was passing through the city in the year 1812. Captain 
Bagnold entered the shop, obtained particulars of the boy, which 
aroused his interest, bought some of his drawings and sent them 
for the inspection of the Society of Arts in London. For one of 
these drawings Cousins received the following award, as recorded 
in the archives of the Society: 1 "1812-13. Silver palette to 
Samuel Cousins, St. Mary Steps, Exeter, for a drawing of Ben 
Jonson, a copy." The news of this award was spread throughout 
the boy's native city, by the following notice in the " Freeman's 
Exeter Flying Post" of June 3rd, 1813: " We are happy to hear 
that Samuel Cousins, a poor boy of twelve years of age, belonging 
to one of the charity schools in this city, has been rewarded with 

1 Information kindly supplied by Mr. Henry B. Wheatley, of the Society of Arts. 

4 



WILLIAM ALEXANDER 
1815 

FROM A PENCIL DRAWING BY SAMUEL COUSINS 



EDMUND KEAN 
1815 

DRAWN AND ENGRAVED BY SAMUEL COUSINS 




r 







1 



MEMOIR 

a silver palette by the Royal [j/c] Society of Arts in London, for 
his ingenuity in the execution of an admirable pencil drawing of 
the portrait of Ben Jonson." 

In the following year another drawing was submitted to the 
Society of Arts, and yet another entry was made in the records of 
the Society: 1 "1813-14. Silver Isis medal to Samuel Cousins, 
St. Mary Steps, Exeter, for a drawing of a Magdalen, a copy." If 
the first award drew public attention to the boy, the second must 
have created a sensation ; and it was certainly of the highest 
moment to the young artist, as it formed an important factor in 
shaping his future career, as we shall presently see. This drawing 
of a Magdalen called forth an excellent poem by Charlotte Nooth, 
the author of a poetical play entitled " Clara, or the Nuns of 
Charity," 1815; and of " Eglantine, or the Family of Fortescue," 
published in 1816. The poem, which was published in London 
in 1815, is of sufficient importance to be given here: 

LINES 

WRITTEN AFTER BEING SHOWN THE MAGDALEN 2 DRAWN BY SAMUEL COUSINS." 

Ye sons of Art, whose bold unerring line 
The produdt of laborious years must shine, 
Who by slow steps to eminence must reach, 
Matured in all the graphic schools can teach ! 
Look from your hard-earn'd heights of tardy Fame, 
And own with gen'rous zeal, a brother's claim ! 

Not his the Tyro's hesitating hand, 
The faint attempt, by frequent measure scann'd, 
No learn'd professor bade his pencil trace, 

Correct, revise, renew, and then efface: 

No classic studies gave his Fancy play, 
Or Science beam'd upon his early day, 
Dark is his humble dwelling, cold and drear, 
Perplex'd with sounds to vex the studious ear: 
The House of squalid Poverty supplies 
Few forms of Grace to charm a painter's eyes ; 



1 Information kindly supplied by Mr. Henry B. Wheatley of the Society of Arts. 

2 " Corredlly copied from the engraving from an Italian master, and executed in 
pencil with great delicacy and spirit: this drawing obtained a prize from the Society of 
Arts. C. N." 

3 " This interesting boy, at the time these lines were written (September, 1814) had 
not attained his twelfth year, nor received any education in the art in which he pro- 
mises to excel. C. N." 



SAMUEL COUSINS, R.A. 

No harmonies of Sister Arts befriend 

The struggling spark, and inspiration lend, 

Nor by refieftion could one ray be shed 

Of Taste, on his unnotic'd, unknown head ; 

Yet 'neath the shade of Penury and Toil, 

The seeds of Genius find a kindred soil, 

High with spontaneous vegetation climb, 

And hang their blossoms on the fane of Time: 

Still, must their bright luxuriance fall and fade, 

Without some friendly prop, some shelt'ring aid, 

That hand which guides the crayon with such skill, 

Debas'd by Want, the stubborn clod must till ; 

Or to mechanic toil, inglorious chain'd, 

Forego the praise its early efforts gain'd. 

Forbid it, Sons of Opulence, your care 
Another Opie to the World may spare, 1 
Oh! bid your well-direted bounty flow! 
Some portion of that precious wealth bestow, 
Whose magic touch unlocks the gates of Art, 
Bids lofty Science all her stores impart, 
Lifts the free mind above the cares of life, 
Low calculations, petty, sordid strife; 
And gives th' aspiring thought to range at will 
Unfetter'd by the chains of selfish 111. 

The original drawing of The Magdalen (j% in. by 6J in.) is 
now in the possession of Miss Pettit of Aldeburgh-on-Sea, whose 
mother was the adopted daughter of Captain Bagnold. 

In after years, in recognition of the debt he owed to Captain 
Bagnold, Cousins made it a practice to present to his friend a 
proof of each plate as it was finished, a custom he continued up 
to the time of the Captain's death in 1846. 

The following interesting letter, in the possession of Miss 
Pettit, was written by Cousins to Captain Bagnold probably in the 
spring of 1846; and besides showing the cordial relations existing 
between the engraver and the Captain, it gives Cousins's views 
upon the framing of his prints. 

"15 Osnaburgh St., Regent's Park. 

" DEAR BAGNOLD, 

"The limit you give for the Frame for the Return from 
Hawking (if you mean the exterior measurement) is so small that 

1 Dr. John Wolcot (" Peter Pindar " the satirist) recognized the early genius of 
Opie, and became his patron. 

6 



MEMOIR 

it would give the print a very mean appearance, or rather deprive 
it of every advantage of appearance and if the Bo/ton Abbey is 
framed with so little margin as to give only 34 inches for the 
exterior measurement of the Frame, the effecT: of my work is much 
injured. 

" A print should have a handsome margin when framed, and 
then it does not much signify how narrow and plain the Frame is. 
The chief expence should be for the glass. 

" For the large prints in question should have at least two 
inches margin at the top and sides and three inches at the bottom 
and for smaller plates (such as The >ueen and Children) I would 
give an inch more. I mean this margin to be measured from the 
edge of my work, and not from the edge of the plate. 

" I can have the pleasure to present you with a fine print of 
Her Majesty, but all my proofs are gone. 

" The following are the sight measurements that I propose for 
the three Frames in question: 

Queen taking the Sacrament 4 feet by 2 feet 4 inches. 
Return from Hawking 3 feet i^ inches by 2 feet 3^ inches. 

and Children 2 feet 3 inches by i foot 10-2 inches. 



" I can hardly hope to have the pleasure to visit you in the 
coming summer, unless I can get across to you from Drayton 
Manor where I expect to be in June. At present I am working 
night and day to get a plate finished for the Exhibition, as I 
had none to send last year (it must be an unpublished work) and 
when I have accomplished this I have engaged to go into Devon- 
shire. 

" If you approve of the measurements I have given have the 
goodness to send a copy of them to your Framemaker. I suppose 
I need hardly explain that sight measure means the boundary of 
he margin, or the inner edge of the Frame. 

" Pray present my best compliments to Mrs. Bagnold, 
" and Believe me 

" Yours very sincerely 

" SAM L . COUSINS. 
"To Capt". T. M. Bagnold." 

7 



SAMUEL COUSINS, R.A. 

As Dr. Wolcot had been the patron and encourager of young 
Opie, so Sir Thomas Dyke Acland became the patron and guide 
of young Samuel Cousins. This friendship between the engraver 
and the family of the baronet lasted very many years, and in 1863, 
Cousins engraved a portrait of Lady Acland when a rather elderly 
lady, " In grateful remembrance of Lady Acland at Killerton and 
Holnicote. 48 years." 

Among those who saw Cousins's Society of Arts drawings was 
Samuel William Reynolds, who at that time was one of the chief 
mezzotint engravers practising in England. The drawings so 
favourably impressed Reynolds that he asked his friend Samuel 
Whitbread, M.P., to write to the young boy's father at Exeter, 
and use his influence to induce Mr. Cousins to allow his son to 
accept an offer from S. W. Reynolds to take the boy as an appren- 
tice, without a premium. The negotiations thus opened up, were 
brought to a favourable conclusion, and it was agreed that Samuel 
Cousins should be bound apprentice to Samuel William Reynolds 
of Poland Street, London, for the term of seven years. So, in the 
autumn of 1814 Cousins left his home for London, and in October 
entered the service of S. W. Reynolds. 

Two events seem to stand out prominently during the time of 
the youth's apprenticeship the drawing and engraving of the 
portrait of Edmund Kean, and the visit Cousins made with his 
master to the Earl of Ashburnham, at Ashburnham House, Sussex. 
And though these incidents were described in the book on Samuel 
William Reynolds, 1 they must not be omitted here. 

Cousins's talent for securing likenesses with his pencil very 
quickly attracted Reynolds, and was doubtless a subject of frequent 
comment. Edmund Kean was an intimate friend of Reynolds, and 
one day, a few months after Cousins had arrived in the house, he 
called at Poland Street. The genius of the young artist for drawing 
likenesses forming the subje6l of conversation, young Cousins was 
sent for to try his skill upon the great adtor. What took place 
is described in the following letter which Cousins wrote in the 
"Whitehall Review" of September 4th, 1884, two years after his 
early drawings had been introduced to public notice by an exhibi- 

1 The first volume of the present series. 

8 



LADY ACLAND AND CHILDREN 

1826 

AFTER SIR T. LAWRENCE, P.R.A. 



MEMOIR 

tion at the galleries of the Fine Art Society: "The drawing [of 
Kean] was not done at Ivy Cottage, but at 47 Poland-street, Ox- 
ford-street. It was in the early spring of 1815, about six months 
after I came to town from Exeter, and was articled at Reynolds'. 
Kean appears to have come to London about the same time as I 
did, for at the time he called on Reynolds he had ' taken the town 
by storm,' as the phrase is, by his performance of Shylock, Sir Giles 
Overreac/i, Richard III, etc. Reynolds, who was a shareholder in 
' Old Drury,' probably made Kean's acquaintance behind the scenes, 
and was quite familiar with the great actor when he called; for on 
my coming into the parlour from the engraving-room my master 
said, ' Now, Kean, you must sit down and have your likeness 
taken.' ' But I can't stay more than half an hour,' urged Kean. 
' Well, sit down,' was the response; and I set to work with all my 
might. Kean held his watch in his hand, and gave me ten minutes 
over the half-hour, which enabled me to complete the face, but 
leaving the hair in little more than outline. What has become of 
the drawing I have never been able to learn. It was not sold with 
other works of art after the death of Reynolds I attended the sale 
nor could any member of the family give me any information 
about it. Reynolds set high value on the little drawing as a like- 
ness of his friend, and set me to work to make an engraving from 
it; but as I hardly knew how to hold a graver, and was hardly 
fourteen years old at the time, the print was but a very rude ren- 
dering of the original drawing. Some twenty years afterwards, 
1835, the plate was given by Reynolds to a Mr. Theodore Norton, 
who had written some lines in praise of Kean, and the ' poem,' 
with my plate as a frontispiece, was published by W. Kenneth, at 
his Dramatic Repository, corner of Bow-street, Covent-garden. A 
copy was given me by Mr. Norton, but I cannot learn where any 
more are to be found, and I think I shall get the print copied in 
photograph, and thus keep it from utter oblivion." 

The drawing has in all probability ceased to exist; but one 
impression from the copperplate is known, and the proud possessor 
of it Mr. Ernest Leggatt has most kindly allowed it to be re- 
produced here. The portrait is a truly wonderful performance for 
a boy of fourteen who " hardly knew how to hold a graver," and if 
a lad with little or no technical knowledge of engraving could 

9 c 



SAMUEL COUSINS, R.A. 

produce such a result, we can form some idea of the original sketch 
that was wrought in forty minutes. 

In this same year 1815 Cousins made a delicate pencil 
drawing of William Alexander, the draughtsman and engraver, who 
had been appointed the first Keeper of the Prints in the British 
Museum. The circumstances of the making of this drawing 
have not been related; but one can easily imagine the boy being 
taken by his master to the treasure-house in Bloomsbury to see 
some mezzotints by the great masters of the art, and that Alexander 
and Reynolds entering into conversation as to the boy's talents, the 
drawing was then and there made. Cousins kept this drawing half 
a century, until, in February, 1866, he took it to the British 
Museum and presented it to Alexander's department. The draw- 
ing has been reproduced here; so that on the same page we have a 
reproduction of Cousins's first attempt at engraving, and of one of 
his early delicate pencil drawings. They will bear a close inspec- 
tion, and the more we examine the drawing, the more deeply are 
we struck by the power of the boy to depicl: the character and 
individuality of the sitter. 

Two other drawings of this period may be mentioned here. 
Lord Westbury possesses a highly-finished copy Cousins made 
from a portrait of Opie which S. W. Reynolds had engraved in 1798. 
And the author of an article that appeared in "The Artist " at the 
time of Cousins's death, wrote: "A pencil sketch he drew of him- 
self (from a looking-glass) when he was fifteen, shows a sturdy little 
fellow with dark, thick, curly hair and large bright eyes that too 
rare combination, a clever and loveable face." He used to account 
for the undeniable success of this pleasing little sketch by saying: 
" he was amused at the funniness of doing himself in the looking- 
glass"; and he would add concerning the merry look in the big, 
soft eyes that " he was not always like that." 

The visit Cousins made to the Earl of Ashburnham's is thus 
described by himself in a letter to his friend Mr. Pycroft, dated 
June 25th, 1881: "About three months after I came to London 
my master, Reynolds, took me to the seat of the Earl of Ashburn- 
ham, near Battle, in Sussex, where we stayed some three weeks, 
and I had to make portraits in pencil of my Lord, my Lady, and 
eleven children, with my own in addition. The drawings were left 

10 



MEMOIR 

at Ashburnham, and I heard nothing of them, nor of any of the 
family, until the date of the enclosed note from Lady Jane, 1 who 
appears to have gone to Agnew's Gallery in Bond Street, when 
my works were exhibited there, 2 and finding I was still in the land 
of the living, felt a woman's curiosity to see me. I found Lady 
Jane a somewhat decrepit widow of seventy years or upwards, yet 
I pointed out which of the drawings was her portrait. Well, 
finding the drawings much better than I expected, I asked permis- 
sion to have some of them copied by the camera and had ten of 
them done in this way regretting now I did not fix the whole of 
them. The old Builder, who appears to have had his wig curled 
expressly for the sitting, is as pure in drawing as a Holbein 
there's a brag for a modest man! I believe they were each done 
at one sitting of some two hours. I must mention that the portrait 
of myself now sent is not the one I did at Ashburnham, but was 
done some two years afterwards and sent to my mother in a letter 
from London." Another account of this visit describes how " at 
Lord Ashburnham's he was treated exactly as one of the children 
of the house playing with them, breakfasting with them, coming 
down to dessert with them when the little ones joined the dinner 
company, and in all ways enjoying that ' liberty, equality and 
fraternity' which in 1 8 14 was not supposed to have many admirers 
on this side of the Channel." 

It was during Cousins's apprenticeship that S. W. Reynolds 
was engaged upon his task of engraving a series of some three 
hundred and sixty small plates after the then known pictures by 
Sir Joshua Reynolds. Cousins was sent to different parts of the 
country to make accurate pencil drawings of the paintings ; and 
he used to relate that at some places he was treated as a guest and 
an equal, while at others he was sent to the society of the servants' 
hall. Of this series of small mezzotints Cousins claimed to have 
engraved eighty-nine ; and we reproduce a portion of the list of 
these plates which Cousins himself wrote out, photographed direct 
from his own manuscript. 

The circumstances under which this list was prepared are as 

1 A letter from Lady Jane Swinburne, mother of Mr. Algernon Swinburne, dated 
January 24th, 1878. 

2 The Exhibition was held in January, 1878. 

II 



SAMUEL COUSINS, R.A. 

follows: In about the year 1884 or '85, during a conversation 
Mr. Algernon Graves had with Cousins in reference to these small 
mezzotints, Cousins remarked that he had worked more or less 
upon the whole of the plates. Mr. Graves then enquired whether 
Cousins had engraved any of the plates throughout, to which the 
latter replied that he had done the whole of the work upon a 
number of them. Mr. Graves next asked if Cousins would sign proofs 
of those he had engraved from beginning to end, and Cousins agreed 
to do so. Mr. Graves, soon after, took a complete set of impressions, 
in four volumes, to Cousins's house and left them there. Cousins 
kept the volumes a week, and by the time Mr. Graves called had 
signed all the plates he had mezzotinted; and he said to Mr. 
Graves: "To make quite sure, not only have I signed the plates I 
engraved, but I have made a list of them on four half-sheets of 
note paper." The reproduction we give has been made from the 
last of these four sheets. It will be noticed that at the end Cousins 
has written: "All these 84 engraved by Samuel Cousins." This 
declaration was made in the presence of Mr. Algernon Graves and 
at his request; and Mr. Graves has explained to the writer that 
Cousins afterwards added to the list the subjects he had omitted, 
bringing the final total of plates up to eighty-nine. These eighty- 
nine plates are briefly described in an appendix at the end of the 
present volume. Mr. E. E. Leggatt, who is the owner of Cousins's 
manuscript, also possesses a complete set of proofs to which Cousins 
has added his signature. 

Not only did Cousins cultivate the use of his pencil during 
the years of his apprenticeship this indeed was his hobby but 
he applied himself with such ardour to his profession of mezzotint 
engraving that by the time his term of seven years was completed, 
Reynolds was anxious to secure his services as assistant. It would 
seem that the business relations between Cousins and his master 
had not always been quite satisfactory, for Cousins was most anxious 
to leave his master's roof as soon as his apprenticeship had ex- 
pired; but through the influence of Sir Thomas Dyke Acland, who 
had influenced and advised the young man during the whole time 
since he left his home at Exeter, Cousins agreed to remain with 
Samuel W. Reynolds a further period of four years, as assistant, at 
an annual salary of 250, it being agreed that the names of both 

12 



PAGE FROM LIST OF PLATES COUSINS ENGRAVED AFTER 
SIR J. REYNOLDS, FOR THE S. W. REYNOLDS SERIES 

REPRODUCED FROM COUSINS'S MANUSCRIPT 




-* . 




MEMOIR 

engravers should appear on all plates which were their joint pro- 
duction. 

This further term of service appears never to have been 
agreeable to Cousins, and he complained that the engagement as 
to his name appearing upon the plates was not faithfully fulfilled. 
It is not proposed to enter here into this delicate question and 
endeavour to establish a case either for Reynolds or for his assistant; 
but it may be well to let the record of the plates issued tell their 
own story. Reynolds produced ten plates bearing dates in the year 
1822, and two of them (Sir Joseph Banks and Edward Copleston, 
D.D.) bear Cousins's name. For the year 1823 there were fifteen 
plates, and three of them (George IV., Viscount Sidmouth, and Rev. 
Thomas Luptori) have Cousins's name upon them. In 1824 nineteen 
plates were published, and once more two (Princess Augusta Sophia 
and Robert Hindmarsh] carry Cousins's name. In 1825 Reynolds 
issued seventeen plates, and four of them (John Mitchell, D.D., 
Catherine Stephens, The Earl of Westmorland, and The Duke of Tork] 
are inscribed with Cousins's name. Besides these plates, three un- 
dated ones give Cousins as joint engraver with Reynolds : Sir George 
Hewett, Les Querelleurs, and Les Joueurs. The total, therefore, 
shows that Reynolds's output for the four years was sixty-one dated 
plates, and at least three undated ones ; and that Cousins's name 
appears on only fourteen of them. The states of two of these 
fourteen plates are to some degree eloquent. The first state of Sir 
George Heivett, with an inscription, contains Cousins's name. In 
the next state Cousins's name has been erased. The first state of 
Catherine Stephens, published July ist, 1825, was issued without 
Cousins's name; but on the second, published three months later, 
" & S. Cousins " was added. 

Upon the termination of Cousins's second engagement with 
S. W. Reynolds, when he became a free man, there was some 
doubt as to whether he should devote his career to working with 
the pencil or with the scraper whether he should follow the 
profession of a miniaturist or of a mezzotint engraver. The year 
1826 shows Cousins in the throes of indecision, practising both 
forms of art. In this year he accompanied his friend Mr. Selby 
(probably Thomas Selby, a miniature of whom Cousins exhibited 
at the Royal Academy in 1854) to Belgium, and visited the field 

'3 



SAMUEL COUSINS, R.A. 

of Waterloo. While at Brussels Cousins painted three miniatures, 
one of them a portrait of a French cavalry officer. These miniatures 
are referred to in the following letter of July lyth, 1826, quoted 
by Mr. Pycroft: "I shall have to receive about 50 for the 
miniatures which I have already done for the gentleman to whom 
Mr. Selby introduced me at Brussels. I have one more to do for 
the same party, and several more in prospect from other quarters, 
so that I almost wish that I had no engraving on hand; indeed, if 
I had only myself to look to, I would not scruple for a moment 
after finishing the plate in hand to give up engraving entirely. . . . 
Sir Thomas Acland saw my miniature of Miss Coleman (a minia- 
ture of a Mrs. Coleman by S. Cousins was exhibited at the Royal 
Academy in 1854), and was greatly pleased with it. He thought 
my price, ten guineas, too low; but I am very well content with 
that price." 

Side by side with these miniatures, we have his work upon 
the metal; and for the year 1826 the "engraving on hand" con- 
sisted of four plates, two of which settled the question of Cousins's 
future career. In this year his constant friend and patron, Sir 
Thomas Acland, gave him his first commission to engrave in 
mezzotint the group Sir Thomas Lawrence had painted of Lady 
Acland and her two boys.. There must have been three reasons at 
least to impel the young engraver to put forth his best skill: his 
affection for his patron; his feeling of pride that his first commis- 
sion was to translate a picture by the President of the Royal 
Academy; and the fad: that it was his first independent piece of 
engraving. The young man gave of the best that was in him, and 
produced a mezzotint of startling excellence, which proved an im- 
mediate success, and was greatly admired by his patron's family and 
the painter of the picture. Lawrence was delighted with the work, 
and at once gave him a commission to mezzotint the portrait of 
Master Lambton he had recently painted for the boy's father, John 
George Lambton, afterwards Earl of Durham. The plate was 
engraved, and so happy was the result that Lawrence had his own 
name put to the plate as " the proprietor " of it, and with this 
imprimatur it was first published. This is the only example in which 
a president of the Royal Academy gave a mezzotinter his send-off, 
by publicly proclaiming the ownership of his first published plate. 



MEMOIR 

The picture has been described as " one of the best and most typical 
of Lawrence's portraits," and the engraving took, and has maintained, 
such a hold upon the public, that the plate has passed through no 
fewer than nine states. In the Catalogue (No. 98), allusion will be 
found to an aquatinted plate of Master Lambton, which has hitherto 
escaped notice, and of which only one impression is known the 
one in the Cheylesmore Collection in the British Museum. 

Lawrence was so impressed with the latest recruit to the ranks 
of the engravers, that he made overtures to " buy up " the services 
of the new comer; but fortunately Cousins was able to withstand 
this tempting offer. From this time, however, the two men were 
very closely associated, and altogether Cousins engraved thirty-three 
plates from Sir Thomas Lawrence's pictures, the majority of which 
were published before, or just after, the painter's death in 1830. 
With the two plates just described, both of which are reproduced 
here, Cousins's position as an engraver was established; and straight- 
way commissions crowded upon him, and his permanent success 
was secured. 

His first address was 104, Great Russell Street, Bloomsbury; 
and here the conflict between miniature painting and mezzotint 
engraving was fought out and the latter triumphed. 

Seven plates, after six different painters, were the output of 
young Cousins for the following year, 1827, and the number is 
sufficient to show the firm hold the engraver at once obtained upon 
the public. Two of these we have illustrated Miss Croker and 
Sir Michael Shaw Stewart. The first is remarkable for the pleasant 
fa<5t that although it was one of Cousins's earliest mezzotints, the 
lady (Lady Barrow) is still living, her portrait having been engraved 
seventy-seven years ago ! Full particulars will be found in the 
Catalogue (No. 49). The second plate mentioned is somewhat 
notable as being the only mezzotint Cousins engraved after Sir 
Henry Raeburn, R.A. ; and one feels that the engraver's style would 
have been greatly strengthened had it been his good fortune to 
have engraved more of the paintings of this artist, who had been 
dead only four years at the time the plate was published. 

Lawrence's picture of Pope Pius VII., representing the pontiff 
seated in a room of the Vatican, where Lawrence painted the 
picture, was engraved by Cousins in 1828. Mr. Algernon Graves 

'5 



SAMUEL COUSINS, R.A. 

relates that to print this plate, a different printer had been suggested 
to Lawrence, instead of the one usually employed upon Cousins's 
work. Mr. Graves says: 1 " The result was disastrous, the plate was 
ruined, and the impressions useless. Mr. Cousins told me he posi- 
tively cried when he realized what had been done, and he rushed 
off to Lawrence to put the matter berore him. The painter was 
very angry that he should have been so imposed upon, and offered 
Mr. Cousins the copyright of any piclure then in his studio, as some 
compensation for the injury done him. He told me he could have 
had Lady Peel, but foolishly decided upon Dr. Astley Cooper ', which 
turned out a pecuniary failure." 

With the engraving of Chantrey's statue of Sir Joseph Banks, 
we obtain an idea of the price Cousins received for his work at this 
time. As will be found on reference to the Catalogue (No. 9), the 
statue was subscribed for as a public monument to the great 
naturalist, and the plate was engraved to be issued to the sub- 
scribers. Cousins's receipt is still preserved in the British Museum, 
dated August 8th, 1829, and it records that he received a hundred 
guineas for engraving the plate. Cousins also received a hundred 
guineas for the Master Lambton plate. 

In the work of the year 1830 were several important plates, 
including a portrait of Sir Thomas Lawrence, who died on January 
yth. Four plates belonging to the year are reproduced: Lady 
Dover and Son, Countess Grey and Children, Mrs. Wolff, and Robert 
Burns. To show that Cousins's mezzotints were not always eagerly 
bought up, Mr. Algernon Graves tells the following story of the 
Countess Grey and Children. In the month of December, 1865, he 
attended the public sale of the stock of R. H. Grundy, removed 
from Liverpool to Christie's, when he secured quite thirty fine first 
state impressions for the ridiculously small sum of thirty shillings 
the lot ! These impressions were slowly sold by Messrs. Graves at 
prices averaging about 3 each. The first impression that came 
into the market after the last of the batch was disposed of, Mr. 
Algernon Graves determined to buy at whatever price it might 
fetch, and he made a wager with his father that he would sell 
it at once at a profit. He bought the print for 9; and a man 
in the sale room came to him as soon as the hammer had fallen, to 

1 "The Printseller," January, 1903. 

16 



MASTER LAMBTON 
1826 

AFTER SIR T. LAWRENCE, P.R.A. 



MEMOIR 

ask how much he would sell it for. Mr. Graves replied, 12; but 
for the sake of the wager he accepted 10. The next impression 
that came up for sale Mr. Graves bought for iy ids. and sold to 
Messrs. Agnew at a ten per cent, profit; and the third impression 
publicly offered for sale fell to Mr. Graves's bid of 27. This series 
of purchases must constitute such a romance of print-buying as can 
occur but rarely in the course of a lifetime! At the Blyth sale in 
March, 1901, a Lady Grey and Children was sold for 85 guineas; 
and fine impressions in the first states from the most coveted of 
Cousins's plates are sold at the present day for considerably larger 
sums. 

This Grundy sale of 1865, must have sounded the lowest 
depths of neglecT: of Cousins's prints; and it may therefore be of 
interest to enumerate a few of the lots, with the prices that were 
obtained: 



LOT 

1711. Mrs. Wolff 


31 Proofs before letters . . 


'. d. 
090 


1714. Lady Grey ; 


ind Children . 19 . . 


7 

, I O O 


I7'5. 


19 5> >t ' 


, O IO O 


1716. 


. . 14 Lettered Proofs . . . 


3 




4.8 Prints 


O 4. O 



1752-3. Miss Macdonald .... 38 India Proofs before letters .] 
1754. .... 19 Lettered Proofs . . . / 

The portrait of Robert Burns, after Alexander Nasmyth, is of 
special interest, as it shows at its best the combination of stipple 
and mezzotint. And the share of the work done by William 
Walker, who began the plate, is more important than has sometimes 
been supposed. The plate was, in facl, his inception, and the carry- 
ing out of the undertaking, his venture. Very few proofs exist that 
show the preliminary stage of the plate before Samuel Cousins laid 
his mezzotint ground, but Mr. William Walker, son of the en- 
graver, is the possessor of three, and they show the stippling to 
have been of an elaborate character and most carefully done. He 
tells us his father took special pains with the work, and impressions 
were printed from time to time as the stippling proceeded; and 
one of these proofs was taken by the engraver to Burns's widow, 
to whom the engraver was introduced by William Ritchie, one of 
the founders of the " Scotsman " newspaper, in order that he might 
discuss points of detail with her. William Walker's work upon 

17 D 



SAMUEL COUSINS, R.A. 

the plate was so important that until later years, when Cousins's 
skill as an engraver became more generally known, the print was 
associated with Walker's name only. An impression of the finished 
plate was shown at the Victorian Exhibition, Earl's Court, in 1897, 
and Mr. Algernon Graves, who prepared the catalogue for the 
engraving section of the exhibition, placed it under the name of 
William Walker, and added: "This plate was afterwards worked 
upon by Samuel Cousins, R.A." James Nasmyth, in his autobio- 
graphy, 1 says: " When the first proof impression was submitted to 
my father, he said to Mr. Walker: 'I cannot better express to 
you my opinion of your admirable engraving, than by telling you 
that it conveys to me a more true and lively remembrance of Burns 
than my own picture of him does; it so perfectly renders the spirit 
of his expression, as well as the details of his every feature.' ' All 
who have seen a fine impression of the engraving will heartily 
endorse Alexander Nasmyth's opinion as to the excellence of the 
engraving, the result of the combined skill of William Walker and 
Samuel Cousins. 

A glance at the List of Illustrations will give an idea of 
Cousins's chief work during the following years. Special attention 
is invited to the reproduction of Mr. Leggatt's unique impression 
of John Hunter., and to the remarks made upon it in the Catalogue 
(No. 88). It is a most singular circumstance that the abandoned 
plate of Master Lambton was put aside and forgotten, and that after 
a lapse of five years the metal was taken up again unsuspiciously, 
and that as the work of the Hunter portrait proceeded, the head 
of Master Lambton gradually appeared over the shoulder of the 
celebrated doctor! The plate was engraved in 1831, the year of 
young Lambton's death. 

During the first few years of Cousins's career as an independ- 
ent engraver, he was producing plates of the highest quality, and 
establishing a well-earned reputation, but nothing from his hand 
was exhibited at the Royal Academy. Nevertheless, his fame was 
sufficiently well known to the academicians, for in 1835 they 
elected him a member of their body as an Associate Engraver, in 
succession to James Fittler who died in that year. Cousins's com- 

1 "James Nasmyth, Engineer. An Autobiography." Edited by Samuel Smiles, 
1883. Page 33. 

18 



MEMOIR 

petitor for the honour was his fellow apprentice David Lucas. 
The former was the nominee of Sir Thomas Lawrence, and the 
latter of John Constable, R.A.; and the influence of the President 
outweighed that of the landscape painter. Constable, in writing to 
Lucas on November 4th, 1835, to communicate the result, said: 
" Dear Lucas I dare say you have heard by this time how the 
election went. Cousins was elected, he being the only other candi- 
date. You had, however, four votes which with the way in 
which your works were spoken of was most respectable indeed 
Chantry and others were verymuch impressed with [them]. Chantry 
I know would like much to see you but he is at Brighton at present, 
as Mrs. Chantry is so very ill or has been. I told him you were 
his neighbour, but for the life of me I could not recollect your 
devil of a street the name of which has always perplexed me. I 
don't know how I shall find it to direct this letter by, for at this 
moment no power on earth could make me name it." . . . The 
original letter is in the possession of Mr. H. S. Theobald, K.C., to 
whom the writer is indebted for its use. 

Yet another two years passed before Cousins's work was publicly 
exhibited, for it was not until 1837 that he made his debut at the 
Royal Academy, with two mezzotints: The Maid of Saragassa., after 
Sir David Wilkie, and Bolton Abbey in the Olden Time, after Sir 
Edwin Landseer. The Bolton Abbey was the first of eleven plates 
he engraved after Landseer, and there are several items of interest 
connected with this mezzotint. The picture hung among the trea- 
sures of the Duke of Devonshire at Chatsworth; and Mr. Pycroft 
narrates that when Cousins went down to arrange to engrave it, he 
fully expected the Duke would grant facilities for the work, as other 
owners had already done; but to his great surprise his Grace refused 
to allow the canvas to be removed from the wall. Cousins was 
therefore compelled to make the best translation he could, standing 
before the picture, which was not less than eight feet from the 
ground. Notwithstanding the unfavourable conditions he succeeded 
most admirably, and produced a mezzotint which in its day was 
one of the most popular in the world ; and by means of this engrav- 
ing his name became almost universally known. About the year 
1857, J. H. Anderdon the collector, whose prints were dispersed 
by Messrs. Christie in the spring of the present year, made the 

'9 



SAMUEL COUSINS, R.A. 

following note of Eolton Abbey. " This print attracted much atten- 
tion, and as ' proofs ' much money. At length too many made 
their appearance at once, and down went the market. After twenty 
years proofs are valuable again." When the Bolton Abbey plate was 
put to press, the date inscribed upon it was "May ist"; but as 
soon as Cousins discovered this, he asked Messrs. Graves to delay 
a few days, until his birthday " May gth," and his wish was com- 
plied with. Only a few impressions had been printed with the 
earlier date, and naturally these are eagerly sought for by collectors. 

From the commencement to the end of his career Cousins was 
so beset with commissions that he had no occasion or opportunity 
to seek for a picture to engrave because he admired it. It is said 
that such an incident occurred only twice, and one of these 
happened about the year 1836. It is believed that, passing one day 
through the galleries of the Louvre, his eye was attracted to the 
pidlure by Raoux representing a lady reading a letter, a strong light 
being thrown upon her face and bosom. Cousins was fired with 
the desire to engrave the piclure; and he produced a very charm- 
ing plate. Curious to relate, when the engraving was finished 
Cousins had some difficulty in finding a publisher. The print is a 
rare one and is expensive. It has had more than one title, but is 
best known as The Sunshine of Love. A reproduction will be found 
among our illustrations, though it does not do justice to the 
original mezzotint. Mr. Graves tells us that at the W. J. White sale, 
about the year 1866, he secured seven first proofs of La Surprise 
and four of The Sunshine of Love for about eight pounds the lot! 

In 1837 Samuel Cousins was one of the engravers who signed 
a memorial to William IV., praying, on the part of engravers, for 
an equal participation in the honours of the Academy, with 
painters, sculptors and architects. 

Attention is invited to the rare portraits of Lady Ravensivorth 
and Mrs. Braddyll and to the interesting notes of the plates that 
appear in the Catalogue (Nos. 25 and 133). The states of the plate 
of the Marquess of Stafford and his sister are of somewhat unusual 
interest; and one feature that has hitherto escaped notice is that the 
first title that was inscribed upon the plate was " The Marquess of 
Stafford and the Lady Evelyn Gower"; and it was not until after- 
wards that the name of Lady Evelyn preceded that of the young 

20 



SIR MICHAEL SHAW-STEWART 
1827 

AFTER SIR H. RAEBURN, R.A. 



MEMOIR 

marquess. A special mark for collectors of this plate is the buckle 
high-light at the waist of the marquess. This and other points of 
interest are set forth in the Catalogue, No. 1 54. 

From 1840 to 1870 the paintings by Sir Edwin Landseer 
were extremely popular; and Cousins assisted in spreading the 
fame of the great animal painter, and reaped his share of the 
profit that accrued from his mezzotints after that master. The first 
Landseer picture Cousins engraved we have already alluded to; 
and the last, The Connoisseurs a portrait of Sir Edwin Landseer with 
a dog looking over each shoulder at a drawing which the painter 
is making was published in 1867. It was agreed that Cousins 
should perform his task of engraving The Connoisseurs in a year; but 
at the end of three months he called on Mr. Henry Graves and 
said: x " I suppose if I finished The Connoisseurs under the year you 
would grumble at having to pay for it, and consider that I had 
earnqd my money too quickly." " Oh, no," said Mr. Graves, " if 
you could whistle it finished I should only be too glad to give you 
the cheque at once." " Well," said Cousins, " it is finished now." 
With one exception this was his most rapid piece of work; the 
exception being the portrait of Rosa Bon/ieur which was begun and 
finished in six weeks. The special " remarque " state of this plate 
is explained in the Catalogue (No. 99). Altogether, five examples 
of Cousins's work after Sir Edwin Landseer have been included 
among our illustrations. 

After leaving Great Russell Street and until about 1840, 
Cousins was living at 163, Albany Street, Regent's Park, and he 
remained a resident of the north side of London until the end of 
his life. By 1841 he had removed to 15, Osnaburgh Street, 
Regent's Park ; and a note he sent from this address to his friend 
Lupton the mezzotinter, reads: "Dear Lupton. If you can 
indulge in a walk to Hampstead this evening I shall be glad of 
your company: Tea at half past five, and start at six. I am going 
to look for lodgings for a fortnight. Yours very sincerely Sam 1 . 
Cousins." 

By 1850 we find Cousins living at 12, Regent's Park Terrace, 
Gloucester Gate; but there was no cessation to his work, each 
year having its tale of mezzotints to record. In 1854 he sent 

1 " The Printseller," January, 1903. 
21 



SAMUEL COUSINS, R.A. 

three miniatures to the Royal Academy (Thomas Selby, Mrs. 
Coleman, and Captain Impett) ; and these were the only examples 
of his painting ever shown there his remaining thirty-two 
exhibits being all mezzotints. It was in 1854 that Cousins was 
commissioned to engrave Winterhalter's portrait of Napoleon III, 
a commission the engraver at first wished to decline, but yielded 
at the special request of the Emperor himself. Upon the com- 
pletion of the work he received the order of the Legion of Honour, 
presented to him by the French Ambassador in London, and after- 
wards he was awarded a gold medal as a Graveur Etranger. The 
companion plate to the Napoleon a portrait of the Empress 
Eugenie was published in 1856. The year 1854 was of further 
interest, for in it Cousins turned his attention to the paintings by 
Millais, which were annually creating much comment at the 
Royal Academy, and engraved his first plate after this master 
The Order of Release. This we have reproduced. It was the first 
of twelve plates Cousins engraved after Millais. 

The following year 1855 was indeed a red-letter year for 
Cousins, as well as for the whole company of engravers, because then 
for the first, and (with the exception of George Doo and one or two 
others) the only time, an engraver was advanced to the rank of R.A. 
The Royal Academy catalogue for 1855 announced: "ASSOCIATE 
ENGRAVER OF THE NEW CLASS. Samuel Cousins, R.A. 
Elect." Sandby in his " History of the Royal Academy," (Vol. ii., 
p. 246), tells us: "The loth of February, 1855, was the day on 
which the first engraver was admitted to full Academic honours, 
Mr. Samuel Cousins being the recipient of the long-coveted dis- 
tinction sought for by the profession of which he is a member. He 
was the first Associate, elected in November, 1854, under the new 
law, by which engravers of that class were rendered eligible for 
the higher rank." As mentioned above, George Thomas Doo was 
also elected an Academician Engraver in 1857 and so they 
remained until 1867, when the grade was dissolved and Samuel 
Cousins became an R.A. proper. 

For many years past the just claims of engravers to academic 
honours have been grossly neglected ; and the admirable letter Sir 
Walter Gilbey addressed to "The Times" on April i5th, 1903, 
remains to this day unanswered. But surely, even now, it is not 

22 



MEMOIR 

too late for such eloquent, yet withal restrained advocacy to bear 
the fruit it deserves, and for the most eminent engravers of the 
present day to be restored to " an equal participation in the honours 
of the Academy, with painters, sculptors, and architects." 

In 1855 and 1856 Cousins was not represented at the Academy, 
but in the following year he sent his mezzotints of the Emperor 
and Empress of the French, already alluded to ; and to the next 
exhibition he contributed A Midsummer Night's Dream and the 
portrait of the Princess Royal. A Midsummer Night's Dream is a 
most accomplished specimen of mezzotint work, and displays the 
greatest skill in the rendering of different textures. Landseer 
declared this to be Cousins's greatest work as an engraver, and went 
so far as to acknowledge that in some respects he had improved 
upon the original picture. Mr. Algernon Graves relates that when 
a proof was submitted to Sir Edwin Landseer, at Redleaf, where 
the painter had been lying ill for some time, the sight of it roused 
him from his depression and he rapidly recovered. This may be 
the place to note that as a rule when Cousins submitted a proof 
of one of his plates, it represented the subject quite finished; the 
engraver having previously completed the work of touching the 
proofs and putting the finishing strokes to the plate before submit- 
ting an impression to the publisher. 

By 1857, Cousins had removed to 24, Camden Square, where 
he remained until the close of his life. Here he industriously kept 
to his work year by year, but the plates he was engaged upon 
during the sixties were those that have the least attracted collectors. 
In fact by about 1 870, or a little later, Cousins felt that his contribu- 
tion to the work of the world was finished and he must lay aside 
his mezzotinting tools. And in the spring of 1872 he collected, 
as far as he was able, a complete set of fine impressions of his 
plates and presented them to the nation by depositing them in the 
Print Room of the British Museum, where they proclaim the 
genius of the engraver and the generosity of the man. By this 
gift collectors have been enabled to enjoy the life work of one of 
the most important mezzotinters of the nineteenth century, and 
craftsmen have had the opportunity to study the style and methods 
adopted. The whole art world has been the richer for this princely 
gift, and by it the memory of the giver will ever remain fresh. 

2 3 



SAMUEL COUSINS, R.A. 

James Ward, R.A., led the way in 1817 by presenting a set of 
his works, and Samuel Cousins, R.A., followed in 1872. Does it 
not seem fitting that the living engravers, who are now contribut- 
ing their quota to the art history of the country, should reserve a 
set of their finished proofs to take their place side by side with 
those of these two eminent engravers? By so doing they would be 
raising a permanent monument to their own memory. 

The first Old Masters exhibition at Burlington House, in 
1870, contained pictures by Sir Joshua Reynolds; and this exhibi- 
tion revived the interest in the works of the great English painter, 
and created a passion for the eighteenth century mezzotints after 
his pictures. Owing to the demand, prices for the prints rapidly 
advanced. It was about this time that Cousins saw the Wallace 
collection when it was on view at Bethnal Green. Among the 
pictures was Sir Joshua Reynolds's Strawberry Girl; and this picture 
Cousins mezzotinted con amore, and offered the plate to Messrs. 
Agnew, who at once secured it. The plate instantly became cele- 
brated, and created a sudden demand for the best of his earlier 
mezzotints. It seems extraordinary that an engraver, after attain- 
ing an age beyond seventy, and after deciding to retire from the 
field of active labour, should make, as it were, a new beginning. 
But such is the energy of an active body with a good eyesight, 
that Cousins applied himself anew to the art he loved, with such 
vigour that, before he had completed his final portrait, he had 
added to his total a further thirty-seven plates, seven of which 
found their way to the walls of the Royal Academy. 

In the year 1877, when Cousins was engaged upon the plate 
of The Dauphin, Mr. Leggatt on one occasion called at Camden 
Square, and the conversation turning upon the power of Cousins's 
eyesight, the engraver took up a copy of " The Times," and turn- 
ing to the foot of the last page, held it at some distance and read 
off the printer's and publisher's imprint without any difficulty and 
without the aid of glasses; a feat quite extraordinary in a man of 
seventy-six, whose eyes had been subjected to a life of severe strain. 

Writing on November 25th, 1874, Cousins says 1 : "The 
engravings I have done from Sir Joshua Reynolds's pictures have 
had such a ready sale, that if\ am disposed to continue engraving, 

1 Quoted from Mr. Pycroft's memoir. 
24 



MISS CROKER 
1827 

AFTER SIR T. LAWRENCE, P.R.A. 



MEMOIR 

the publishers will be ready to supply me with a succession of 
pictures. The one I finished about a month since seems to please 
the people uncommonly, for all the 300 artist's proofs are sold at 
six guineas each, and when Lord Dudley, who lent the picture, 
desired to have half-a-dozen proofs in addition to the one the pub- 
lishers sent him framed, they could not supply him. In addition 
to the 300 artist's proofs there will be 300 more taken, 200 of 
which are to have the name of the child engraved on the margin. 
The name is Miss Penelope Boothby." 

The series of engravings after Sir Joshua Reynolds, produced 
between the yeats 1873 anc ^ l %79> exceeded a dozen plates; and 
of this number we have reproduced The Strawberry Girl and Sim- 
plicity, two charming plates, though they do not give us the rich- 
ness of the mezzotints engraved during Reynolds's lifetime. We 
have also reproduced one of the last plates Cousins engraved after 
Sir J. E. Millais the Princes in the Tower which belongs to the 
year 1879. 

There yet remains to be told the story of the Duchess of 
Devonshire. Cousins was feeling his loss at never engraving a picture 
after Thomas Gainsborough; and when he learned that the famous 
portrait of the Duchess of Devonshire was coming up at Christie's, 
in the Wynn Ellis sale, in 1876, he realized that his opportunity 
had at last come. He went to Messrs. Agnew and expressed his 
wishes, and Messrs. Agnew undertook to buy the picture if Cousins 
would produce an important mezzotint from it that might rank as 
his chef d'oeuvre. The day of the sale arrived, and the picture was 
adjudged to Messrs. Agnew for the great sum of 10, 100 guineas. 
It was then agreed that Cousins should receive 1,500 guineas for 
engraving the plate; and arrangements were made for the picture 
to be sent to 24, Camden Square, in the month of September. 
Alas! as all the world knows, the picture never reached the house 
of the engraver, but disappeared, and Cousins was unable to gratify 
the desire of his heart. The engraving was to have been about 
21 inches by 17 inches, and during the few days the picture was 
exhibited at Messrs. Agnew's Gallery, crowds were attracted to see 
it, and the names of some hundreds of subscribers were entered for 
Cousins's engraving. 

In 1 88 1 Cousins engraved Millais's Cherry Ripe, but from this 

25 E 



SAMUEL COUSINS, R.A. 

time the demand for his prints subsided, and was not revived until 
after the death of the engraver. 

In 1877 Messrs. Agnew held an exhibition of Cousins's works; 
in 1883 The Fine Art Society's exhibition took place; and in 1887 
Messrs. H. Graves and Co. held their exhibition of the Power 
collection, which was afterwards transferred to and shown at Messrs. 
Leggatt Brothers' Gallery in the City. In 1880 Cousins entered 
the ranks of Honorary Retired R. A.'s. 

Mr. F. G. Stephens, in 1884, wrote an article on Cousins in 
his "Artists at Home" series; and it was embellished with a 
photogravure illustration showing a view of Cousins's sitting-room, 
with the aged engraver seated by a portfolio of prints. On the 
walls are frames containing prints from his own plates: 'The Call- 
ing of Samuel, The Order of Release, and Louis XVI. and Family in 
the Prison of the Temple, this last being considered by Cousins one 
of the best examples of his work. 

It seems strange that the last plate Cousins engraved should 
have been his own portrait. But so it was. Edwin Long, who had 
painted the portrait of Mrs. Brown which Cousins had engraved, 
in 1883 painted Cousins sitting at his engraving table at work 
upon a plate; and by the following year Cousins had finished a 
mezzotint of the pidture. A reproduction of this portrait closes 
our series of illustrations. Cousins was really never quite satisfied 
with the likeness, and so caused himself to be photographed in the 
attitude of the piclure that he might make improvements in the 
engraving. 

Through the kindness of Mr. Leggatt we have been able to 
reproduce Frank Holl's original drawing, from his portrait of 
Samuel Cousins, as the frontispiece of the present volume. It was 
executed as an illustration to Henry Blackburn's" Academy Notes"; 
and is a truly masterly drawing of much dignity, and worthy of 
the merits of the engraver. 

Unfavourable allusion is sometimes made to Cousins's willing- 
ness to sign proofs of almost any quality for a fee of half-a-crown 
a signature; but 1 "it is not well known that through a long life 
of liberal earnings and moderate expenditure he was doing good to 
unfortunate brother artists and to others in need." And further, 

1 "The Artist," June ist, 1887. 
26 



MEMOIR 

when it is remembered that as the outcome of his generosity to his 
fellow-craftsmen, he placed at the disposal of the Royal Academy 
the sum of 15,000 to be invested for the purpose of supplying 
annuities not exceeding 80 each to artists of merit in needy cir- 
cumstances, harsh critics should bear in mind that the whole of 
these half-crowns went towards building up the amount of this 
munificent gift. 

Until the last twelve months of his life Samuel Cousins was 
working at his profession though only to a small extent. The last 
task that engaged his attention was to help his friend Mr. T. L. 
Atkinson, by working on two plates after Sir J. E. Millais: Little 
Miss Muffit and Perfett Bliss. By the spring of 1 887 it was realized 
that his strength was failing, and about five o'clock on the after- 
noon of Saturday, May yth, came a peaceful and happy end. He 
was buried at Highgate cemetery. 

Cousins's engraving tools passed at his death into the hands 
of the engraver, Thomas Oldham Barlow, and at the death of the 
latter they were purchased by Mr. J. B. Pratt, who still uses them, 
and considers them better than any he can procure at the present 
day. 

On the 1 8th March, two months before his death, Cousins's 
will was drawn up; and in it he nominated his brother John 
Cousins and his sister Susan Cousins, and his friends Edward Angelo 
Goodall, Thomas and Clifford Lupton, and James Baird Wright, 
his executors and trustees. The bequests included: (i) to each 
executor who should prove the will and at in the trusts thereof, 
3,000; (2) to each of his nephews, Thomas Selby Cousins and 
John Henry Cousins, 8,000; (3) to his friend Thomas Selby, late 
of 3 Trafalgar Square, Chelsea, 1,000; (4) to the Treasurer for 
the time being of " The Artists' Orphan Fund " of the Artists' 
General Benevolent Institution, 5,000, to be applied towards 
carrying on the laudable designs of that Institution; and (5) to the 
Treasurer for the time being of the society formed in London in 
the year 1810 under the title of " The Artists' Benevolent Fund," 
which fund is a branch of " The Artists' Annuity Fund," the sum 
of 1,000 for the use of the Society. The bulk of Cousins's estate, 
including the leasehold house, 24 Camden Square, furniture, books, 
pictures, drawings, engraved plates, proofs and prints, Cousins be- 

27 



SAMUEL COUSINS, R.A. 

queathed to his sister Susan. Probate of the will was granted June 
1 7th, 1887, when the personalty was declared at i 12,367. 

Cousins's collection of ancient and modern engravings, includ- 
ing the impressions of his own works in his possession at the time 
of his death, was sold by Messrs. Christie, April i8th and igth, 
1888, when the prices realized for his own mezzotints were ex- 
ceedingly small. The highest sum obtained for a single print was 
4 5-r. for the portrait of Samuel Taylor Coleridge; and the highest 
sum realized for a lot, was 8 for five impressions of the portrait 
of Cardinal Newman. It should be added that some of the most 
admired subjects were not included in the sale. The majority of 
the lots were sold for less than i, and 5^. was the price frequently 
paid. 

That it should not be thought there was little or no demand 
for Cousins's prints at this time, it may be well to quote a few of 
the prices obtained at the P. Ernest Power sale at Christie's in the 
following July: Lady Acland and Children, 26 5-f.; Master 
Lambton, 36; Lady Dover and Son., 19 8^.; Countess Gower and 
Child, 59 ijs. Bo/ton Abbey (first proof), 37 i6s. ; Suns/line of 
Love, 24 1 3-c. 6d. 

Soon after Cousins's death, when collectors fully realized that 
the last link that connected the modern mezzotinters with the older 
craftsmen who worked directly under the great painters of the 
English School had been broken, a new demand arose for Cousins 
mezzotints, and the demand has not only been maintained but has 
steadily increased up to the present day. Though we may temper 
our enthusiasm with a tinge of regret that Cousins did not quite 
attain to the heights he might have reached, and though we may 
feel that sometimes the influence of Lawrence was such that when 
Cousins was engaged upon the canvases of other painters he failed 
to enter into their motives and methods, but endeavoured to subdue 
their personality to the style of Lawrence, yet Cousins was a great 
engraver, worthy of the craftsman's study, and the connoisseur's 
interest and admiration. 

Of the man himself, Mr. Graves writes: " I have often heard 
Mr. Cousins described as a very surly man, but such was not my 
experience of him. I always found him most genial and most 
communicative." A writer at the time of Cousins's death said: 

28 



ROBERT BURNS 

1830 

AFTER ALEXANDER NASMYTH 



MEMOIR 

" Surely this century has never seen a more generous and gentle 
spirit than the man who has just been taken from us. We never 
heard him speak unkindly of any man, and the love of all who 
knew him will follow him beyond the grave." Another friend 
said: " He was one of the most sincere, the most modest, and the 
most simple-hearted men who ever followed in the footsteps of art." 
And to sum up: Samuel Cousins was a man endowed with 
great talents, whose success did not injure his powers of industri- 
ous effort, and whose self-gained position did not impair his kindly 
thought for those around him. A bachelor, he lived with an affec- 
tionate sister, and during a long and healthy life worked continu- 
ously for the enjoyment of others as well as for his own profit; and 
he has left behind him an unsullied name, as well as a long series 
of brilliant mezzotints which collectors will prize and all who see 
them will enjoy until beauty and accomplished effort cease to 
attract. 



29 



CATALOGUE OF THE WORKS OF 
SAMUEL COUSINS, R.A. 

THE order of the Catalogue follows that employed in the former 
volume of the series " Samuel William Reynolds." The portraits 
are placed alphabetically, and are followed by the subject pieces, 
arranged in the alphabetical order of the painters' names. 

The term " State " has formed the subject of long and animated 
discussion; and there are those who contend that the designation 
" State I" should not be introduced into a catalogue until all the 
" engraver's proofs," " presentation proofs," and other special groups 
have been disposed of. That in fact the series to be catalogued as 
" State I " should be the group or batch of impressions that first 
reaches the hands of the public. To the writer the whole subject 
resolves itself into the question: In what way can the cataloguer 
be of the greatest help apd service to the collector and to the 
seller? The case of one distinguished amateur is known who com- 
menced a catalogue by omitting details of the prints and the 
lettering, and adopting this system of description: 
I. Engraver's proof. 
II. Artist's proof. 

III. Subscriber's proof. 

IV. First published state. 

If a printed catalogue were so drawn up, what satisfaction 
could a dealer or a collector derive when he sought to compare an 
impression of a print with it so as to decide the delicate and some- 
times difficult question of state? It therefore seems that the most 
helpful and satisfactory course for the cataloguer to pursue, is for him 
to prosecute his investigations to the utmost limit in his power, to 
discover impressions that show all the varieties of change and 
alteration in the work upon the plate and in the lettering of the 
inscription, as well as marks of accident or other vicissitude, and 

3 1 



SAMUEL COUSINS, R.A. 

then most carefully to describe them in every essential detail. 
When this portion of his task has been accomplished, the cata- 
loguer will proceed to arrange these few or many groups into his- 
torical sequence, and finally he will number or letter them. This 
is the system adopted in the following pages, and it was the one 
employed by J. Chaloner Smith in his great work. By it the pos- 
sessor of a print can refer to his catalogue and without difficulty 
assign the print to its accurate position in the history of the plate. 
Or if the description of the particular state has been omitted, the 
position the print should take can be readily decided. By follow- 
ing this course it is hoped and believed that the Catalogue will be 
of most service, both to those who buy and to those who sell. 

Preliminary etchings have not been reckoned as states; the 
mezzotint ground having in every case been laid upon the plate 
before an impression has been designated State I. 

Search has not been made to find impressions of the more 
modern plates in all their states, that they might be described in 
detail. In these cases the different states and the number of impres- 
sions were declared to the Printsellers' Association founded in 
1847 ar >d tne declarations have been quoted. Only those states 
that have come under the notice of the cataloguer in the course of 
his work have been described, so it must not be assumed that they 
are in all instances the first state. Generally speaking, the states 
of these modern plates follow a uniform rule, and those declared to 
the Printsellers' Association may be defined as follows: "Artists' 
proofs " = impressions before the painter's and engraver's names 
were etched or engraved upon the plate, but as a rule they are in- 
scribed with a lightly etched or engraved line of publication, 
usually above the subject; "Proofs before letters " = impressions 
with artists' names and sometimes with a line of publication etched 
or engraved below the subject; "Lettered Proofs" = impressions 
with the title added in more or less light lettering; " Prints" 
impressions with the inscription in stronger lettering and some- 
times with a dedication. These definitions will enable the collec- 
tor to locate the state of a print that may be offered to him bearing 
the stamp of the Printsellers' Association. The practice of the 
Association is to impress their stamp below the subject, on the left 
side of all proofs in the first state; and on the right side of all in 

32 



MRS. WOLFF 
1830 

AFTER SIR T. LAWRENCE, P.R.A. 



INTRODUCTION TO THE CATALOGUE 

the second and third states. Print impressions are not stamped by 
the Association. 

Samuel Cousins being in the habit of signing impressions 
whenever asked to do so, the fact of his autograph appearing on a 
print has not been noted. 

In some cases the second, or even the third, state recorded in 
the following Catalogue was the first one published or issued to 
subscribers. The probable explanation is that a few impressions 
were first printed off for private use without any, or with very 
little, inscription. An interesting example of the custom will be 
found in the portrait of Lady Grosvenor. In an early impression 
of this plate the initials " T. G." were noticed, lightly etched 
or scratched below the word " Proof"; and for a time the meaning 
of the initials could not be deciphered. But when the fully 
lettered state was examined it was found that the plate was dedi- 
cated to the " Right Hon ble Thomas Grenville," and then the 
meaning of the " T. G." became apparent. In all probablity these 
initials were cut into the metal plate, and a few impressions printed 
off and presented to Grenville; and then the initials were removed, 
and the first series of impressions, with title, etc., was printed to 
be issued to the public. 

Unfortunately Cousins's mezzotints, like those of other popular 
engravers, have at times been tampered with and falsified; and it 
is by no means rare to see impressions from which parts of the 
inscription have been erased, to make them pass as early states. A 
curious case of falsifying by means of erasure from the impression is 
to be found in the French line engraving by Gerard Edelinck of a 
Fight between Four Horsemen, after Leonardo da Vinci. In the last 
state of this plate three points appear on the blade of the sabre of 
one of the horsemen on the left. To make impressions in this last 
state appear as though in an earlier one, the three points were 
erased ; and so often was this done that impressions in the late 
state that have not been tampered with are very rarely seen ! 

There is yet another danger for the Cousins collector. Many 
of the metal plates are still in existence, and there is always the 
risk that they may be retouched and again printed from. 

When Samuel Cousins began to learn to mezzotint, the work 
was done exclusively upon copper plates, and the style still followed 

33 F 



SAMUEL COUSINS, R.A. 

that of the engravers of the great period from about 1770 to 1800. 
But the advent of steel, in 1820, brought about a change in the 
character of the work, and greatly developed the commercial side 
of the art. In a letter dated February igth, 1824, Cousins wrote: 
" The great increase of employment which has lately been thrown 
into the hands of the mezzotinto engravers by the introduction of 
steel plates, has not only given us work which before went to the 
line engravers, but has encouraged men to speculate and publish 
extensive works in mezzotint, which have been successful from 
their good execution and the cheap rate at which they can be 
produced." 

" This revolution in our art," as Cousins termed it, required 
modifications of the method of work; and with the introduction 
of the harder metal, came more elaborate and heavier etching, 
and the addition of stipple, line, and any other kind of engraving 
that suggested itself, the object being to produce, as nearly as 
possible, the rich, deep, velvety effects that only the softer copper 
could actually yield. Cousins's engravings, extending in date from 
181510 1884, followed the varying qualities of workmanship 
current during nearly three-quarters of a century; and as a rule 
they maintained a higher level of excellence than those produced 
by his contemporaries. During almost the whole period the 
" mixed method " of work held sway ; and as each of Cousins's 
plates, in a more or less degree, combined two or more styles of 
engraving, it has not been thought necessary to introduce the 
term " mixed method " in the pages of the following Catalogue, 
as the term will be understood to apply throughout. 

The inscriptions, etched or engraved upon the plates, are in 
very varying styles of lettering; and the diagram given opposite will 
help to define the terms of description that have been employed. 

To separate italic from script lettering has not always been 
easy; and no doubt instances will be found when the term "script" 
should have been used instead of " italic," and vice versa. Readers 
are therefore asked to grant some latitude where these two styles 
of lettering are mentioned. 

As was said in the first volume of the present series, the 
references in italics at the end of the description of each state are 
to the collections where impressions have been seen, or to notes 

34 



INTRODUCTION TO THE CATALOGUE 

kindly supplied by owners. The references to private collectors 
explain themselves; B.M. refers to the British Museum; C. to the 
Cheylesmore Collection in the British Museum; and V. and A. to 
the Victoria and Albert Museum, South Kensington. 

The three drawings or miniatures Cousins exhibited at the 
Royal Academy all in 1854 have been included in the Cata- 
logue, Nos. 39, 90, and 142. 



MONCREIFF 



Engrave* 



zz upright open lettering. 



JAMIE 



open thick and thin lettering. 



LONDON 



zz upright fine lettering. 



Private /fate 



= italic lettering. 






zz script lettering. 



Frequent reference has been made to the " Dictionary of 
National Biography," for facts connected with the lives of the 
personages whose portraits Samuel Cousins engraved. 

The prints have been described from the point of view of the 
spectator, except when reference has been made to parts of the 
body of the person represented, e.g., right arm, left foot. The 
measurements that follow the description of the subjects are of the 
engraved portion of the work, unless otherwise stated; and the 
upright dimension has, in every case, been given first. 

The abbreviations employed are as follows : W.L. zz whole 
length; dir. zz directed; r. zz right; 1. zzleft; f. rz front. 



35 



COUNTESS GREY AND CHILDREN 
1830 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

i. ABERCORN CHILDREN, THE. After Sir E. Landseer. 

The Ladies Harriet and Beatrice Hamilton, daughters of James, 2nd Mar- 
quess of Abercorn. Lady Harriet married, in 1855, Thomas, 2nd Earl of 
Lichfield. Lady Beatrice married, in 1854, George, 2nd Earl of Durham, 
and died in 1871. 

Two children. One lying in a cradle and playing with coral and bells; the 
other sitting on r., a small dog under 1. arm, her r. hand touching a large 
dog which lies on ground between the children; ball and pair of shoes on 
floor in foreground. The upper corners of subject rounded. i6| by 17!. 

I. As published. Before the two upper corners of subjett were rounded. In fine italic 
scratched lettering: "Edwin Landseer R.A. Pinx' Samuel Cousins, ARA. Sculp* 
London, Published May 9, 1838, by Hodgson & Graves, Printsellers in Ordinary to 
Her Majesty, 6, Pall Mall." Mr. E. E. Leggatt (signed In pencil " E. Landseer"}. 

II. The upper corners rounded. B.M.; Mr. E. O. Schneider. 

III. Under line of publication, added, in fine scratched italics: "and also by James 
Ryman, Oxford." Messrs. Graves and Co. 

Note. This line was added at the request of the Oxford printseller, and was 
removed after the prints he had ordered were printed off. 

IV. The inscriptions all erased. The Abercorn arms added in centre of inscription 
space, motto: "Sola Nobilitas Virtus" In open upright lettering: "Painted by 
Edwin Landseer, R.A. Engraved by Samuel Cousins, A. R.A." In script letter- 
ing: "To the Most Noble the Marquis of Abercorn. These Portraits of" In 
open Gothic lettering: "The Ladies Harriet and Beatrice Hamilton, his" In up- 
right open capitals: "Infant Children" In script lettering: "Is with permission 
respectfully dedicated by His Lordship's most obedient humble Servants Hodgson 
& Graves." In fine upright capitals: "London, Published June i, 1838, by 
Hodgson & Graves, Printsellers by Special Appointment to her Majesty N 6, Pall 
Mall." Messrs. Graves and Co. 

V. The script lettering To the Most Noble the Marquis of Abercorn strengthened. 
A line added along the centre of each letter of the words Infant Children. In line of 
publication, for Hodgson & Graves read " Henry Graves & Comp y ." Messrs. Graves 
and Co. 

Note. In this instance, as in that of the Marquess of Stafford and his Sister, the 
same date has been retained for the later states, for copyright purposes, although 
the states were issued at different dates. The publication line of State V. shows 
the title of the firm to have been changed from "Hodgson & Graves" to "Henry 
Graves & Compy.", but the firm as so styled did not exist in 1838. 

An impression was exhibited at the Royal Academy in 1838 (No. 1056). 

37 



SAMUEL COUSINS, R. A. 

There is another plate of this subject, by Alfred Lucas, the work coarser 
and containing more etched lines. Dimensions of the work, 17 J by i6. 
This second plate was declared at the Printsellers' Association, February 24, 
1875. 

2. ABERDEEN, GEORGE HAMILTON GORDON, 4TH EARL 

OF. After Sir T. Lawrence. 

Born 1784, died 1860; statesman; formed the coalition ministry after the 
defeat of Lord Derby, 1852. Prime Minister at the time of the Crimean 
War. President of the Society of Antiquaries, 1812 to 1846. K.G., 1855. 

To knees, standing, dir. f., looking very slightly r.; plain dark dress, sash, 
star; r. arm by his side, 1. hand on folded document on table r., on which 
lies a royal seal; curtain and fluted pillar in background. i6f by 



I. In fine upright lettering: "Painted by The late Sir Thomas Lawrence PRA 
&c &c Engraved by Samuel Cousins 1831 " B.M. 

II. With additional inscription. In fine script lettering: "The Earl of Aberdeen 
K.T. His Majesty's Principal Secretary of State for Foreign Affairs 1830." In 
fine upright lettering: "London Published July 28 th 1831 by Colnaghi Sen r 
Dominick Colnaghi & Co Printsellers to their Majesties & the Royal Family Pall 
Mall East " V. and A. 

III. For P R A &c &c read " P.R.A. &c. &c." The lettering slightly strengthened. 
For His Majesty's read "Her Majesty's"; for 1830 read "1844". The line of 
publication erased. B.M. 

IV. After Cousins's name 1831 erased, and " A.R.A." substituted. All inscription 
below erased, and instead, under centre of subjet, in fine italic lettering: " London, 
Published a6 th Jan y 1853, by Frederick Gwynne, Charing Cross." To r., facsimile 
of autograph: "Aberdeen." To 1., in fine italics: "Printed by Dixon & Ross." 
Mr. J. Charrington. 

3. ACLAND, LYDIA ELIZABETH, LADY, AND CHILDREN. 

After Sir T. Lawrence. 

Lady Acland, only daughter of Henry Hoare, of Mitcham, married Sir 
Thomas Dyke Acland, loth Baronet, and died, 1856. The elder boy, 
Thomas Dyke Acland, was born 1 809, succeeded his father as i ith baronet, 
and died 1898. He was for many years a Member of Parliament. The 
younger, Arthur Henry Dyke Acland, was born 1811, and died 1857. 
He took the name of Troyte. 

Nearly w.l., sitting on a couch, dir. f., facing towards 1.; low-necked dress 
with high waistband, pearl bracelet on 1. wrist, 1. hand in lap and holding 
boy's cap; r. arm round her younger son who stands on pillow of couch 1.; 
her elder son stands on couch behind her; dog's head in foreground r., 
landscape in distance. The subject is surrounded by a frame engraved in 
line. The subject within border : 1 2 by a\. 

38 



CATALOGUE OF PORTRAITS 

I. Early proof, before the line-engraved frame round subject. On the impression, 
Cousins has written: "My first plate. Sam 1 Cousins." Dr. Lloyd Roberts, of 
Broughton Park, Manchester. 

II. As issued. In fine italic lettering immediately below subject : " Arthur Henry 
Dyke Acland. Thomas Dyke Acland. BronteV In open upright capitals in centre 
of bottom side of frame : " Lady Acland." In open upright letters below frame : 
"Painted in 1814-15 by Sir Tho 8 Lawrence P.R.A. Principal Painter in Ordinary 
to His Majesty. Engraved by Samuel Cousins 1826." B.M.; Lord IPestbury ; Mr. 
J. Charrington; Mr. E. E. Leggatt. [The impressions in this state are printed on 
handmade paper of soft texture.~\ 

III. Re-issued by Messrs. Colnaghi & Co. B.M. [The impressions in this state are 
printed on India paper, with a backing paper of harder texture and whiter tone than 
in those of State II.] 

This is said to be the only plate Cousins mezzotinted on copper, though 
there may be one or two others. The original plate is in the possession of 
the family. 

The original painting was exhibited at the Royal Academy in 1 8 1 8 (No. 
25); and was lent to the Old Masters' Exhibition, Burlington House, January, 
1904, by Sir Thomas Dyke Acland, Bart. 

4 . ACLAND, LYDIA ELIZABETH, LADY. After J. Severn. 

Only daughter of Henry Hoare. Married Sir Thomas Dyke Acland, loth 
Baronet, and died 1856. 

To waist, dir. and facing towards r. ; light cap tied by a bow under chin, 
short curls, lace front, dark shawl. The upper corners of subject are 
rounded. 9! by 7^. 

I. In fine italic lettering under centre of subject : " Engraved by Sam 1 Cousins 
R.A. from a Drawing by J. Severn." Mr. J. Charrington. 

II. The inscription erased. In fine upright lettering immediately under subject: 
"Sept r i6 th 1786. (April 7 th 1808.) June 23 rd 1856." Facsimile of autograph: 
"L E Acland." In fine script lettering in two lines at foot of plate: "Engraved 
by Sam 1 Cousins, R.A. after a Drawing by J. Severn Esq ro made at Killerton in 
1848." Tol.: "Proof." Tor.: "Private Plate" Lord Westbury. 

III. The inscription from "Engraved" to the end, erased; instead, towards foot of 
plate, in one line : " Engraved by Sam 1 Cousins Esq re R.A. after a Drawing by J. 
Severn Esq re made at Killerton in 1848." B.M. 

IV. The facsimile of autograph erased. The subject surrounded by a line-engraved 
frame, leaving an oval white space in the lower side of it, in which is the following 
inscription in three styles of lettering: "In grateful remembrance of Lady 
Acland at Killerton and Holnicote 48 years." B.M. 

Lady Acland was Samuel Cousins's first patron, and this portrait of her, in 
later life, was mezzotinted by Cousins in 1863, in remembrance of her kind- 
ness. See the inscription of State IV. 

39 



SAMUEL COUSINS, R.A. 

5. ADAMS, JOHN CROUCH, F.R.S. After Thomas Mogford. 

Born 1819, died 1892. Astronomer. Discoverer of the planet Neptune. 
President of the Royal Astronomical Society 1851-3. He declined a 
Knighthood. 

To waist, sitting, dir. f., facing and looking downwards slightly r. ; dark 
necktie, plain dark waistcoat, coat, and overcoat; 1. arm over back of chair, 
curtain in background r. ijf by 10^. 

I. Before any inscription. Messrs. Graves and Co. 

II. In fine upright and italic, and title in upright open lettering : " Painted by Thomas 
Mogford. Engraved by Samuel Cousins, A. R.A. I. C. Adams, A.M. Coll: Divi 
Johannis apud Cantabrigienses Socius. Neptunus calculo monstratus. A.D. 1845. 
London, July 10, 1851, Published for the proprietor Thomas Mogford, by 
J. Hogarth N 5 Haymarket." B.M. 

AGAR-ELLIS, LADY GEORGIANA. See DOVER. 

6. ALBERT, H.R.H. PRINCE. After John Lucas. 

Born 1819, died 1861; married Queen Victoria, February 10, 1840. 
Heartily supported public movements for the benefit of the people, and 
projected the idea of the Great Exhibition of 1851. 

W.L., standing, with stone steps before him and Windsor Castle in back- 
ground, dir. and facing towards f. ; uniform, high boots, sash, orders, 
sword; military cloak around shoulders; 1. hand holding plumed hat by his 
side, r. hand holding field-marshal's baton; to 1. a hussar holding a horse. 

30! by 20^. 
Engraved by S. Cousins and S. Bellin. 

I. Before any inscription. B.M. 

II. With artists' names in italic lettering; and with line of publication, also in 
italics: "London Published Dec. i. 1840 by F. G. Moon, Printseller by Special 
Appointment to Her Majesty & her Royal Highness the Duchess of Kent, 20 Thread- 
needle Street." 

III. The plate worn. A small crown on a cushion added in centre of inscription 
space. In open upright lettering : " Painted by John Lucas. Engraved by 
Samuel Cousins, A. R.A. and Samuel Bellin." In fine script lettering: " To Her 
Most Gracious Majesty the Queen, This Portrait of" In open upright lettering, 
with a line along centre of each letter: " His Royal Highness Prince Albert, K.G. 
&c. &c. &c." In fine script lettering: "Is by Royal Command specially dedicated, 
by Her Majesty's very devoted and most obedient humble Servants." C. 

There are probably other states. 

7. ALEXANDRA, QUEEN, WHEN PRINCESS OF WALES. 

After R. Lauchert. 

Born 1844, daughter of Christian IX., King of Denmark; married Albert 
Edward, Prince of Wales (King Edward VII.), March 10, 1863. 

40 



LADY DOVER AND SON 
1830 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

Nearly w.l., standing, dir. slightly ]., facing f., looking slightly r. ; curls, 
light gauze dress with wide skirt, long gauze veil round back of head, 
shoulders and arms; bracelet on 1. wrist. 19^ by 13?-. 

I. In fine lettering at top of plate: " London, Published Nov r 9 th 1863, by P. & D. 
Colnaghi Scott & C 13 & 14, Pall Mall East." B.M. 

II. In upright open letters: " Lauchert, Pinxit. S. Cousins, R.A. Sculpsit. 
London, Published Nov r 9 th 1863, by P. & D. Colnaghi, Scott & C 13 & 14 Pall 
Mall, East." Facsimile of autograph: "Alexandra." Messrs. Graves and Co. 

III. Facsimile of autograph erased. With additional inscription: " Plate and Copy- 
right now (March 21 st 1867) the Property of Henry Graves & C Publishers to 
H.M. the Queen and T.R.H. the Prince & Princess of Wales 6, Pall Mall, 
London." In open upright capitals: " Her Royal Highness The Princess of 
Wales." Messrs. Graves and Co. 

Of this plate the following impressions were declared at the Printsellers' 
Association, November 24, 1863: ''275 Artists' proofs; 125 Proofs before 
letters; and Prints." 

8. AUGUSTA SOPHIA, PRINCESS. After Sir W. Beechey. 

Daughter of George III.; born 1768, died at Clarence House, St. James's, 
1840. 

Nearly to the knees, standing, in a landscape, dir. towards r., looking 
towards f.; hat with feathers, curls, necklace, loose dress with low neck and 
short sleeves, drawing glove on r. hand, shawl round waist and arms. 

IOA by 8{j. 
Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription. B.M. 

II. Inscribed in several styles of engraved lettering : " Engraved by S. W. Reynolds 
Engraver to the King, & S. Cousins. Her Royal Highness The Princess Augusta 
Sophia. From the original Picture, by Sir W. Beechey R.A. in the possession of 
H.R.H. the Duke of Glocester (sic) to whom, by permission, this print is most respect- 
fully dedicated, by his humble & obed' Serv' E. Harding. Pub d as the Aft Directs 
March 8, 1824 by S. W. Reynolds Bayswater." B.M.; C.; P. and A. 

The original picture was in the collection of H.R.H. the Duke of Cam- 
bridge, and was sold at Christie's, June, 1904, for 420 guineas. 

9. BANKS, SIR JOSEPH. After Sir F. Cbantrey. 

Born 1743, died 1820. Naturalist, traveller; created a baronet in 1781. 
His collections and library were presented and bequeathed to the British 
Museum, 1773-1818, 1827. 

W.L., a statue, seated in armchair on a dais, dir r., facing rather more towards 
f. ; sash under coat, r. hand on arm of chair, 1. hand holding book in lap. 

The statue and dais are engraved in mezzotint, the rest of the plate is left 
white. Plate size, i8f by 14. 

41 G 



SAMUEL COUSINS, R.A. 

I. In upright open, and fine script lettering: " Francis Chantrey Sculptor Drawn by 
H. Corbould, Engraved by S. Cousins The Right Hon. Sir Joseph Banks, Bar' 
G.C.B. President of the Royal Society of London, during forty two Years Died 
19 th June 1820. JEtat 76. The Statue was presented to the British Museum, by 
his surviving friends." B.M.; G.; V.andA.; Mr. Harvey. 

II. At foot of plate, in open upright lettering: "One impression of this plate has 
been delivered to each subscriber to the Statue " Messrs. Graves and Co. 

Samuel Cousins's receipt for this engraving is preserved in the British 
Museum (Add. MSS. 32,166): 

"Received this eighth day of August 1829 from F. L. Chantrey, R.A. The Sum 
of One Hundred Guineas, for Engraving a Steel plate from the Statue of Sir Joseph 
Banks. (Signed) Sam 1 Cousins." 

105.0. 0. 

Sir Francis Chantrey 's memorandum of the expenses of engraving and 
printing reads: 

" Cousins for engraving 105. o. o 

Printing and paper 25. O. o 

Corbould for drawing 31. 10. o 

161. 10. o" 



In July, 1833, the following advertisement appeared in the newspapers: 

" Statue of Sir Joseph Banks. The Committee appointed to carry into execution 
the intentions of the Subscribers to this Statue, which is now placed in the hall of 
the British Museum [the statue now stands in the Natural History Museum, South 
Kensington], having prepared an Engraving thereof, one impression of which is to 
be delivered free of cost to each Subscriber request that application for the same 
may be made to Mr. Thomas Goode, No. 15, Mill-street, Hanover-square, London, 
who will forward the same to such addresses as shall be sent to him within one 
year from the date of this advertisement. 15, Mill-street, Hanover-square, July 22, 
1823." 

10. BANKS, SIR JOSEPH. Jfter <T. Phillips. 

Nearly w.l., sitting at a cloth-covered table, dir. f.; wearing sash and star; 
papers and inkstand on table, papers in r. hand, 1. arm resting on table; 
shelves of books in background 1. 17^ by 13^. 

Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription. 

II. Inscribed in engraved lettering, title line in thick and thin open letters : "Painted 
by T. Phillips, Esq e R.A. Engraved by S. W. Reynolds, Engraver to the King, 
and S. Cousins. The R fc Hon ble Sir Joseph Banks, Bar' G.C.B. President of the 
Royal Society of London, Honorary Member of the Horticultural Society of London 
&c. Engraved from the Original Picture in the Possession of the Horticultural 
Society, To whom this Print is respectfully dedicated by the Society's Obliged & 
Obedient Servant. Samuel W. Reynolds. Pub d by S. W. Reynolds Aug' 1822 " 
B.M. 

42 



CATALOGUE OF PORTRAITS 

11. BARLOW, PETER. After Sir W. Eoxall. 

Born 1776, died 1862. Mathematician. In 1821 received a gold medal 
from the Society of Arts for his method of correcting ships' compasses. In 
1847 a professor in the Royal Military Academy. F.R.S., 1823. 

Fully to waist, sitting, dir. and facing r.; plain dark coat fastened by one 
button, arms resting on arms of chair, r. hand holding sheet of paper. 

I3i by i of. 

I. In fine script lettering: "Painted by William Boxall, A.R.A. Engraved by 
Samuel Cousins, A.E. Private Plate." B.M. 

II. Private Plate erased, and the following inscription added in fine script, and with 
title in open upright lettering: "Peter Barlow Esq r F.R.S. Acad. Imp. Sc. Petro. 
Amer. Art. et Sc. Socius. Ins* Nat. Sc. Paris. Acad. Reg. Sc. Brux. Corrsp. 
&c. Subscribers Proof." B.M. ; V. and A. 

An impression was shown at the Royal Academy in 1853 (No. 1046). 

12. BATESON, ROBERT. After M. Cregan. 

Born 1816; eldest son of Sir R. Bateson, Baronet, whom he predeceased in 
1843. Member of Parliament. 

To waist, a young man, dir. f., facing towards r. ; neckerchief with two 
pearls connected by a chain, dark coat buttoned over light waistcoat; 1. hand 
to waist. \2\ by 9^. 

I. In open upright capitals: "Painted by M. Cregan. Engraved by S. Cousins. 
A.R.A." In facsimile of autograph: "Robert Bateson." In fine italic lettering 
tol.: " Private Plate." B.M. 

II. The words Private Plate erased. At foot, in fine upright lettering: "London, 
Published August I st 1845, by Henry Graves & Comp^ 6, Pall Mall, Publishers to the 
Queen." V. and A.; Lord Westbury. 

13. BATHER, EDWARD. After William Etty. 

Born 1779, died 1847. Archdeacon of Salop, 1828. Author of religious 
works. 

Fully to waist, dir. f., facing and looking upwards towards r. ; bands, black 
gown; r. hand holding roll of paper before him. lof by 9. 

I. Before any inscription. 

II. In several styles of light engraved lettering : " Engraved by Samuel Cousins. 
A.R.A. The Venerable Edward Bather, M.A. Archdeacon of Salop in the Diocese 
of Lichfield and Coventry. From a Picture painted by W m Etty, Esq re R.A. for 
the Clergy of the Archdeaconry. Published June 6, 1 836, by John Eddowes, Book- 
seller, Shrewsbury." B.M. 

43 



SAMUEL COUSINS, R.A. 

14. BEASLEY, JOHN. After H. T. Wells. 

To knees, standing, holding a letter in r. hand, 1. hand resting on back of 
chair; coat open, black necktie. 

With painter's and engraver's names in script lettering. To r. : "Private Plate." 
The plate was engraved in 1860. 

15. BELL, JOHN. After f. Stewardson. 

Born 1764, died 1836; barrister. Called to the bar, 1792; became King's 
Counsel, 1816. 

To waist, sitting, dir. and facing f. ; plain dark dress, hands clasped, r. arm 
on cloth-covered table 1. on which lie two books ; curtain in background. 

I2 i b y 9l. 

I. In open upright lettering: "Painted by Thomas Stewardson Esq re Engraved by 
Samuel Cousins Ni63 Albany Street Regents Park John Bell, K.C." B.M.; 
V. and A. 

II. In open upright lettering above title: " W. Walker Excudit, N 64, Margaret 
St. Cavendish Sq. London, 1832." To r. in italics : "Proof." B.M.; C. 

III. A fine scratched line added along the centre of each letter of the words: "John 
Bell, K.C." Messrs. Graves and Co. 

1 6. BIDDLE, H. After Thomas Sully. 

To waist, dir. and facing 1.; rather long black hair, dark coat edged with 
fur; leaning with both arms on low wall I., r. hand raised to chin; two sail- 
ing boats on sea in distance 1. i if by 9!. 

In open upright lettering : " Painted by Thomas Sully. Engraved by Samuel 
Cousins, A. R.A." In facsimile of autograph: " H Biddle." In italic lettering to r.: 
" Private Plate." B.M.; Lord Westbury. 

The plate was engraved in 1835. 

17. BINGHAM, LADY ANNE. Sir J. Reynolds. 

Youngest daughter of Sir Charles Bingham, ist Earl of Lucan, and sister 
to Lavinia, Countess Spencer (Nos. 150-152). Died in i 840, unmarried. 
The picture was exhibited in the Royal Academy, 1786. 

Fully to waist, dir. towards 1., facing f. ; hat slanting, and with wide brim, 
curls falling on shoulders, white dress with fichu, black belt. I2f by 10^. 

In fine italic lettering above subject: "Published 6 th November 1876, by P. & D. 
Colnaghi & C 13 & 14, Pall Mall East & Tho 8 M c Lean, 7, Hay market, London 
and by Tho 8 Agnew & Sons, Exchange Street Manchester." B.M. ; Lord Westbury; 
Mr. J. Charrington; Mr. E. F. Sheppard. 

44 



COUNTESS GOWER AND DAUGHTER 
1831 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

Of this plate the following impressions were declared at the Printsellers' 
Association, November 4, 1875: 300 Artist's proofs; 25 Presentation proofs; 
i oo Proofs before letters ; and 200 Lettered proofs. 

This portrait was engraved in stipple by F. Bartolozzi, in 1786 (8J by 6-J). 

1 8. BLACKALL, JOHN, M.D. After R. R. Reinagle. 
Born 1771, died 1860. 

To waist, dir. very slightly r., facing slightly 1.; white neckerchief, frill, plain 
dark coat; 1. arm on wall r., roll of paper in 1. hand; curtain in background, 
distant trees to r. io| by 9. 

In open upright lettering: "Painted by R. R. Reinagle, R.A. Engraved by S. 
Cousins, A.R.A." In facsimile of autograph : " J. Blackall M.D." In open upright 
lettering : " Fellow of the Royal College of Physicians, & Physician to the Devon 
& Exeter Hospital." In italic lettering'to r.: " Private Plate." B.M. 

The plate was engraved in 1 844. 

19. BLESSINGTON, MARGUERITE, COUNTESS OF. 

After Sir T. Lawrence. 

Born 1789, died 1849; authoress. Married in 1818, as her second husband, 
Charles, first Earl of Blessington. Her first novel, " Cassidy," was published 
in 1833. A contributor to "The Daily News" on its foundation in 1846. 
Died in Paris. 

To knees, sitting, dir. slightly 1., facing f.; hair dressed close, white satin dress 
with low neck and short sleeves, flowers at bosom, fingers interlaced, bracelet 
on r. wrist, ring on 1. middle finger; 1. elbow on arm of chair. 8-- by 6^. 

I. In fine italic lettering: "Sir Tho s Lawrence, P.R.A S. Cousins A.R A" To r. 
in script lettering: " The Countess of Blessington." At foot, in fine italics: "London, 
Published June i, 1837, by Hodgson & Graves, Printsellers to the King 6, Pall 
Mall." To 1.: "Proof." B.M.; V. and A.; Mr. J. Charrington; Mr. E. E. 
Leggatt. [Cousins's own impression.'] 

II. With title added in script lettering, in centre of inscription space. Note by 
Mr. E. E. Leggatt. 

III. The inscription erased; instead, in fine upright, and title in upright open letter- 
ing: " Sir Thomas Lawrence, P.R.A. S. Cousins, A.R.A. The Countess of 
Blessington. London, Published July i, 1837, by Hodgson & Graves, Printsellers to 
the King, 6, Pall Mall." C. 

There are later states. 

One of the plates to the volume of " Engravings from The Choicest Works 
of Sir Thomas Lawrence, P.R.A." 

The original painting is in the Wallace Collection, Hertford House, 
London. 

45 



SAMUEL COUSINS, R.A. 

20. BLYTH, REV. After H. W. Phillip. 

Nearly w.l., sitting, dir. towards r., facing rather more towards f. ; plain dark 
dress, 1. knee crossed over r., r. arm on arm of chair, spectacles in hand; 
open stationery case on table r.; two books 1., one of them lettered: "Common 
Prayer." 14! by 



In fine italic lettering : " Painted by Henry Windham Phillips Esq re . Engraved by 
Sam 1 Cousins Esq re R.A." E.M. 

The plate was engraved in 1869. 

21. BONHEUR, ROSA. After E. Dubufe. 

Born 1822, died 1899; animal painter and sculptor. Recipient of many 
decorations, and appointed officer of the Legion of Honour, April, 1894. 
Her most celebrated painting " The Horse Fair in Paris." 

Nearly w.l., standing, dir. f., facing towards r.; short hair, black velvet coat 
and vest, lace collar, dark skirt; 1. arm by her side, portfolio in 1. hand, r. 
arm over shoulders of bull 1., r. hand holding porte-crayon. 17-^ by 12^. 

The bull in the picture was painted by Rosa Bonheur. 

I. In upper r. corner of plate, in fine italic lettering: "London, Published Sept, 15 th , 
1858; by E. Gambart & C 25 Berners Street, Oxford Street." Baroness Burdett- 
Cautts ; Mr. J. Charrington. 

II. The inscription erased; instead, in fine italic lettering below subject: "Painted 
by E. Dubufe. Engraved by Samuel Cousins, R.A. London, Published 15 th Sep- 
tember 1858; by E. Gambart & C 25 Berners Street, Oxford Street." B.M. 

The following impressions were declared at the Printsellers' Association, 
December 28, 1856: 250 Artists' proofs; 25 Presentation proofs; 200 
Proofs before letters; 100 Lettered proofs; 500 Prints. 

22. BOOTHBY, PENELOPE. After Sir J. Reynolds. 

In Ashbourne church is a monument by Banks with the inscription: "To 
Penelope, only child of Sir Brooke and Dame Susannah Boothby; born 
April ii, 1785, died March 13, 1791. She was in form and intellect most 
exquisite. The unfortunate parents ventured their all on this frail bark, and 
the wreck was total." A print of this monument is in the British Museum. 
Penelope Boothby was three years of age when she sat to Sir Joshua. 

Nearly w.l., sitting, dir. f., looking slightly r.; mob cap, white frock, dark 
waistband, dark mittens; arms folded in lap; trees in background. 

by ii. 



I. In fine italic lettering above subject: " London, Published by Tho s MLean, 7, 
Haymarket, and P. & D. Colnaghi & C, 14 Pall Mall East, I st December, 1874." 
C.; Mr. J. Charrington; Mr. E. E. Leggatt. 

II. "Proofs before letters," i.e., before the title. 

46 



CATALOGUE OF PORTRAITS 

III. The inscription above subject erased ; instead, in fine italic lettering beneath : 
"Sir Joshua Reynolds, P.R.A. London; Published by Tho" M e Lean, 7 Hay- 
market, and P. & D. Colnaghi & C 14 Pall Mall East, Dec r i, 1874. Samuel 
Cousins, Esq re R.A." In scratched script lettering: "Penelope." B.M.; Mrs. 
Wynne Finch. 

IV. Penelope erased, and instead, in similar lettering : " Miss Penelope Boothby " 
"First 100." 

Of this plate the following impressions were declared at the Printsellers' 
Association, October 28, 1874: 275 Artist's proofs; 25 Presentation proofs; 
TOO Proofs before letters; 200 Lettered proofs; and Prints. 

This portrait was engraved in mezzotint by Thomas Park in 1789 (ii-g- 
by 9 f). 

The original picture is in the possession of Mrs. Thwaites, of Addison Road, 
Kensington. 

23. BOWLES, MISS. (" Love me, love my Dog.") 

After Sir J. Reynolds. 

Jane, eldest daughter of Oldfield Bowles. Married, in 1791, Richard Palmer, 
of Holme Park, Berkshire, and died 1812. 

W.L., a young girl, sitting on the ground with trees behind her, looking to 
f., and embracing a dog with both arms. 15 by 1 1|. 

I. In fine italic lettering above subject: " London; Published by P. & D. Colnaghi 
C 13 & 14 Pall Malf East. T. M c Lean, 7, Haymarket, and Grundy & Smith, 
Exchange Street, Manchester, i8 th March, 1875." B.M.; Lord Westbury; Mr. 
J* Charrington (in Cousins' 's pencil autograph: " 5** Working Proof''}. 

II. The lettering above subject erased, leaving only traces of it. Beneath subject, 
in fine italics: "Sir Joshua Reynolds, P.R.A. London, Published by P. & D. 
Colnaghi & C 14 Pall Mall East T. MLean, 7, Haymarket and Grundy & 
Smith Exchange Street, Manchester i8 th March 1875. Samuel Cousins, R.A." C. 

An impression was exhibited at the Royal Academy in 1875 (No. 1094). 

The original painting is in the Wallace Collection, Hertford House, 
London. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 30, 1874: 275 Artist's proofs; 25 Presentation 
proofs; 100 Proofs before letters; 200 Lettered proofs. 

This portrait was engraved in mezzotint by William Ward, with the title 
"Juvenile Amusement," in 1798 (14! by n). 

In Tom Taylor's " Life and Times of Sir Joshua Reynolds," i 865, vol. ii., 
p. 134, the following story is related: " It was in this year [1775] Reynolds 
painted the picture, now in the collection of the Marquis of Hertford, of a 
beautiful child (Miss Bowles) sitting on the ground and making a dog very 
uncomfortable by hugging its neck; a matchless work, that would have im- 

47 



SAMUEL COUSINS, R.A. 

mortalized him had he never painted anything else. The father and mother 
of the little girl intended she should sit to Romney. Sir George Beaumont, 
however, from whom I received the story, advised them to employ Sir 
Joshua. ' But his pictures fade.' ' No matter, take the chance; even a faded 
picture from Reynolds will be the finest thing you can have. Ask him to 
dine with you, and let him become acquainted with her.' The advice was 
taken ; the little girl was placed beside Sir Joshua at the dessert, where he 
amused her so much with stories and tricks that she thought him the most 
charming man in the world. He made her look at something distant from 
the table and stole her plate; then he pretended to look for it, then contrived 
it should come back to her without her knowing how. The next day she 
was delighted to be taken to his house, where she sat down with a face full 
of glee, the expression of which he caught at once and never lost; and the 
affair turned out every way happily, for the picture did not fade, and has till 
now escaped alike the inflictions of time or of the ignorant among cleaners." 
"Sir Joshua received fifty guineas for this picture." 

24. BOYD, ARCHIBALD, D.D. After J. Phillips. 

Born 1803, died 1883. Dean of Exeter, 1867; D.D., 1868. Author of 
" History of the Book of Common Prayer," 1850. 

Nearly to the knees, standing, dir. and facing towards f. ; white neckerchief, 
plain dark dress, watch chain; open letter in r. hand placed level with waist; 
back of 1. hand on table r. on which lies a book. 15 by 1 1^. 

Before any inscription. B.M. 

Is this portrait by Samuel Cousins? It is not mentioned by Mr. Algernon 
Graves, and was not shown by Messrs. Vicars Brothers in their exhibition of 
the works of Samuel Cousins, January, 1 904. 

25. BRADDYLL, MRS. After Sir J. Reynolds. 

Jane Gale; married her cousin, Wilson Gale Braddyll, of Conishead Priory; 
died 1819. 

To waist, dir. f, facing and looking ].; hair powdered and with one curl 
hanging in front of 1. shoulder, earring, bracelet, r. elbow on slab 1., r. hand 
raised to cheek. She wears a light bodice with dark shawl around shoulders. 

io$ by 8f. 

The impressions from this plate were so limited, and the issues so unusual, 
that the history of their sequence may be set forth in some detail. This has 
been rendered possible by the kind help received from Mr. Algernon Graves, 
Mr. E. E. Leggatt, and the Printsellers' Association. 

On March 29, 1848, the following impressions were declared at the Print- 
sellers' Association by J. Watson: 6 Artist's proofs (not for sale); 9 Proofs 
before letters (of which three for sale) ; 50 Lettered proofs (of which thirty 

48 



LADY PEEL 

1831 

AFTER SIR T. LAWRENCE, P.R.A. 







. 



CATALOGUE OF PORTRAITS 

for sale). The number of impressions actually stamped by the Association 
will be found below. 

The impressions or states were as follows: 

(a) Cousins's own signed impression, before any inscription, and without the stamp 
of the Printsellers' Association. Mr. E. E. Leggatt. 

(b) Artist's proofs (i.e., before the artists' names were engraved on the plate). Four 
impressions only were stamped by the Association. 

(f) Proofs before letters (i.e., before the title). Nine impressions stamped by the 

Association. 

(ef) Lettered proofs (i.e., with title and dedication). Thirty-five impressions only 

were stamped by the Association. 

During the eighteen-sixties the plate was bought for ^30, by Mr. Henry 
Graves, of 6, Pall Mall, from Lord Charles Townshend, who had owned the 
picture and had given the commission for the mezzotint to be engraved; and 
with the plate Mr. Graves received six unstamped lettered impressions. The 
plate was sent to the printers Messrs. Dixon and Ross, 70, Hampstead 
Road and: 

(V) Six or eight very black and unsatisfactory impressions were printed by an 
assistant. These impressions do not bear the stamp of the Printsellers' Association. 

Mr. Graves sent for Mr. Dixon (who had printed the plate originally) and 
insisted that he himself should personally do the printing. Then: 

(/") The title was removed from the plate and about from seventy to a hundred 
impressions were printed which were of finer quality than those of the original issue 
of 1848. The inscription, in fine engraved script lettering, runs: "Painted by Sir 
Joshua Reynolds. Engraved by Samuel Cousins A.R.A." To r. "Private Plate." 
Lord Westbury; Mr. J. Charrington. 

Shortly before the fire in December, 1867, which destroyed the Opera House 
adjoining Messrs. Graves' premises, Mr. Ross asked to be allowed to deliver 
a hundred steel plates of portraits, to reduce the stock of metal plates then 
under his charge. These were delivered to 6, Pall Mall, and as a strong- 
room was at the time in course of building and unfinished, the plates were 
left exposed in the gallery, where they were all destroyed. The plate of 
Mrs. Braddyll was included among the hundred left leaning against a wall, 
and it was seriously damaged by water and fire; and to prevent any possible 
chance of its being repaired, Mr. Algernon Graves completed the destruction 
with a penknife. 

This was the first portrait after Sir Joshua Reynolds that Samuel Cousins 
engraved, except the one of Dr. Hunter (No. 88). 

The picture was painted by Reynolds in 1789. On May 23, 1846, it was 
sold by Messrs. Christie to Lord Charles Townshend; and eight years later 
it passed into the possession of the Marquess of Hertford, who bequeathed 
it to Sir Richard Wallace. It is now in the Wallace Collection, Hertford 
House, London. 

49 H 



SAMUEL COUSINS, R.A. 

26. BRIDGE, JOHN. After John Jackson. 

A goldsmith, whose place of business was in Bond Street. His firm was 
successively styled: Rundell and Bridge, Storr and Mortimer, and Hunt and 
Roskell. At one time Bridge was connected with the Goldsmiths' Com- 
pany. 

Nearly w.l., sitting on a couch, dir. f., facing slightly 1.; light neckerchief, 
plain dark dress, r. hand on paper on cloth-covered table 1., on which lie 
three books; church in distance 1. i6|^ by 13^. 

I. In upright open lettering: " Painted by John Jackson, R.A. Engraved by Samuel 
Cousins." In fine lettering to r.: " Private Plate." B.M.; C. 

II. With additional inscription. In large open upright capitals: "John Bridge 
Esq re ." In fine upright lettering to 1.: "Proof" B.M. 

The plate was engraved in 1834. 

27. BROWN, MRS. HANNAH. After Edwin Long. 

Hannah Brown, nle Meredith, was the attached friend and companion of the 
Baroness Burdett-Coutts, and an active sharer in that lady's philanthropy for 
fifty-two years. She married William Brown, F.R.C.S., and died at i, Stratton 
Street, Piccadilly, December 21, 1878. She was buried in St. Stephen's 
Church, Westminster, where her husband had been interred in 1855. The 
church of St. Stephen was erected by the Baroness Burdett-Coutts in 1850 
in memory of her father, Sir Francis Burdett. 

W.L., an old lady, blind, sitting, dir. and facing 1.; bonnet with veil, black 
lace over-skirt over light dress, ermine robe passing across 1. arm; cross 
suspended from neck, bracelets, hands joined in lap; roses in bowl on 
ornamental table 1., two dogs in r. lower corner. 25^ by i6. 

I. First and second trial proofs, not quite finished. Baroness Burdett-Coutts. 

II. Third trial proof. Before any inscription. B.M. 

III. In fine italic lettering: " Painted by Edwin Long Esq re A. R.A. Engraved by 
Sam 1 Cousins, Esq rc R.A. Presentation Proof" In facsimile of autograph: " H h 
Brown" Baroness Burdett-Coutts (a number of impressions}; Mr. J. Charrington 
(signed in pencil : " Edwin Long" " Sam 1 Cousins "). 

IV. In fine italic lettering under subject: " Painted by Edwin Long, Esq re R.A. 
Engraved by Sam 1 Cousins, Esq re R.A." B.M. ; Baroness Burdett-Coutts (on these 
impressions Cousins has written in pencil : " Selected proof Sam 1 Cousins "). 

Edwin Long was elected A. R.A. in 1876, and full R.A. in 1881. The por- 
trait was engraved in 1880. 

The picture was exhibited at the Royal Academy in 1879: " 562. The late 
Hh. Brown, the life-long friend of the Baroness Burdett-Coutts. 

" ' Whereas I was blind, now I see.' John ix. 25." 

5 



CATALOGUE OF PORTRAITS 

An impression of the plate was exhibited at the Royal Academy in 1880 
(No. 1270). The original painting and the original steel plate are in the 
possession of the Baroness Burdett-Coutts. 

28. BROWN, DR. sifter John Graham. 

Nearly w.l., sitting, dir. slightly 1., head inclined slightly 1., looking f. ; 
bands, black academic gown over dark dress; arms on arms of chair, r. hand 
open and extended towards 1. 14^ by i if. 

Engraved by Samuel and Henry Cousins. 

In open upright lettering: "Painted by John Graham. Engraved by Samuel and 
Henry Cousins." In fine script lettering: " D r Brown." To r., in fine upright 
lettering: "Proof." B.M. 

The plate was engraved in 1826. 

29. BROWNLOW, JOHN GUST, IST EARL. After Sir M. A. Shee. 

Born 1779, died 1853. M.P. for Clitheroe between 1802 and 1807; suc- 
ceeded as 2nd Baron Brownlow, 1 807 ; Lord Lieutenant of Lincolnshire, 
1809; created Earl Brownlow, 1815; Recorder of Boston, 1820. 

To knees, standing, dir. and facing towards f. ; uniform with epaulettes, sash, 
star, scarf round waist; r. hand on hilt of sword, 1. arm resting on cloak to 
r., ring on 1. little finger; table 1. on which are book and papers; fluted pillar, 
curtain, and pilaster in background. 17^- by ijf. 



I. In open upright lettering: " Painted by Sir Martin Archer Shce, P.R.A. Engraved 
by Samuel Cousins, A.R.A." In fine italic lettering to 1.: "Private Plate" B.M. 

II. Facsimile of autograph added to r. : "Brownlow." Messrs. Graves and Co. 
The plate was engraved in 1843. 

30. BUCKLAND, WILLIAM, D.D. After Thomas Phillips. 

Born 1784, died 1856; geologist. Canon of Christ Church, Oxford, 1825; 
Dean of Westminster, 1845. President of the Geological Society, 1824. 

Nearly to knees, standing, dir. f. ; facing towards 1.; white neckerchief, black 
gown over plain black dress; hands holding skull; horn and shell on table r., 
wall diagram lettered: " Kirkdale Cave. W. Buckland," and curtain in 
background. 13^ by 11. 

I. In open upright lettering: " Painted by Thomas Phillips Esq re R.A. Engraved 
by Samuel Cousins. London Published May 20 th 1833, by Molteno & Graves, 20, 
Pall Mall." B.M.; V. and A. 

II. The lettering strengthened; and with additional inscription in upright and script 
lettering: "The Reverend William Buckland. D.D. F.R.S. Canon of Christ 
Church, And Professor of Geology and Mineralogy, in the University of Oxford. 

51 



SAMUEL COUSINS, R.A. 

31. BURNS, ROBERT. After Alexander Nasmyth. 
Born 1759, died 1796; poet. 

To waist, in oval stonework frame, dir. f., facing towards 1.; rough hair, 
frill, light waistcoat, dark unbuttoned coat; trees r., castle in distance 1. 

I 5 f by ia. 
Engraved by Samuel Cousins and William Walker. 

Preliminary etching. This was a stipple etching which was prepared with great care 
by William Walker. Several trial proofs were taken as the work proceeded, and 
Walker visited Burns's widow to gain from her details as to the portrait. Mr. W. 
Walker, who possesses three impressions. 

I. With lettering on subject as in State II., but before any inscription beneath the 
subject. Note by Mr. W. Walker, son of the engraver, through whose hands two im- 
pressions have passed. 

II. As published. In large letters on oval frame: "Robert Burns." Beneath oval: 
" Born MDCCLIX. Died MDCCXCVI " Beneath subject, in open upright lettering: 
"Private Plate, excudit August 1830, by W m Walker, N 22 London Str 6 Edinburgh." 
Mr. E. E. Leggatt; Mr. J. Charrington. (This state is of the greatest rarity. At 
the Burns Exhibition at Ayr, a few years ago, many copies including one belonging to 
Lord Rosebery were shown, but none of. them bore this early date], 

III. Date of publication altered to "December 1830." With additional inscrip- 
tion, at bottom, in script lettering: " Etched by W m Walker, and Mezzotinted by 
S. Cousins from the original Picture in the Possession of M rs Burns, Painted by 
Alex r Nasmyth, in 1787." 

IV. With inscription beneath subject; in open upright lettering: "Private Plate, 
Excudit December 1830, W m Walker, N 64 Margaret Street, Cavendish Square, 
and 22, London Street, Edinburgh." In facsimile of autograph: "Rob* Burns." In 
fine script lettering: "Engraved by W nl Walker, and S 1 Cousins, from the original 
Picture of the same size in the Possession of M rs Burns, Painted by Alex r Nasmyth, 
in 1787." B.M.; Baroness Burdett-Coutts ; Mr. J. Charrington; Mr. W. Walker. 

V. Facsimile of autograph erased. Instead, in script lettering: " To the Noblemen 
and Gentlemen of the Royal Caledonian Hunt This Plate is (with permission) 
respectfully Dedicated by their Obedient humble Servant W ra Walker" To 1. in 
fine upright letters: "Proof." Lord Westbury. 

VI. The word Proof erased. With additional inscription immediately under subject, 
in fine upright capitals: "London, Published by W. Hayward, January I st 1842." 

This portrait was also mezzotinted by John Zeitter, 15^ by iaf, but the 
work is inferior. 

The original picture is in the National Gallery of Scotland, Edinburgh. 

32. BUTLER, SAMUEL, D.D. After Thomas Phillips. 

Born 1774, died 1839. Headmaster of Shrewsbury, 1798-1836; D.D. 1811; 
Bishop of Lichfield and Coventry 1836. 

Nearly w.l., sitting, dir. and facing towards f.; bands, ecclesiastical robes, 1. 
arm on arm of chair, r. elbow on table 1. on which are books, r. hand hold- 
ing closed Bible endways on knee; curtain in background. i6f by I2f. 

52 



JOHN HUNTER, M.D. 
1831 

AFTER SIR J. REYNOLDS, P.R.A. 



CATALOGUE OF PORTRAITS 

I. In open upright lettering: "Painted by Thomas Phillips, Esq: R.A. Engraved 
by Samuel Cousins, A.R.A." In fine italic capitals to L: " Proof." E.M. 

II. With additional inscription. In fine upright lettering: "London, Published June 
28, 1838, by Thomas Boys, xi, Golden Square." C. 

III. With further inscription. In fine script lettering: " Samuel Butler D.D." In 
open upright lettering: "Lord Bishop of Lichfield." E.M. 

IV. The script lettering slightly strengthened. A line added along the middle of 
each letter of the words Lord Bishop of Licbfield. 7. and A. 

CALMADY, EMILY AND LAURA. 

See NATURE, after Sir T. Lawrence (Catalogue of Subjects, No. 205). 

33. CAMPBELL, THOMAS. After Sir f. Lawrence. 

Born 1777, died 1844; poet. Died at Boulogne, buried in Westminster 
Abbey. 

Fully to waist, dir. f., facing slightly r.; light neckerchief, dark dress, coat 
fastened by two buttons; 1. hand on paper on table r., curtain in background. 

1 2- by 9 , 
Engraved by Samuel and Henry Cousins. 

I. Before any inscription. V. and A. 

II. In fine upright lettering: "Painted by Sir Thomas Lawrence. Engraved by 
Samuel and Henry Cousins. London, Published March I, 1834, by Moon, Boys & 
Graves, Printsellers to the King, 6, Pall Mall." B.M.; V. and A.; Mr. Harvey. 

34. CANNING, GEORGE. After Sir F. Chantrey. 

Born 1770, died 1827; statesman. Prime Minister, April, 1827. Friend of 
Sir Walter Scott. 

W.L., a statue, standing on a slab, dir. f., facing towards r.; loose robe 
around him, r. hand holding roll. Plate size 2I-J by 13^. 

I. In upright lettering on slab: "F. Chantrey R.A. Sculptor." Beneath, in open upright 
letters: "Drawn by H. Corbould. Engraved by S. Cousins." Mr. J. Charrington. 

II. With additional lettering. In open upright capitals: "George Canning." In 
open Gothic lettering: " From a Statue in the Town Hall Liverpool, Eredted by his 
surviving friends." In fine italics to r.: " Subscribers Proof." Messrs. Graves and Co. 

The plate was engraved in 1 833. 

CANTERBURY, CHARLES MANNERS SUTTON, IST VISCOUNT. 
See SUTTON. 

35. CENCI, BEATRICE. After Guido Reni. 

Roman beauty, famous for her misfortunes and her dramatic death. At her, 
and others' instigation, her father, PVancesco Cenci, was assassinated; for 
which crime she was beheaded, September n, 1599. 

53 



SAMUEL COUSINS, R.A. 

To waist, dir. 1., face turned toward 1. shoulder, looking to f.; white cloth 
around head, loose white robe. 9^ by 7^. 

I. Before any inscription. E.M.; Mr. E. E. Leggatt. 

II. In small open capitals, under subjeft: "Engraved by Samuel Cousins." In fine 
capitals towards foot of plate: " London, Published July I 1835, for the proprietor, 
by Colnaghi Son & C Printsellers to the Royal Family, 14 Pall Mall East." Lord 
Westbury; Mr. J. Charrington. 

III. With additional inscription. In script capitals: " Beatrice Cenci." In script 
lettering, slightly thick and thin: "From the Original Piclure in the possession of 
the Rev. Heneage Finch." This is the state of the original steel plate which is in the 
possession of Mrs. Wynne Finch. 

36. CLIVE, LADY HARRIET. After Sir T. Lawrence. 

Born 1797, died 1869. Daughter of the fifth Earl of Plymouth; married 
the Hon. Robert Henry Clive, M.P., 1819; became Baroness Windsor, 1855^ 

Nearly w.l., sitting, dir. f., head inclined slightly to r.; pearl necklace, black 
dress with short sleeves, end of shawl over 1. arm, jewel at bosom; r. arm on 
arm of chair, 1. elbow on table r.; long glove on r. hand which holds 1. 
glove, bracelet on 1. wrist; curtain and fluted pillar in background r., land- 
scape in distance 1. 1 6 ^ by 1 2f . 

I. In open upright lettering under centre of subjedh "Engraved by Samuel Cousins, 
A. R.A. from the Original Pifture by Sir Thomas Lawrence." To 1., in italics: 
" Proof." Mr. E. E. Leggatt (Cousins's own impression). 

II. As published. With additional inscription in fine upright lettering, at foot of plate : 
"London; Published June I st 1840, by J. Dickenson, Publisher & Printseller to Her 
Majesty, and H.R.H. The Duchess of Kent." B.M.; Mr. J. Charrington. 

III. With title added in script lettering: "Lady Harriet Clive." 

37. CLYDE, COLIN CAMPBELL, BARON. After Sir F. Grant. 



Born 1792, died 1863; fi 'd marshal. Served under Sir John Moore; and 
in China, India, the West Indies, etc. Commanded the first division in the 
Crimea, 1854-55; suppressed the Indian Mutiny. Created Baron Clyde, 
1858; a field marshal, 1862. He was buried in Westminster Abbey. 

W.L., standing, dir. and facing towards f.; undress military uniform, long 
boots, spurs; thumb of r. hand within strap by which telescope is slung from 
shoulder; 1. arm by his side, tropical helmet in hand; part of tent behind 
him, Eastern buildings in distance 1. 25 by 



In fine italic lettering above subject: "London; Published by Henry Graves & 
Compy March io th 1862, Printsellers to the Queen 6 Pall Mall." E.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 5, 1862: 150 Artists' proofs; 25 Presentation proofs; 
100 India autograph proofs; 100 Proofs; and Prints. 

54 



CATALOGUE OF PORTRAITS 

38. COGAN (REV.), ELIEZER. After Thos. Phillips. 

Born 1762, died 1855. Nonconformist minister at Cirencester, and also at 
Walthamstow where he kept a boarding-school from 1801 to 1828. 

Nearly w.l., sitting, dir. f., facing towards 1.; white cravat, frill, dark coat 
and breeches; r. knee crossed over 1.; arms on arms of chair, hands holding 
book open on knee; shelves of books in background 1. i6f by 13^. 

I. In fine italic lettering: " Painted by Tho s Phillips Esq p R.A. Engraved by Samuel 
Cousins." Messrs. Graves and Co. 

II. With additional inscription. In open upright lettering: "The Rev d E. Cogan." 
In fine italic lettering to r.: "Private Plate." B.M. 

The plate was engraved in 1828. 

39. COLEMAN, MRS. 

A drawing or miniature exhibited at the Royal Academy in 1854: 
"857 Portrait of the late Mrs. Coleman. S. Cousins A.E." 

This is one of only three drawings (or miniatures) ever shown by Samuel 
Cousins at the Royal Academy. They were all exhibited in 1854. See also 
THOMAS SELBY (No. 142) and CAPT. THOMAS IMPETT (No. 90). 

In a letter dated July 17, 1826, Cousins wrote: "Sir Thomas Acland saw 
my miniature of Miss Coleman, and was greatly pleased with it. He thought 
my price, 10 guineas, too low; but I am very well content with that price." 
The Miss Coleman mentioned in this letter may have been a relative of the 
above. 

40. COLERIDGE, SIR JOHN TAYLOR. 

After Mrs. Margaret Carpenter. 

Born 1790, died 1876; judge. Nephew of Samuel Taylor Coleridge (No. 
41). Recorder of Exeter, 1832; justice of the King's Bench, 1835-1858. 

Nearly w.l., sitting, dir. and facing towards r.; long wig, bands, judge's 
robes; r. hand on open book lying on knees, 1. elbow on arm of chair, 1. hand 
raised to cheek. 16^ by 12!. 

In open upright lettering: "Painted by Margaret Carpenter. Engraved by Samuel 
Cousins, A.R.A." In fine italic lettering to 1. : "Proof." B.M.; 7. and A.; Lord 
Westbury. 

The plate was engraved in 1838. 

41. COLERIDGE, SAMUEL TAYLOR. After Washington Allston. 

Born 1772, died 1834; poet. Contributed "The Ancient Mariner" to 
Wordsworth's " Lyrical Ballads," in 1798. 

Nearly w.l., sitting, dir. and facing towards 1.; white hair, frill, dark dress; 
1. knee crossed over r., 1. hand holding snuff-box on knee, r. hand placed 
within breast of waistcoat; church interior in background. i6 by i2f. 

55 



SAMUEL COUSINS, R.A. 

I. In fine italic lettering: " Painted by Washington Allston. Engraved by Samuel 
Cousins, A.R.A. Subscribers Proof." B.M.; V.andA. 

II. With additional inscription in several styles of light lettering: "Samuel Taylor 
Coleridge, Aged 42. From the original Picture in the possession of George T. 
Barnard Esq re . London, Published July io th 1854, by E. Moxon, 44, Dover 
Street." V. and A. 

42. COLLINGWOOD, ADMIRAL CUTHBERT, LORD. 

After Frank Howard. 

Born 1750, died 1810. Served in the American War of Independence; 
fought on the First of June, 1794, at St. Vincent, and at Cadiz; took com- 
mand at Trafalgar after Nelson fell. Raised to the peerage, as Baron 
Collingwood, after the Battle of Trafalgar. Buried at St. Paul's Cathedral. 

To waist, in naval uniform; epaulettes, 1. hand raised to chin, holding a 
telescope. (A small plate.) 

With painter's and engraver's names in fine lettering, and with title in upright 
open lettering. 

The plate was engraved in 1827. 

43. COOPER, SIR ASTLEY, BART. After Sir <T. Lawrence. 

Born 1768, died 1841; surgeon. Consulting surgeon to Guy's Hospital; 
F.R.S., 1802; created a baronet, 1821. 

Nearly to knees, standing, dir. f., facing ].; light neckerchief, plain dark 
dress; 1. hand in pocket of trousers, r. hand on table 1. on which is an ink- 
bottle; curtain and parts of three fluted pillars in background. 17! by ij|-. 

I. In open upright lettering: " Painted by Sir Thomas Lawrence P R A Principal 
Painter in Ordinary to His Majesty &c &c Engraved by Samuel Cousins London 
Published Jan>' I st 1830 by Colnaghi Son & Co Printsellers to the King Pall Mall 
East" B.M.; Mr. Harvey. 

II. With additional inscription in fine and open lettering: "To the King's Most 
Excellent Majesty This Portrait of Sir Astley Paston Cooper Bar 1 F.R.S. Serjeant 
Surgeon to the King, Vice President of the Royal College of Surgeons, &c. &c. is 
by Permission dedicated by His Majesty's most Faithful Subjedts, and very humble 
Servants, Colnaghi Son & Co " E,M. 

III. The lettering throughout strengthened; a stroke added along the centre of each 
letter of the line containing the name of the personage. E.M.; V. and A. 

44 . COPLESTON, EDWARD. After T. Phillips. 

Born 1776, died 1849. Provost of Oriel College, 1814-28; Professor of 
Ancient Literature to the Royal Academy, 1832; Bishop of Llandaff from 
1828 till his death. 

Nearly w.l., sitting, dir. very slightly 1., facing towards r.; white hair, bands, 
dark robes; 1. hand holding college cap edgeways on knee; book and docu- 

5 6 



MISS PEEL 
1832 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

ment on table r., curtain in background 1., picture of college building on 
wall r. I7i b 7 *3- 

Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription. 

II. Inscribed in several styles of thick and thin lettering: " Painted by T. Phillips, 
Esq e R.A. Engraved by S. W. Reynolds & S. Cousins. Edward Copleston, D.D. 
Provost of Oriel College. Engraved from the Original Picture, in the Posession (sic} 
of that Society A D 1813. Pub d by James Wyatt Carver & Gilder, Oxford. Oct. 
1822." B.M.; 7. and A. 

45. COPLESTON, EDWARD, D.D. After Sir M. A. Shee. 

See No. 44. 

To knees, dir. f., facing slightly 1.; bands, ecclesiastical robes, arms resting 
on arms of chair, gloves in 1. hand, ring on third finger of r. hand; curtain 
in background, part of church in distance 1. 17! by 13^. 



In open upright lettering: " Painted by Sir Martin Archer Shee, P.R.A. Engraved 
by Samuel Cousins, A. R.A." In fine upright lettering: " Published at N 14 Pall 
Mall East, by Paul & Dominic Colnaghi & C Publishers to the Oueen; Nov r 16, 
1841." B.M. 

46. COUSINS, SAMUEL. After Edwin Long. 
Born 1 80 1, died 1887. 

Fully to waist, facing towards and looking to f., sitting at a table, in the act 
of scraping a mezzotint plate, his 1. hand holding a paper shade, his r. a 
scraper; the various tools used in his work lying beside him on the table. 

i6f by 13. 

In fine small italic lettering above subject: "London, Published g th May 1884 by 
The Fine Art Society (Lim d ) 148, New Bond Street. New York, M. Knoedler & 
C" B.M.; Baroness Burdett-Coutts j Mr.J.Gharrington. 

The original painting is in the possession of the Baroness Burdett-Coutts. 
This was the last plate engraved by Samuel Cousins. 

Of this plate the following impressions were declared at the Printsellers' 
Association, May 14, 1884: 175 Artists' proofs; 25 Presentation proofs; 
and Prints. 

47. CROFT, ROBERT. After Mrs. Margaret Carpenter. 

Born 1756, died 1831. Canon Residentiary of York; rector of Rowley, 
Preston, and Hornsea. 

Fully to waist, sitting, dir. and facing f. ; white neckerchief, plain black 
dress; r. elbow on arm of chair, r. hand raised to cheek. lof by 9. 

57 * 



SAMUEL COUSINS, R.A. 

I. In open upright lettering: "Painted by M r8 W m Carpenter. Engraved by Samuel 
Cousins." B.M. 

II. The right strokes of above lettering strengthened, title added in open upright 
thick and thin letters: "The Rev d Robert Croft, A.M." B.M. 

48. CROKER, JOHN WILSON. After Sir ?. Lawrence. 

Born 1780, died 1857; politician. Friend of Canning and Sir Robert Peel. 
Retired from Parliament in 1832 upon the passing of the Reform Bill. In 
1 830 originated the term " conservative." 

To waist, sitting, dir. and facing f.; dark coat and waistcoat, chain with 
bunch of seals; r. arm on arm of chair. 1 1 by 9. 

I. Before any inscription. Mr. Harvey. 

II. In open upright lettering: " Engraved by Samuel Cousins from a Picture by Sir 
Thomas Lawrence, P. R.A. Principal Painter in Ordinary to His Majesty." In fine 
upright lettering: "London Published for the Proprietor Sir Tho 8 Lawrence June 
1829." B.M.; V.andA. 

III. Title added in script lettering: "The Right Hon ble J. Wilson Croker, Secre- 
tary of the Admiralty, and M.P. for the University of Dublin." Publication 
erased; instead: "London. Published 1830, by Moon, Boys & Graves, Printsellers 
to the King, Pall Mall." Messrs. Graves and Co. 

49. CROKER, MISS ROSAMOND. After Sir T. Lawrence. 

Rosamond Hester Elizabeth Pennell, daughter of William Pennell, Consul- 
General in Brazil at the commencement of the nineteenth century. She was 
born in 1810, and when only six weeks old became the adopted daughter of 
John Wilson Croker, statesman and essayist, and from that time was known 
as Miss Croker. Still living, 1904. Lawrence's picture was exhibited at the 
Royal Academy in 1827 (No. 26). In 1832 Miss Croker married Sir John 
Barrow, Bart., C.M.G., who died in 1876. 

In J. W. Croker's diary for June 13, 1821, we find: "Took my little girl 
in the evening to the King's ball. We arrived at five minutes after the 
appointed hour, half-past 8, and His Majesty was already in the room. . . . 
He was very gracious to Nony [Miss Croker's pet name], and kissed her at 
her departure." 'The Croker Papers, edited by L. J. Jennings, 1884, vol. i., 
p. 192. 

Fully to waist, sitting, dir. and facing f. ; hair in short dark curls, white 
low-necked dress with transparent sleeves, jewel at bosom, bracelet on r. 
wrist; 1. arm by her side, r. elbow on seat beside her, hand holding reading- 
glass which is suspended by long chain round neck. 9-^ by 7^. 

I. Before any inscription, and before any border lines round the subject. B.M. 

II. The border lines added. In open upright lettering: "Engraved by Samuel 
Cousins from a Picture by Sir Thomas Lawrence P.R.A. Principal Painter in 
Ordinary to His Majesty." Mr. E. E. Leggatt (Cousins 's own signed impression, on 

58 



CATALOGUE OF PORTRAITS 

which Lady Barrow has added the following signature: "Rosamond Barrow Dec r 12. 
1901 (Miss Crater)"). 

III. As published. With additional inscription, in fine italic lettering : " London 
July 1828 Published by M Colnaghi 23 Cockspur Street Charing Cross." Mr. J. 
Charrington. 

IV. In fine italic and script lettering, the letters of title slightly thick and thin: 
"London, Published August, 1828, by M. Colnaghi, 23, Cockspur Street. Miss 
Croker Engraved by Samuel Cousins from a Picture by Sir Thomas Lawrence 
P.R.A. in the Possession of the Right Honorable J. W. Croker." " Printed by J. 
Lahee" C. 

Attention is directed to the special interest of Mr. Leggatt's impression, as 
set forth above. 

50. DAUPHIN, THE. After J. B. Greuze. 

Second son of Louis XVI. Born at Versailles, 1785; imprisoned in the 
Temple; believed to have died in prison in 1795. 

A young boy, nearly to waist, dir. f., facing r. ; shirt open, long curling hair, 
r. hand holding ball (on which is a pattern of a cross) to breast, icf by 8|. 

In fine italic lettering above subject: " London Published Thomas M c Lean, 7, Hay- 
market Nov I st 1877." Lord Westbury; Mr. E. E. Leggatt; Mr. J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, August 31, 1877: 350 Artist's proofs; 25 Presentation proofs; 
50 Proofs before letters; 200 Lettered proofs; and Prints. 

DE GREY, THOMAS, IST EARL. See GRANTHAM. 

51. DEVONSHIRE, GEORGIANA (SPENCER), DUCHESS OF. 

After Sir J. Reynolds. 

Born 1757, died 1806. Daughter of John, ist Earl Spencer; first wife of 
William Cavendish, 5th Duke of Devonshire. " It was through her influence 
and powers of attraction that Fox gained his election for Westminster." 

W.L., standing and about to descend steps 1., dir. and facing 1. ; hair dressed 
high with feathers and pearls, light low-necked dress, 1. arm by her side, r. 
hand on balustrade, park in distance. 23|- by 



In small italic lettering above subject: " London; Published, 25 November 1878, bv 
P & D Colnaghi & C 13 & 14 Pall Mall East & Tho 3 M c Lean, 7, Haymarket & 
Manchester by Tho 8 Agnew & Sons; Exchange Street." B.M.; Mr. J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, October 8, 1878: 300 Artist's proofs; 25 Presentation proofs; 
100 Proofs before letters; 200 Lettered proofs; India prints; and Prints. 

This portrait was engraved in mezzotint by Valentine Green, in 1780 
by 151). 

59 



SAMUEL COUSINS, R.A. 

52. DOVER, GEORGIANA (HOWARD), LADY, AND HER SON. 

After Sir T. Lawrence. 

Lady Dover was a daughter of George, 6th Earl of Carlisle. In 1822 she 
married George James Agar-Ellis, who in 1831 was created Baron Dover. 
She died in 1860. Her son was Henry, 3rd Viscount Clifden, who was born 
in 1825 and died in 1866. 

Nearly w.l., sitting, dir. towards r., facing towards 1.; short curls, black 
dress with short sleeves and low neck, flowers at bosom, pearl bracelet on r. 
wrist; her arms round her son, whom she clasps to her; he wears a light loose 
garment; cloak over seat 1., curtain in background, landscape with river in 
distance r. Arms in centre of inscription space, motto: " Non Hoec Sine 
Numine." iff by i2-|. 

I. Before the arms. In open upright lettering: " Engraved by Samuel Cousins from 
a Picture by Sir Thomas Lawrence." Lord Westbury, Mr. J. Charrington; Mr. 
E. E. Leggatt. 

II. The arms and motto added. Note by Mr. E. F. Sheppard. 

III. With additional inscription. In fine script lettering: " The Right Hon ble Lady 
Dover and her Son, the Hon ble Henry Agar Ellis" In open upright lettering: 
"London Published O(5to r 1831, by Colnaghi Sen r Dominick Colnaghi & Co. 
Printsellers to their Majesties & the Royal Family, Pall Mall East. Proof" B.M. 

IV. The lettering, except publication line, slightly strengthened ; a comma added 
after the word Dover and a full-stop after the word Ellis ; the word Proof erased. 
B.M.; Lord IVestbury. 

V. Publication erased; instead, in fine upright capitals: "Edinburgh, Robert 
Simpson. London, R. Ackermann & C." Mr. E. W. Gilbert, Ipswich. 

VI. The title and publication erased; no coat of arms. In upright open capitals, 
with a stroke along the centre of each letter: "The Happy Mother." Beneath, 
in fine italic capitals: "(Lady Dover & Son)." At foot of plate, in fine upright 
lettering: "London, Robert Simpson, 20, S' Paul's Terrace, Camden Town" 
Sale at Christie's, May 31, 1904. 

VII. All inscription erased. Publication immediately under subjedt: "Engraved 
by Samuel Cousins from a Piclure by Sir Thomas Lawrence." In upper r. corner 
of plate, in small italics: "Published Sept r I st 1891, by Leggatt Bro 8 62, Cheap- 
side, London." 

The original steel plate is in the possession of Messrs. Leggatt Brothers. 

The original painting was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by Lord Annaly. 

53. DURHAM, JOHN GEORGE LAMBTON, IST EARL OF. 

After Sir T. Lawrence. 

Born 1792, died 1840. M.P. for Durham; created Baron Durham, and 
afterwards (in 1833) E ar ^ of Durham. Governor-General of Canada, 1838. 

60 



COUNTESS GROSVENOR 
1833 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

To waist, dir. slightly 1., facing and looking slightly r.; coat edged with fur, 
cloak (with chain on 1. shoulder) thrown loosely round him and held in f. 
by 1. hand; ring on 1. little finger; pillars in background, tree seen to 1. 

lof by 9. 

I. In open upright letters: "Painted by Sir Thomas Lawrence, P.R.A. Engraved 
by Samuel Cousins, A.R. A." In fine italic capitals to 1.: "Proof." B.M. 

II. With line of publication added in fine upright capitals: " London, August I, 1837, 
Published for the Proprietor Sam 1 Cousins, A.R.A. by Tho a Boys, N XI, Golden 
Square." B.M.; Mr. Harvey. 

III. Publication line erased. Title added in fine script lettering: "The Earl of 
Durham, G.C.B. &c. &c. &c." B.M. 

IV. Title erased. At foot of plate, in upright lettering: " London, February 15, 
1841, Republished by Messrs. Colnaghi & Puckle, 23 Cockspur Street." Lord 
Westbury. 

54. DURHAM, LOUISA, COUNTESS OF. After Sir ?. Lawrence. 

Louisa Elizabeth, daughter of Charles, 2nd Earl Grey. Married, December 
i 8 1 6, as his second wife, John George Lambton, afterwards Earl of Durham. 
She died November 26, 1841. 

Fully to waist, standing, dir. and facing f. ; short curls, tiara, light dress with 
low neck and high waist, necklace of small pearls; 1. arm by her side, r. arm 
on pedestal 1., rings on third finger of r. hand; part of tree to 1. ioj by 8-|. 

I. Before any inscription. Mr. E. E. Leggatt (Cousins's own impression'). 

II. In fine upright capitals : " Engraved by Samuel Cousins, A.R.A. from the original 
picture by Sir Thomas Lawrence." To 1., in fine italic capitals : " Proof." To 
r.: "Private Plate." B.M. 

The plate was engraved in 1843. 

55. EARLE, HENRY, F.R.S. After Wm. Behnes. 

Born 1789, died 1838. Surgeon-extraordinary to Queen Victoria. "Main- 
tained, against Sir Astley Paston Cooper, the possible uniting of fracture of 
the neck of the thigh-bone" ("Diet. Nat. Biog."). 

A sculptured bust, dir. towards f., facing towards 1.; r. shoulder bare, robe 
loosely over 1. shoulder. 1 1^ by 9. 

Scraped on base of bust: "Henry Earle." Beneath subject, in fine upright capitals: 
" Bust by W m Behnes. Drawn by H. Corbould. Engraved by S. Cousins, A.R.A." 
To 1., in italic capitals: "Proof." To r. " Private Plate." B.M.; V.andA. 

The plate was engraved in 1838. 

56. EDEN, ROBERT, D.D. After George Richmond. 

Born 1804, died 1886. Bishop of Moray and Ross, 1851; founder of St. 
Andrew's Cathedral, Inverness. 

61 



SAMUEL COUSINS, R.A. 

To knees, standing, dir. and facing f., bishop's walking dress; r. arm by his 
side, hat in r. hand, 1. hand on book on bank r.; trunk of large tree r., land- 
scape in distance 1. 17! by 13^. 

I. Before any inscription. Messrs. Graves and Co. 

II. In fine italic lettering: "Painted by George Richmond. Engraved by Sam 1 
Cousins. Private Plate." B.M. 

The plate was engraved in 1852. 

57. EDWARD VII., KING, WHEN A BOY. 

After F. X. Winterhalter . 

Born November 9, 1841; ascended the throne January 22, 1901. 

W.L., a boy, wearing dark sailor hat and light sailor suit, dir. towards and 
looking f., standing by the sea, his hands thrust into his trousers pockets. 
The upper corners of subject rounded. i8-|- by 12^. 

I. Before any inscription. B.M. 

II. In fine script lettering: "F. Winterhalter Samuel Cousins A. R.A. London, 
Published Feb^ 15, 1848, by F. G. Moon, Her Majesty's Publisher, 20 Thread- 
needle Street." 

Of this plate the following impressions were declared at the Printsellers' 
Association, February 15, 1848: 150 Artists' proofs; 200 Proofs before 
letters; 100 Lettered proofs; and Prints. 

ERRINGTON, JULIA. See MACDONALD. 

58. EUGENIE, THE EMPRESS. After F. X. Winter -halter. 

Eugenie Marie de Montijo de Guzman, Empress of the French from 1853 
to 1870. Wife of Napoleon III.; born at Grenada, 1826. 

W.L., standing on a dais, dir. and facing I., looking f. ; coronet, long pearl 
necklace, light state dress with low neck and short sleeves, sash, bracelets, 
long cloak depending from back of dress; 1. arm by her side, r. forefinger 
pointing to the 1.; chair to r., table with cushion and crown beside her; in 
distance to 1. a terrace with trees, statues, steps, and fountain. 26f by 17. 

In light italic lettering: " Grav par S. Cousins, d'apres F. Winterhalter." B.M. 
An impression was exhibited at the Royal Academy in 1857 (No. 981). 

59. FARADAY, MICHAEL. After H. W. Picker sgill. 

Born 1794, died 1867; chemist. Assistant to Sir Humphry Davy; dis- 
covered benzol 1825, magneto-electricity 1831. Died at Hampton Court. 

To waist, dir. towards r., facing to wards f., loo king 1., body inclined towards 
r. ; dark curly hair, white neckerchief, plain dark dress. lof by 9. 

62 



CATALOGUE OF PORTRAITS 

I. In open upright lettering: "Painted by H. W. Pickersgill Esq r R.A. Engraved 
by Samuel Cousins London Published Feb^ I st 1830 by Colnaghi Son & Co. Print- 
sellers to the King, Pall Mall East." B.M.; V. and A.; Mr. Harvey. 

II. With additional inscription. In upright open lettering: "Michael Faraday, 
Esq re F.R.S. M.R.I. F.G.S." In fine script lettering: " Corr Mem Royal Acad 
Sciences Paris, &c &c " B.M. 

III. The additional inscription of State II. erased; instead, in various styles of open 
and fine lettering: " To His Grace the Duke of Somerset This Portrait of 
Michael Faraday Esq r F.R.S. M.R.I. F.G.S. Corr. Mem. Royal Acad. Sciences 
Paris, &c. &c. is by Permission dedicated by His Graces most humble & obliged 
Serv ts Colnaghi Son & Co" B.M.; Mr. J. Charrington. 

60. FITZPATRICK, LADY ANNE (AS " SYLVIA "). 

After Sir J. Reynolds. 

Born 1774. Elder daughter of John, 2nd Earl of Upper Ossory. Died 
unmarried. Messrs. Graves and Cronin consider the portrait to be that of 
Lady Gertrude Fitzpatrick, Lady Anne's younger sister, who was born 
about 1776. 

W.L., a young girl, dir. n, facing towards f., wearing light frock with dark 
waistband, standing barefooted in foreground of a wooded landscape, with 
running water on either side of her. 17^ by I2-|. 

In small italic lettering above subject: "London Published by P. & D. Colnaghi & 
C 14, Pall Mall East, and T. M c Lean, 7, Haymarket and Manchester by Grundy 
& Smith, Exchange Street, 8 th April 1876." B.M.; Mr. J. Charrington; Mr. E. 
F. Sheppard. 

An impression was exhibited at the Royal Academy in 1876 (No. 1155). 

Of this plate the following impressions were declared at the Printsellers' 
Association, July 29, 1875: 300 Artist's proofs; 25 Presentation proofs; 
126 Proofs before letters; 200 Lettered proofs; and Prints. 

This portrait was engraved in stipple by John Jones, in 1791 (i i^ by gi). 
The picture is in the possession of Mr. James Ross, of Montreal. 

6 1. FORBES, SIR CHARLES. After Sir F. Chantrey. 

Born 1774, died 1849; politician. M.P. for Beverley and Malmesbury; 
created a Baronet in 1823. Bombay merchant. The statue here represented 
stands in the Town Hall at Bombay. 

W.L., a statue, standing, dir. f., facing towards 1.; wearing a loose robe held 
at breast by 1. hand, and holding a roll in r. Plate size, 22f by 161. 

The statue and its base are engraved in a mixed method; the rest of the plate 
is left white. 

I. On base of statue, in open upright capitals: "Sir F. Chantrey Sculp. 1841" 
Beneath, in fine upright capitals : " Drawn by Henry Corbould. Engraved by 
Samuel Cousins, A. R.A." Messrs. Graves and Co. 

63 



SAMUEL COUSINS, R.A. 

II. With additional inscription, in open upright capitals : " Sir Charles Forbes 
Baronet. The Disinterested Benefaclor of the Native Inhabitants of this Island, 
And the Tried and Trusted Friend of the People of India. Erefted In Token 
of Esteem and Gratitude by the Native Inhabitants of Bombay." B.M. 

An impression was shown at the Royal Academy in 1844 (No. 1040). 

62. FRERE, SIR HENRY BARTLE EDWARD, G.C.B., G.S.I. 

After Henry W. Phillips. 

Born 1815, died 1884; statesman. Chief Commissioner of Scinde from 1 850 
to 1859; accompanied King Edward VII. (when Prince of Wales) to India, 
1875; first High Commissioner of South Africa, 1877, but recalled in 1880, 
though most popular there. 

Nearly to knees, standing, dir. very slightly 1., looking towards f. ; moustache, 
dark necktie, plain dress, overcoat; 1. hand on hip holding back coat, r. hand 
holding eye-glass suspended by cord from neck. I5f by 12-|. 

I. In fine italic lettering: "Painted by Henry W. Phillips Esq rc Engraved by 
Samuel Cousins R.A." In fine upright capitals: "London; June i8 th 1859; 
Published for the Proprietor by Paul & Dominic Colnaghi, 14, Pall Mall East." 
B.M. 

II. With facsimile of autograph added : " H. B. E. Frere " Mr. J. Charrington. 

III. The facsimile of autograph erased, and with additional inscription. In open 
upright capitals: "Sir H. Bartle, E. Frere, K.C.B." In fine script lettering: 
" Commissioner of Scinde." 

IV. A line added along the centre of each letter of the title "Sir H. Bartle, E. Frere, 
K.C.B." B.M. 

63. FRY, ELIZABETH. After George Richmond. 

Born 1780, died 1845; philanthropist. Maiden name Gurney; married 
Joseph Fry, 1820. Devoted herself to the amelioration of the conditions of 
prison life, and other humane objects. 

W.L., standing, dir. very slightly r., looking f.; white cap, dark skirt, light- 
coloured shawl; r. arm by her side, 1. hand to waist. 26f by 16^. 

Preliminary Etching. In scratched italic lettering: "Painted by George Rich- 
mond Engraved by Sam 1 Cousins, A. R.A. London Published by J. Hogarth, 
5, Haymarket, Aug* i 1849." B.M. 

I. The subjecl finished, the inscription erased. B.M. 

II. As published. In fine scratched italic lettering: " Painted by George Rich- 
mond. Engraved by Samuel Cousins, A.R.A. London, Published by J Hogarth, 
5, Haymarket, Jany 1850." B.M.; Lord Westbury; Mr. J. Charrington. 

III. The inscription erased. Royal arms added in centre of inscription space. In 
several styles of light lettering: "Painted by George Richmond. Engraved by 
Samuel Cousins, A.R.A. To Her Royal Highness the Duchess of Gloucester, 
This Portrait of M r8 Elizabeth Fry. Is at the request of the Husband and family 

64 



NATURE 
1835 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

of that Lady, as an acknowledgement (sic) of Her Royal Highnesse's (sic) uniform 
kindness and encouragement to her in her benevolent labors Most respectfully 
dedicated by Her Royal Highnesse's obedient humble Servant Joseph Hogarth. 
London, Published March i, 1850, by J. Hogarth 5 Haymarket." fr. and A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, January, 1850: 150 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 75 Lettered proofs; and Prints. 

64. GEORGE IV. After J. Jackson. 
Born 1762, died 1830. 

To waist, dir. f., facing towards 1.; coat buttoned except top button, star; 
pillar in background. Royal arms and mottoes in centre of inscription space. 

8f by yf . 
Engraved by S. Cousins and S. W. Reynolds. 

I. In fine lettering at bottom of plate: " Pub d by S W. Reynolds Bayswater July 20 
1823." Mr. W. Walker. 

II. Inscribed, with title line in open thick and thin lettering: "Painted by J. Jack- 
son, Esq r R.A. Engraved by S. W. Reynolds, (Engraver to the King) and 
S. Cousens (sic). His Most Gracious Majesty George, IV. To whom this Print 
is humbly dedicated, by His devoted Subject & Servant, William Sams." B.M. (the 
impression may be cut at foot). 

65. GEORGE IV. After Phillies. 

To waist, an oval in a square, dir. f., facing towards 1. ; head uncovered, 
sash over military coat with star; frill. Plate size, 14 by 9f. 

Size of work, 9 by 7^. 

I. Unfinished; the mezzotint ground covers the whole plate; the head and collar 
only has been scraped. B.M. 

II. The subject finished. Before any inscription. C. 

This is said to be among Cousins's first attempts, and the style of the work is 
certainly very similar to that of S. W. Reynolds. 

66. GIBBS, WILLIAM. After Sir W. Boxall. 

To knees, sitting, dir. towards r., looking f.; plain dark dress, r. hand holding 
paper and placed on knee, 1. hand on r. hand ; corner of table 1. 

15! by 12. 

In fine italic lettering: "Painted by William Boxall, R.A. Engraved by Samuel 
Cousins, R.A. London, Published July 20 th 1864, by Holloway & Son, 25, Bedford 
Street, Strand." B.M. 

67. GILBERT, ASHURST TURNER, D.D. After Thomas Phillies. 

Born 1786, died 1870. Principal of Brasenose College, Oxford, 1822-42; 
Bishop of Chichester from 1842 till his death. 

65 K 



SAMUEL COUSINS, R.A. 

To knees, standing, dir. towards 1., looking f.; bands, robes; hands clasped 
at waist, holding college cap; chair 1., curtain in background. i6f by 12^. 

I. In open upright lettering: "Painted by Tho" Phillips, Esq re R.A. Engraved by 
Sam 1 Cousins, A.E." In fine upright lettering: " Published by J. Ryman, Print- 
seller, &c. High Street, Oxford, Jan^ i et 1836." B.M. 

II. With additional inscription in three styles of lettering, a line along the centre of 
each letter of the title: "Rev d Ashhurst (sic) Turner Gilbert, D.D. Principal of 
Brazenose College, &c. &c. &c. From a Picture in the possession of that Society, 
to whom this Print is with permission humbly dedicated by their Obliged and 
faithful Servant James Ryman." To 1.: "Proof." B.M. 

68. GILBERT, DAVIES (GIDDY). After Henry Howard. 

Born 1767, died 1839; antiquary. Davies Giddy married, in 1808, Mary 
Ann Gilbert, and in 1817 took the name and arms of Gilbert. President of 
the Royal Society, 1827-1830. 

To waist, sitting, dir. and facing f. ; frill, dark coat fastened by two buttons. 
Arms in centre of inscription space, mottoes: " Mallem Mori Quam Mutare " 
and "Teg Yw Hedwch." i of by 9. 

I. Before any inscription, and before the arms. V. and A. 

II. In open upright capitals: "Davies Gilbert, M.A." In fine script lettering: 
" President of the Royal Society Member of Parliament. 1828." Messrs. Graves 
and Co. 

III. In upright open lettering: "Painted by Henry Howard Esq e R A Engraved 
by Samuel Cousins " A line added along the centre of each letter of the title, the 
script lettering strengthened. Tor.: " Private Plate." B.M.; C. 

IV. Private plate erased; instead: "Gad & C Printers." Messrs. Graves and Co. 

69. GODDARD, WILLIAM STANLEY, D.D. After John Lucas. 

Born 1757, died 1845. Dr. Arnold was one of his pupils at Winchester 
College. Prebendary of St. Paul's, 1814; Canon of Salisbury, 1829. 

To waist, sitting, dir. towards r., facing towards f.; bands, gown; r. hand 
turning leaf of book lying in front of him to r. Arms in centre of inscription 
space surrounded by the Garter and its motto, and surmounted by a mitre 
on each side of which is the initial " W." icf by 8. 

Engraved by Samuel and Henry Cousins. 

In open upright, open thick and thin, and script lettering: "Painted by John Lucas 
Engraved by Samuel & Henry Cousins The Reverend William Stanley Goddard, 
D.D. Head Master of Winchester College, From 1793, to 1810. To the 
Wardens, Fellows, and Scholars of the two Saint Mary Winton Colleges, This 
Print is respectfully dedicated by their Obedient Servant, John Lucas. London 
Published by M r Lucas, N 20, Charles Street, Middlesex Hospital, June 5 th 1832." 
B.M. 

66 



CATALOGUE OF PORTRAITS 

70. GOMM, WILLIAM. After Archibald Archer. 
Born 1747, died 1831. 

To waist, an old man, dir. and facing f. ; white hair, bands, dark waistcoat 
just seen beneath black gown; 1. hand visible. 10^ by 9. 

In fine upright lettering: " Painted by Archibald Archer Engraved by Samuel 
Cousins " In upright open thick and thin lettering: " The Rev d William Gomm," 
In script lettering: " Redlor of Bramdean, Hants, and of Dean, Wilts." To r. : 
" Private Plate." B.M. 

The plate was engraved in 1826. 

71. GOWER, HARRIET (HOWARD), COUNTESS, AND HER 
DAUGHTER. After Sir T. Lawrence. 

Daughter of George, 6th Earl of Carlisle; married, in 1823, George, Earl 
Gower, afterwards 2nd Duke of Sutherland; and died in 1868. The 
daughter is Elizabeth, who, in 1844, married George, 8th Duke of Argyll, 
and died in 1878. 

W.L., sitting, dir. f, facing 1.; black dress, flowers at bosom, pearl bracelet, 
r. wrist on arm of chair, hand holding paper; 1. arm round her daughter, 
who sits on her knee, pointing to 1., her r. shoe on round table to r. ; pillars 
in background, landscape in distance, 1. 25^- by i6-J-. 

Separate inscription plate, i\ high. 

I. Unfinished proof before the border lines round subjecl, and before the separate 
inscription plate; the edge of the work not quite cleaned up. On the margin has 
been written in pencil: "4* Engraver's Proof." Messrs. Graves and Co. 

II. With separate inscription plate, but before any inscription. Mr. E. E. Leggatt. 

III. On separate plate, in fine scratched lettering: "Engraved by S Cousins after 
Sir T Lawrence." Mr. E. 0. Schneider. 

IV. As published. Inscription erased. On separate plate, in upright open and 
fine lettering: "Painted by Sir Thomas Lawrence. Engraved by Samuel Cousins. 
163, Albany Street, Regents Park. London Published May 7 th 1832 by Colnaghi 
Sen r Dominick Colnaghi & Co. Printsellers to their Majesties Pall Mall East." 
[The last three words in open capitals.] B.M.; Mr. J. Charrington. 

V. The inscription retouched and altered. After Lawrence, add "late President 
of the Royal Academy." The engraver's name and address in one line instead of 
in two as in state IV. The date altered from May f 1 to "May 17." And with 
title added in fine script lettering: "The Countess Gower and the Lady Elizabeth 
Leveson Gower." To 1.: "Proof." B.M. 

VI. Immediately under centre of subject, in fine upright capitals: "Countess 
Gower." The lettering of title on separate plate strengthened. For DominicA read 
"Dominic"; and at end of publication line add: " Publi6 a Paris par M. Defer. 
Quai Voltaire." B.M.; Lord Westburv; Sale at Christie's April 13^, 1904. 

VII. Impressions cut down to 15^ by 12^, and pasted upon impressions from a new 
plate (plate size 19 by 14^) containing four border lines and the inscription. In open 
upright, and title in script, lettering: " Engraved by Samuel Cousins from a Pidture by 

67 



SAMUEL COUSINS, R.A. 

Sir Thomas Lawrence. The Countess Gower, and The Lady Elizabeth Leveson 
Gower. A Paris, chez Rittner et Goupel (sic\ Marchands d'Estampes Boulevard 
Montmartre, 1832." B.M.; Mr. Leeming. 

The original painting was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by the Duke of Sutherland, K.G. 

72. GRANTHAM, THOMAS PHILIP, LORD. After Wm. Robinson. 

Thomas Philip Weddell Robinson, born 1781, died 1859. Succeeded his 
father as jrd Baron Grantham, 1786; afterwards ist Earl De Grey. First 
Lord of the Admiralty, 1834; Lord Lieutenant of Ireland, 1841. 

Nearly to knees, standing, dir. f, facing towards 1. ; plain dark dress with 
peer's robe over; 1. hand to hip holding back robe, r. hand on corner of 
table 1.; curtain in background 1. \*]\ by 13^. 

Engraved by S. Cousins and W. Brett. 

I. Trial proof of the head and shoulders only. B.M. 

II. In fine upright lettering: "Painted by William Robinson Engraved by W m 
Brett & S Cousins " In open upright lettering: " Thomas Philip Lord Grantham." 
B.M. 

III. The lettering "Thomas Philip Lord Grantham" filled in. 
The plate was engraved in 1828. 

73. GRENFELL, PASCOE. After Sir M. A. Shee. 

Born 1761, died 1838. M.P. for Great Marlow, 1802-20; for Penryn, 
1820-26. Advocated the abolition of slavery. 

Nearly w.l., sitting, dir. slightly 1., looking f. ; black neckerchief, light 
waistcoat, dark coat fastened by three buttons; arms resting on arms of chair, 
letter in r. hand; table 1. on which are books, writing materials, and papers; 
curtain and pillars in background. I7 by 13^. 

In open upright lettering : " Painted by Sir Martin Archer Shee. P.R.A. &c. &c. 
Engraved by Samuel Cousins. Pascoe Grenfell Esq r " In fine script lettering: 
"Governor of the Royal Exchange Assurance" In fine italic lettering: ' Proof" 
" Private Plate." B.M. 

The plate was engraved in 1832. 

74. GREY, CHARLES GREY, 2ND EARL. After Sir T. Lawrence. 

Born 1764, died 1 845. Entered parliament as member for Northumberland, 
1786; opposed Pitt; took active interest in political life and held several 
offices; Prime Minister, 1831; introduced and finally carried the Reform 
Bill. 

Nearly to knees, standing, dir. and facing f. ; coat fastened by one button, 
light trousers; r. hand within breast of coat, 1. arm on high pedestal r. ; 
curtain in background, trees in distance 1. 13 by 9. 

68 



LADY RAVENSWORTH AND DAUGHTER 



AFTER MRS. ANNE MEE 



CATALOGUE OF PORTRAITS 

I. Inscribed in open upright lettering: "Engraved by Samuel Cousins from a 
Painting by Sir Thomas Lawrence P.R.A. Principal Painter in Ordinary to His 
Majesty." In fine upright lettering: " London Published for the Proprietor Sir 
Tho 8 Lawrence. May 1829." Mr. J. Charrington ; Sale at Christie's, May 31, 
1904. 

II. In fine upright and fine script lettering: " Painted by Sir Thomas Lawrence. 
London, July 1830, Published by M. Colnaghi, N 23, Cockspur Street, Charing 
Cross. Engraved by Samuel Cousins. The Right Hon ble Charles Earl Grey, 
This Print is most respectfully Dedicated to The Right Hon ble William-Went- 
worth, Earl Fitzwilliam." To r.: " Proof." V. and A. 

III. The word Proof erased. B.M. 

IV. The script lettering slightly strengthened. Sale at Puttick and Simpson's, July 7, 
1904. 

75. GREY, MARY ELIZABETH, COUNTESS, WITH HER TWO 
CHILDREN. After Sir T. Lawrence. 

Countess Grey, only daughter of William Brabazon, rst Lord Ponsonby; 
married in 1794, Charles, 2nd Earl Grey, and died 1861. Louisa Eliza- 
beth, the eldest daughter of the Countess, married in 1816 (as his second 
wife) John G. Lambton, afterwards created Earl of Durham, and died 1841. 
Elizabeth, the second daughter of the Countess, married John Croker Bulteel 
in 1826, and died 1880. 

To knees, sitting on a couch, dir. f., facing 1.; short ringlets, dark dress with 
short sleeves, watch attached to waistband; 1. hand holding book in lap, r. 
hand on shoulder of one child on couch beside her, the other child behind 
her mother and putting her arms round her mother's neck; base of fluted 
column in background, landscape in distance 1. The subjeft is in a nearly 
circular frame. I2| by lof. 

I. In small open upright lettering: " Engraved by Samuel Cousins from the Original 
Picture by the late Sir Thomas Lawrence P.R.A." Mr.J. Charrington; Mr. E. E. 
Leggatt (Cousins'; own impression'). 

II. As published. With additional inscription in small open upright lettering: 
"London Published May 2 nd 1831 by Colnaghi Sen r Dominick Colnaghi & Co 
Printsellers to their Majesties & the Royal Family Pall Mall East " [The last 
three words in open capitals.] B.M. 

III. With titles added in fine script lettering: "Countess Grey Lady Louisa Grey 
now Lady Durham Lady Elizabeth Grey now Lady Eliz h Bulteell." B.M. 

IV. The lettering slightly strengthened ; the strokes of the open lettering are now 
thick and thin. A comma added after the word Family in line of publication For 
Bulteell read "Bulteel." C. 

V. All the inscription erased. In fine upright capitals under subjecl, to I.: " Painted 
by Sir Tho 8 Lawrence, P.R.A." To r.: "Engraved by Samuel Cousins, A.R.A." 
In upper r. corner of plate, in small italics: "Published Sepf I 8t 1891, by Leggatt 
Bro 8 62, Cheapside, London." 

69 



SAMUEL COUSINS, R.A. 

The original steel plate is in the possession of Messrs. Leggatt Brothers. 

The original painting was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by Earl Grey. 

76. GRIFFITHS, JOHN, D.D. After G. F. Watts. 

Born 1806, died 1885. " One of the four tutors who protested against 
Cardinal Newman's c Trad: XC.' ", in i 841 ; appointed keeper of the archives 
at Oxford, in 1857. 

A head, turned slightly 1., looking f. ; white necktie. The head engraved in 
a mixed method, the rest of the plate left white. Plate size: 13^ by 9-^. 



In script lettering at foot of plate: "Drawn by G. F. Watts. Engraved by Sam 1 
Cousins, R.A." B.M. 

The plate was engraved in 1855. 



77. GROSVENOR, ELIZABETH MARY, COUNTESS. 

After Sir T . Lawrence. 

Born 1797, died 1891. Daughter of George, ist Duke of Sutherland; 
married, in 1819, Richard, Viscount Belgrave, who, in 1845, succeeded as 
and Marquess of Westminster. 

Fully to waist, dir. f.; facing towards r. ; light dress with low neck and long 
muslin sleeves; jewel at bosom. 9^ by 7-f. 

I. As published. In small open upright lettering: " Engraved by Samuel Cousins 
from the Original Pidture by Sir Thomas Lawrence. London Published June 2O th 
1833, by Colnaghi Sen r Dominic Colnaghi & Co. Printsellers to their Majesties & 
the Royal Family, Pall Mall East." Mr. E. E. Leggatt; Mr. E. F. Sheppard. 

II. The word "Proof" added to r. in italic capitals, and under it, in light script 
lettering the initials " T. G." (the initials of Thomas Grenville, to whom the plate 
was dedicated). Mr. J. Charrington. 

III. The initials erased. B.M.; Sale at Christie's, May 31, 1904. 

IV. With additional inscription. In open upright lettering: "Elizabeth, Countess 
Grosvenor," In fine script lettering : " Dedicated to the Right Hon ble Thomas 
Grenville. &c. &c. &c. by his very obliged Servants. Paul & Dominic Colnaghi 
& Co." In line of publication June erased, instead "July." B.M. 

V. With French address added : " A Paris chez Rittner & Goupil, Boulevard Mont- 
martre N 12." 

VI. The plate reduced in size to 12^ by g|, the subject to 9 by 71. In scratched 
italic lettering: "Sir Thomas Lawrence, P. R.A. Samuel Cousins, A. R A Eliza- 
beth, Countess Grosvenor. London, Published Feb y i, 1844 by H. Graves & C 
Printsellers to the Queen, 6, Pall Malli" C 1 .,- Mr. J. Charrington; V. and A. 

7 



CATALOGUE OF PORTRAITS 

The cut plate was used in the volume of " Engravings from The Choicest 
Works of Sir Thomas Lawrence, P.R.A." 

The original painting was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by the Duke of Sutherland, K.G. 

78. GWATKIN, THEOPHILA ("SIMPLICITY"). 

After Sir J. Reynolds. 

Born 1782, died 1844. Grandniece of Sir Joshua Reynolds; daughter of 
Robert Lovell Gwatkin and his wife, Theophila Palmer. Went to India, 
and there, in 1816, married R. Lowther, of the Indian Civil Service. 

To knees, a young girl, sitting, dir. f., facing in profile 1.; mob cap, light 
frock with low neck and short sleeves, dark waistband; hands in lap, with 
fingers turned upwards, holding sprig of flowers; trees behind her, landscape 
in distance 1. 13^ by 11^. 

In small italic lettering above subject: "London Published by P. & D. Colnaghi & 
C 13, & 14, Pall Mall East. T. MLean 7 Haymarket and Tho 8 Agnew & Sons, 
4, Exchange Street Manchester I st May, 1875." B.M.; Mr. J. Charrington (on 
which Cousins has written in pencil: " yd Working Proof}". 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 30, 1874: 275 Artist's proofs; 25 Presentation 
proofs; too Proofs before letters; 200 Lettered proofs. 

This portrait was engraved in stipple by F. Bartolozzi, in 1789 (8 by 6f). 

79. HALLAM, ARTHUR HENRY. After Sir F. Chantrey. 

Born iSiij died 1833. Elder son of Henry Hallam, the historian. The 
subjecl of Tennyson's " In Memoriam." 

A sculptured bust, dir. f., facing towards r. ; r. shoulder bare, robe over 1. 
shoulder. The mezzotinting does not extend beyond the bust and the sill 
upon which it rests. Plate size 1 1^ by 7^. 

I. Before any inscription. Mr. E. E. Leggatt (Cousins' s own signed impression], 

II. In fine upright and fine open lettering: "Sir Francis Chantrey, R.A. Sculptor. 
Drawn & Engraved by S. Cousins, A.R.A. Arthur Henry Hallam. September 1 5. 
1833." B.M.; C. 

HAMILTON, THE LADIES BEATRICE AND HARRIET. See 
ABERCORN. 

80. HAMILTON, LADY MARY VICTORIA. 

After F. X. Winter halter. 

Daughter of William, i ith Duke of Hamilton. Married (i) Prince Albert 
of Monaco, in 1869 the marriage being annulled in 1880 and (2) Count 
Tassilo Festetics, a Hungarian in the Austrian Imperial Guard, in the latter 
year. 

7 1 



SAMUEL COUSINS, R.A. 

W.L., standing with r. foot on step of balustrade, dir. and facing in profile 
1.; light dress, light shawl passing behind her; 1. arm by her side, hat with 
feathers in hand; r. hand raised and shading her eyes with a fan as she looks 
intently forward; in distance 1. hilly landscape with lake. 20^ by i2f. 

I. In fine italic lettering: "Painted by F. Winterhalter. Engraved by Sam 1 Cousins 
R.A." B.M. 

II. Title added in fine script lettering: " Mary Victoria Douglas Hamilton." Messrs. 
Graves and Co. 

An impression was exhibited at the Royal Academy in 1867 (No. 933). 

8 1. HEBER, REGINALD, D.D. After fhos. Phillips. 

Born 1783, died 1826; Bishop of Calcutta from 1822 till his death, at 
Trichinopoly. 

Nearly to knees, standing, dir. and facing towards 1. ; bands, ecclesiastical 
robes; 1. arm by his side, r. hand holding college cap level with waist; cur- 
tain in background, steeple and palm-trees in distance 1. 6^ by 5^. 

I. In fine upright lettering: " Tho" Phillips Esq r R A Pinx fc Sam 1 Cousins Sculp*." 
In open upright capitals: "The Right Rev d Reginald Heber, D.D." In fine script 
lettering: "Lord Bishop of Calcutta" B.M. (early impression touched upon with 
Chinese white}. 

II. The corrections marked with Chinese white on State I. have been made. The 
curved etched outline on the under side of the college cap now appears slightly away 
from the cap owing to its reduction in size. B.M.; Mr. J. Charrington. 

The plate was engraved in 1829. 

82. HEWETT, SIR GEORGE, BART. After S. W. Reynolds, Jun. 

Born 1750, died 1840; general. Commander-in-chief in India, 1807-11; 
created a baronet in 1818. 

To the knees, standing, dir. slightly 1., looking f.; bareheaded, uniform with 
cording depending from r. shoulder, star on 1. breast, scarf round waist held 
by 1. hand; r. hand on hilt of sword; curtain in background, bay in distance 1. 



Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription, unfinished. C. 

II. In open, and title line in open thick and thin, lettering: "Painted by S. W. 
Reynolds, Jun r Engraved by S. W. Reynolds (Engraver to the King) & S. Cousins. 
Rt Hon ble Gen 1 Sir George Hewett, Bart. G.C.B." C. 

III. Further work added upon the plate. "& S. Cousins" erased. B.M.; C. 

83. HEYWOOD, JOHN PEMBERTON. After George Richmond. 

Born 1803, died 1877. 

Fully to waist, sitting, dir. f., facing and looking slightly 1. ; dark unbuttoned 

7 2 



THE PET RABBIT 
1835 

AFTER MISS FANNY CORBAUX 



CATALOGUE OF PORTRAITS 

coat over light waistcoat, both hands resting on end of walking-stick before 
him. 15! by i if. 

In fine italic lettering: "Painted by George Richmond Esq re R.A. D.C.L. 
Engraved by Samuel Cousins Esq re R.A. Private Plate." B.M. 

An impression was exhibited at the Royal Academy in 1870 (No. 863). 

84. HINDMARSH, ROBERT. After J. Allen. 
Born 1759, died 1835. Writer in defence of Swedenborg. 

W.L., sitting in a room, dir. and facing f. ; spectacles, white neckerchief, 
plain dress, black stockings; r. knee crossed over 1., 1. hand on r. knee, 
r. hand and arm on portable writing-desk 1.; window curtains 1., table with 
books r., mantelpiece, picture and shelves of books in background. 

1 8 by 1 2|. 

Engraved by S. Cousins and S. W. Reynolds. 

In fine, and title in open, lettering: "Painted by J. Allen. Engraved by S. W. 
Reynolds Engraver to the King, & S. Cousins, Bayswater. Robert Hindmarsh 
jEtatis 60. Born Nov r 8, 1759 at Alnwick Northumberland. Proof Pub d by 
Zanetti & Agnew 94 Market Street, Manchester April 20 1824. First Fifty." 
B.M. 

85. HODGSON, JOSEPH. After John Partridge. 

Born 1788, died 1869; surgeon. President of the Royal College of 
Surgeons, 1864. 

Nearly w.l., sitting, dir. towards f., looking very slightly r. ; dark necker- 
chief, plain dark dress, overcoat; elbows on arms of chair, hands joined; 
1. knee crossed over r.; table to 1. with books and writing materials; fluted 
pillars in background. 17^ by 14. 

In open upright lettering: "Painted by John Partridge. Engraved by Samuel 
Cousins." In facsimile of autograph : "Joseph Hodgson, 1849." In fine italic 
lettering: " for Subscribers only." B.M. 

86. HOMFRAY, JULIANA. After S. Lane. 

To waist, dir. and facing towards f. ; curls, dark low-necked dress edged 
with lace, and with brooch at bosom ; curtain and pillar in background. 

9t by 71- 

In open upright lettering : "Samuel Lane Esq r pinxit Samuel Cousins Esq r Sculpsit." 
In script lettering: "Miss Juliana Homfray, died February 24 th 1832. Having 
the deceased in endeared remembrance, and from kindest regard for her surviving 
Sisters, this portrait was engraved by desire of Frederick Henry Turner Barnwell, 
1832." B.M. 

73 L 



SAMUEL COUSINS, R.A. 

87. HOPE, MASTER. After Sir T. Lawrence. 

Henry Thomas Hope; born 1808, died 1862. Of Deepdene, Surrey; and 
Trenant Park, Cornwall. Eldest son of Thomas Hope, the author of 
" Anastasius," who died in 1831. M.P. for the city of Gloucester. 

To waist, as a youthful Bacchus, in circular frame, dir. and facing f. ; band 
of ermine passing from r. shoulder to 1. side, leaving rest of body naked; 1. 
arm raised, hand holding bunch of grapes. J \ by 6f . 

I. In fine italic lettering: " Sir Tho s Lawrence. P.R.A Samuel Cousins, A.R.A. 
London Published Aprit (sic) i o 1 836, by Hodgson & Graves Printsellers to the King, 
6, Pall Mall." To L: "Proof" To r., in fine script lettering: "Master Hope" 
B.M.; Mr. J. Charrington; Mr. E. E. Leggatt; Mr. E. F. Sheppard; V. and A. 

II. The inscription erased. Instead, in fine upright, and title in open, lettering: 
" Sir Thomas Lawrence, P.R.A. Samuel Cousins, A.R.A. Master Hope, [the title 
in centre of inscription space] London, Published July 15, 1836, by Hodgson & 
Graves, Printsellers to the King, 6, Pall Mall." B.M. 

Mr. E. F. Sheppard records a state entitled " Boyhood," and with publica- 
tion: "London published June i 1836, by Hodgson & Graves." 

One of the plates to the volume of " Engravings from the Choicest Works 
of Sir Thomas Lawrence, P.R.A." 

88. HUNTER, JOHN, M.D. After Sir J. Reynolds. 

Born 1728, died 1793; surgeon. Surgeon to St. George's Hospital; surgeon 
extraordinary to George III. As a comparative anatomist won a world-wide 
reputation. Dr. Jenner was one of his pupils. His "Treatise on the Blood" 
was published in the year after his death. 

Nearly w.l., sitting, dir. towards r., facing f. ; coat fastened by two buttons, 
knee breeches; r. arm by his side, pen in hand, 1. elbow on table r., on which 
lie inkstand, paper, medical books and large specimen glass, 1. hand to chin; 
lower part of skeleton on wall r. 

The head of Master Lambton (No. 98) can be seen through mezzotint 
ground above open book on table. 14^ by I if. 

Only impression known. Mr. E. E. Leggatt. 

On the impression Cousins has written in pencil : " This Mezzotinto ground 
was not found suited to the Master Lampton (sic.) subject and was set aside 
for that, but used afterwards for the John Hunter. Sam 1 Cousins." 

This portrait was engraved in line by William Sharp in 1788 (i6| by 



89. HUTH, FREDERICK. After Sir W. Boxall. 

John Frederick Andrew Huth, born in Hanover 1777, died in London 1 864. 
Founder, in 1 809, of the firm of F. Huth and Co. which still exists. 

To knees, sitting, dir. and facing almost in profile to 1. ; plain dark dress, 
hands clasped before him. i6 by 12^. 

74 



CATALOGUE OF PORTRAITS 

In fine italic lettering: " Painted by William Boxall, A.R.A. Engraved by Samuel 
Cousins, R.A." In upright open capitals: " Frederick Huth Esq re ." In fine upright 
capitals: " London, 4 th April 1860, Published by David Thomas White, 45, Maddox 
Street, Bond Street." E.M. 

The original steel plate was presented to the British Museum, in 1 904, by 
Mr. Louis Huth. 

An impression was exhibited at the Royal Academy in 1860 (No. 937). 

90. IMPETT, CAPTAIN THOMAS. After S. Cousins. 

The plate (a small one) was engraved in stipple in 1828, and is No. 112 
in Mr. Algernon Graves' list. An impression was shown by Messrs. Vicars 
Brothers at their Exhibition of the Works of Samuel Cousins, January, 1904 
(No. 84). 

The portrait represents the Captain in uniform, dir. to r., showing one 
epaulette. 

A drawing (or miniature) was exhibited at the Royal Academy in 1854: 

" 1000. Capt. Thomas Impett, late of the 72 nd Regiment of Foot. S. Cousins 
A.E." 

This is one of only three drawings (or miniatures) ever shown by Samuel 
Cousins at the Royal Academy. They were all exhibited in 1854. See also 
THOMAS SELBY (No. 142) and MRS. COLEMAN (No. 39). 

91. JEFFREY, FRANCIS [LORD JEFFREY]. After Cohin Smith. 

Born 1773, died 1850; Scotch judge; writer. Edited the " Edinburgh Re- 
view " from 1803 to 1829. Dean of Faculty of Advocates, 1829. Judge 
of the Court of Session from i 834 till his death. Friend of Macaulay and 
of Dickens. 

To waist, dir. very slightly r., facing f. ; white neckerchief, plain black coat; 
arms folded. n? by 9!. 

In upright fine lettering: "Excudit May 1830 by W m Walker 22 London Street 
Edinburgh." In open upright lettering: "Francis Jeffrey Esq re " In fine script 
lettering: " Dean of Faculty of Advocates and Formerly Editor of the Edinburgh 
Review &c." In small italic lettering: " Engraved by S. Cousins from a Painting 
by Colvin Smith." To r.: " Proof." B.M. 

92. JERSEY, GEORGE CHILD- VILLIERS, 5 EARL OF. 

After Thos. Phillips. 

Born 1773, died 1859. Married, in 1804, Sarah Sophia, heiress of Robert 
Child the banker, of Osterley Park, Middlesex, and, in 1819, assumed Child 
as an additional name. Succeeded as 5th Earl of Jersey on the death of his 
father, in 1 805. He was twice Lord Chamberlain to William IV., and twice 
Master of the Horse to Queen Victoria. 

75 



SAMUEL COUSINS, R.A. 

To waist, dir. f., facing towards 1.; white neckerchief, cloak thrown loosely 
around shoulders and held in f. by 1. hand. n-f by 9^. 

I. In open upright lettering: "Painted by Thomas Phillips Esq re R.A. Engraved 
by Samuel Cousins." B.M. 

II. The lettering strengthened, and with additional inscription in engraved script and 
italic lettering: "The R* Hon ble George Villiers Earl of Jersey. &c. &c. London, 
Published March 30, 1836, by F. Graves & Co. late Colnaghi & Co. 23, Cockspur 
S fc Charing Cross." B.M. 

JERSEY, JULIA, COUNTESS OF. See PEEL, MISS JULIA. 

93. JONES, JOHN COLLIER. After <Thos. Phillips. 
Redor of Exeter College, Oxford. Died 1838. 

To knees, standing, dir. towards r., facing towards f.; bands, robe; holding 
college cap in 1. hand, roll with seal depending in r. ; curtain in background. 

15 by i if. 

I. Before any inscription. B.M. 

II. In three styles of light lettering: " Painted by Tho s Phillips, Esq r R.A. En- 
graved by Samuel Cousins. The Rev d John Collier Jones, D.D. Reftor of Exeter 
College. From a Piclure in the possession of that Society to whom this Print is 
with permission humbly dedicated by their obedient and faithful Servant, James 
Ryman. Published by J. Ryman, Printseller, &c. High Street, Oxford, Nov r I st 
1834." B.M.; C. 

94. KEAN, EDMUND. After S. Cousins. 

Born 1 787, died 1833; the celebrated tragedian. Taken ill atCovent Garden, 
March, 1833, while acting Othello, and died two months later. 

This is the earliest attempt at engraving by Samuel Cousins, and the circum- 
stances of its production are related on pp. 8 and 9. The portrait represents 
the aftor, seen head and shoulders, facing and looking 1.; the face is lightly 
stippled, and the rest is in light etched outline. Size of the plate 4^ by 2^. 

At the foot of impression has been written in ink: "Drawn & Engraved 
by S Cousins." This impression is the only one known, and is in the pos- 
session of Mr. E. E. Leggatt. 

The plate was engraved in 1815; and in a letter to the " Whitehall Re- 
view" of September 18, 1884, Samuel Cousins wrote: " Some twenty years 
afterwards, 1835, the plate was given by [S. W.J Reynolds, to a Mr. 
Theodore Norton, who had written some lines in praise of Kean, and the 
' poem,' with my plate as a frontispiece, was published by W. Kenneth, at 
his Dramatic Repository, corner of Bow-Street, Covent Garden. A copy 
was given me by Mr. Norton, but I cannot learn where any more are to be 
found." 

There is a modern rendering of the portrait, printed in colours. 

76 



THE SUNSHINE OF LOVE 
1836 

AFTER JEAN RAOUX 




. 



CATALOGUE OF PORTRAITS 

95. KEBLE, JOHN. After George Richmond. 

Born, 1792, died 1866. Divine and poet. His chief work, "The Christian 
Year," was first published anonymously, in 1827, and was at once successful. 

To knees, standing, dir. slightly r., facing f. ; plain dark dress (swallow-tail 
coat) ; hands on open book on table r. where lie another book and an ink- 
stand; low wall behind him over which a distant landscape is seen. 

1 %\ by \i\. 

I. In open upright lettering: " Painted by George Richmond. Engraved by Sam 1 
Cousins, A.R.A." B.M. 

II. Title added in large open upright capitals: "John Keble, M.A." Beneath, in 
fine italics, "Published for George Richmond Esq re Sept r i 1845." Messrs. Graves 
and Co. 

96. KNIGHT, THOMAS ANDREW. After Solomon Cole. 

Born 1759, died 1838; vegetable physiologist. President of the Horticul- 
tural Society from 1811 to 1838; F.R.S., 1805. Brother of Richard Payne 
Knight, the collector of coins, prints, drawings, etc. 

To waist, sitting, dir. and facing f.; bald head, white neckerchief, plain dark 
dress, r. hand closed and placed on table before him to 1. ; pillar and curtain 
in background. io- by 9. 

I. In fine upright capitals: "Painted by Solomon Cole. Engraved by Samuel 
Cousins, A.R.A." In upright open capitals : " Thomas Andrew Knight, Esq re F.R.S. 
L.S. &c." In fine script lettering: "and President of the London Horticultural 
Society." In fine upright capitals: " Published May i, 1836, by S. Cole, Worcester." 
To r., in italics: "Proof." B.M. 

II. Some of the lettering slightly strengthened. A line added along the centre of 
each letter in the line of title. 7. and A. 

97. KNIGHTON, SIR WILLIAM, BART. After Sir f. Lawrence. 

Born 1776, died 1 836. Physician and private secretary to George IV., whom 
he attended during his last illness. 

To waist, dir. very slightly r., looking f. ; rough hair, black neckerchief, 
plain dark buttoned coat; curtain in background. 7^ by 6| . 

I. In fine upright lettering: "Engraved by Sam 1 Cousins, A.R.A. from a picture 
by the late Sir Tho 8 Lawrence, P.R.A." 

II. With title added in light open upright lettering: " Sir William Knighton, Bar 1 
G.C.H." In fine italics to 1.: "Proof." B.M.; Mr. J. Charrington. 

98. LAMBTON, MASTER. After Sir T. Lawrence. 

Charles William Lambton, born 1 8 1 8, died 1 83 1. Eldest son of John George, 
1st Earl of Durham (created 1833), by his second wife, Lady Louisa Grey, 
daughter of 2nd Earl Grey. The painting was exhibited at the Royal Academy 

77 



SAMUEL COUSINS, R.A. 

in 1 825 (No. 288), as " Portrait of the Son of J. G. Lambton Esq r ." J. H. 
Anderdon notes : " Mr. Lambton was out of humour that the boy's picture 
was not in the great room, fumed about it, and determined never to give 
another commission to any of the Academicians." 

W.L., a boy, sitting on a high rock overlooking a river far down to 1., dir. 
f., facing slightly upwards towards 1.; dark dress, throat exposed, light 
stockings; 1. elbow and r. hand on rock, 1. hand raised to head. 15^ by 1 1^. 

I. Before any inscription. Mr. J. Charrington; Mr. E. E. Leggatt (Cousins' 's own 
impression'). 

II. As published. In fine italic lettering: "Painted by Sir Tho 8 Lawrence P. R.A. 
Principal Painter in Ordinary to his Majesty. Engraved by S. Cousins. Published 
for the Proprietor, Sir T. Lawrence P.R.A. Jan* 1827." B.M. 

III. Under line of publication, in very light lettering: "& sold by Colnaghi & C" 
Sale at Christie's, May 31, 1904. 

IV. The inscription erased; instead, in small open upright lettering: "Painted by 
Sir Tho 8 Lawrence P.R.A. Principal Painter in Ordinary to His Majesty Engraved 
by Samuel Cousins 1827 Pall Mall East London Published by Colnaghi Son &Co. 
Printsellers to His Majesty March 26 th 1827" In fine italic lettering to r.: 
" Printed by W. Chatfield & C " B.M. 

V. Title added in fine script lettering: "Master Lambton." E.M.; Mr. E.F.Sheppard. 

VI. With additional inscription in script lettering: " The Son of J. G. Lambton 
Esq re M.P." Sale at ChristHs, July 6, 1904. 

VII. With additional inscription below the line of publication, in open upright 
lettering: "and in Paris by Giraldon Bovinet Passage Vivienne N 26." Sale at 
Puttick and Simpson s July 7, 1904. 

VIII. The plate retouched. All inscription erased except the lines of painter's and 
engraver's names. Instead, in fine upright capitals immediately under centre of 
subject: " 14 Pall Mall East Sep 23 1837 " In open upright capitals: 

" To sit on rocks to muse o'er flood and fell 
To slowly trace the forests shady scene 
This is not solitude tis but to hold, 

Converse with natures laws, and view her stores unroll'd (Childe Harold) " [the 
last two words in italics]. 

In upright open capital and small lettering: " 14, Pall Mall East, Published by 
Mess 8 Colnaghi, Her Majesty's Printsellers by Appointment." In fine italic lettering 
to r.: " Printed by Lahee & C" B.M. 

IX. With the title: "Boyhood's Reverie." 

The order of the later states may not be quite correct, as it has not been 
possible to compare impressions side by side. 

Impressions printed in colours are known of states V/and IX. 

The original painting was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by the Earl of Durham. 

There is a similar plate, chiefly in aquatint, differing slightly in size as follows: 
Mezzotinted plate dimensions of plate, i8f by 14; dimensions of work, 

78 



CATALOGUE OF PORTRAITS 

15^ by i if. Aquatinted plate dimensions of plate, i8f by i3|; dimen- 
sions of work, 15^ by n^. 

Without any inscription. C. 

This plate has not hitherto been described; it is not likely to be the work of 
Samuel Cousins. 

See also portrait of John Hunter (No. 88). 

99. LANDSEER, SIR EDWIN. (" The Connoisseurs.") 

After Sir E. Landseer. 

Sir Edwin Henry Landseer, born 1802, died 1873. The famous animal 
painter. 

Fully to waist, dir. and facing f; plain dress, spotted neckerchief; holding 
a large sketching block on knees with 1. hand, a porte-crayon in r. ; a dog 
looking over each shoulder at the artist's work. 1 6|- by 1 2^ . 

I. The lowest spot on the neckerchief, over the shirt front, left light. In fine 
italic lettering above subject: "London; Published Dec r io th 1867, by Henry 
Graves & C the Proprietors, Publishers to H.M. the Queen, and T.R.H. the Prince 
& Princess of Wales 6 Pall Mall. Copyright Registered." 

II. The light spot on the neckerchief worked over, so as to appear as the others. 
B.M.; Mr. E. O. Schneider; Mr. J. Cbarrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 4, 1867: 100 Remarque proofs with the lowest spot 
on the neckerchief, over the shirt front, left light; 25 Presentation proofs; 
300 Artists' proofs; 100 India proofs before letters; 100 India lettered proofs. 

The original picture is in the possession of H.M. the King. It was a gift 
from the painter. 

100. LAWRENCE, SIR THOMAS. After Sir T. Lawrence. 

Born 1769, died 1830; painter. President of the Royal Academy from 
1820. Knighted in 1815. Samuel Cousins engraved many of his pictures. 

To waist, facing and looking f. ; top of head bald, white neckerchief. 

i2f by 9 f. 

I. Before any inscription, and before the border lines round subject. Mr. J. Char- 
rington. 

II. In upright open lettering: " Sir Thomas Lawrence, P.R.A. Painted by Himself 
Engraved by Samuel Cousins London Published April 22 D 1830, by Walter B. 
Tiffin, N 3, Haymarket opposite the Opera House" B.M.; C; Mr. J. Char- 
rington. 

III. "P.R.A. Painted by Himself " erased. The following inscriptions added. In 
fine script lettering: " Sir Thomas Lawrence P R A This Plate is by Most Gracious, 
Permission, Inscribed to the King. By His Majesty's Obliged and Grateful Servant 
John Meredith Brother in Law to the late Sir Thomas Lawrence." In upright 
open lettering beneath line of publication: " and at Paris by Rittner & C ie Boulevard 

79 



SAMUEL COUSINS, R.A. 

Montmartre." In fine letters to 1.: "Depos<." Tor.: "Proof." B.M.; C. ; V. 
and A. 

IV. The lettering throughout slightly strengthened. For the P R A of State II. 
read "P.R.A." B.M. (and an impression printed in colours); C. 

The original painting was shown at the Old Masters' Exhibition, Burlington 
House, January, 1904, by the Royal Academy. 

101. LEDSAM, JOSEPH FREDERICK. After E. U. Eddis. 

Born 1791, died 1862. For sometime chairman of the London and North 
Western Railway Company. 

W.L., sitting in large armchair, dir. 1., facing towards f.i; black neckerchief, 
plain dark dress; r. knee crossed over ]., r. hand holding paper on knee, 1. 
arm on arm of chair; papers, books and inkstand on table 1., organ behind 
table. 23 by i6f. 

In fine upright capitals : " Painted by E. U. Eddis. Engraved by Sam 1 Cousins, 
A.R.A." In facsimile of autograph: "Joseph Frederick Ledsam 1853" ^ n nne 
italics to 1., " Proof." Tor.: " Private Plate." B.M. 

LEWIS, LADY MARIA THERESA. See LISTER, MRS. 

102. LISTER, MRS. After G. S. Newton. 

Maria Theresa Villiers, born 1803, died 1865; sister of George, 4th Earl of 
Clarendon. She married (i), in 1830, Thomas Henry Lister, novelist and 
dramatist; and (2), in 1844, Sir George Cornewall Lewis, Bart., statesman 
and author. In 1852 she published "The Lives of the Friends and Con- 
temporaries of Lord Chancellor Clarendon," 3 volumes. 

Fully to waist, leaning with both arms on sill in front of her, dir. and 
facing f. ; high headdress trimmed with lace, short curls, earrings, ribbon 
round neck with cross depending, light dress with low neck and short sleeves, 
shawl passing over 1. arm, armlets. io| by 8^. 

I. Before any inscription. Mr. E. E. Leggatt (Cousins's own impression). 

II. As published. In upright open lettering : " Painted by G. S. Newton, R.A. 
Engraved by Samuel Cousins. London Published I st Oto r 1834 by Colnaghi Son 
& Co. Printsellers to the Royal Family, 14, Pall Mall East. 

III. A second line of publication added, in upright fine lettering: "and by F C 
Moon Threadneedle Street." Lord Westbury; Mr. J. Charrington. 

IV. With additional inscription. In upright open capitals: " M r8 Lister." In fine 
script lettering: "Dedicated by Permission to the Right Hon ble The Countess of 
Morley, by her Ladyships most Obedient & Obliged Servants, Colnaghi Son and Co." 
To 1., in fine upright letters: " Proof." B.M.; V. and A. 

V. A line added in each of the letters of the words M r * Lister, which are slightly 
strengthened} the word Proof removed. B.M. 

80 



BOLTON ABBEY IN THE OLDEN TIME 
1837 

AFTER SIR E. LANDSEER, R.A. 



CATALOGUE OF PORTRAITS 

VI. At foot of plate, in fine upright lettering: "London, Republished Feb^ 15. 
1853, ty Thomas Boys (of the late Firm of Moon, Boys & Graves,) Printseller to 
the Royal Family, 467, Oxford Street. Paris E. Gambart & C 15, Rue Chariot. 
Depose. Originally Published Od r i. 1834." Messrs. Graves and Co. 

103. LUPTON, REV. THOMAS. After J. Allen. 

To waist, seated at a table, both hands holding open book in front of him; 
crucifix in background to 1. 

Engraved by S. Cousins and S. W. Reynolds. 

In italic lettering: " Painted by J. Allen. Engraved by S. W. Reynolds Engraver 
to the King, & S. Cousins." In open lettering: "Rev. Thomas Lupton." In italic 
lettering: "Published by Zanetti & Agnew 64 Margaret S fc Manchester Oc~r. r 28. 
1823. Proof" 

At the exhibition of the Works of Samuel Cousins held by Messrs. Vicars 
Brothers in January, 1904, an impression was shown which was described in 
the catalogue as: " Rev. Thomas Lupton, Provost of Eton." There was no 
Provost or Headmaster of Eton of this name, except Roger Lupton (1503- 
1536), who was Provost. 

104. LYNDHURST, SARAH GARAY, LADY. 

After Sir T. Lawrence. 

Daughter of General Charles Brunsden. Married (i) Lieut.-Col. Charles 
Thomas of the Coldstream Guards, who lost his life at Waterloo; and (2), 
in 1819, John Singleton Copley, Lord Lyndhurst, the Lord Chancellor. She 
is described as a beautiful and brilliant woman. Died in 1834, after a short 
illness. 

To knees, sitting, dir. and facing f. ; short curls, dark low-necked dress with 
jewel at bosom, scarf across knees and 1. arm, 1. elbow resting on table r., 
hands clasped; curtain in background. 81 by 6.^. 

I. Before any inscription; finished. Mr. E. E. Leggatt (a brilliant impression}. 

II. As published. In fine italic, and title in fine script, lettering: " Sir Tho 3 Lawrence 
P.R.A Samuel Cousins, A R.A. Lady Lyndhurst. London, Published April 2, 1836, 
by Hodgson & Graves, Printsellers to the King 6, Pall Mall " To L: " Proof." B.M. 

III. The date altered to "July 15, 1836." Mr. J. Charrington ; Mr. E. F. Shep- 
pard; V. and A. 

IV. The inscription erased. Instead, in upright fine, and title in script, lettering: 
"Sir Thomas Lawrence, P.R.A. Samuel Cousins,A.R.A. Lady Lyndhurst. London, 
Published July 15, 1836, by Hodgson & Graves, Printsellers to the King, 6, Pall 
Mall." 

V. The title erased and repeated in open upright lettering. B.M. 

One of the plates to the volume of " Engravings from The Choicest Works 
of Sir Thomas Lawrence, P.R.A." 

8l M 



SAMUEL COUSINS, R.A. 

105. MACDONALD, MISS JULIA. After Sir T. Lawrence. 

Daughter of Sir John Macdonald, G.C.B., adjutant-general. She married 
Rowland Errington (afterwards Sir R. Errington, Bart.) and died in 1859. 

Nearly to knees, sitting, dir. very slightly r., facing f.; short curls, dark 
dress with low neck and short sleeves; r. hand on 1. arm which leans on 
cloak to r., 1. hand raised to neck ; pillar and curtain in background. 

9* b 7 7i- 

I. Before any inscription. B.M.; Mr. J. Ckarrington; Mr. E. E. Leggatt. 

II. In scratched italic lettering under centre of subject: " Engraved by S. Cousins." 
B.M.; Mr. E. F. Sheppard (a very brilliant impression'). 

III. As published. The inscription erased. In small open upright lettering immedi- 
ately under centre of subject: "Engraved by Samuel Cousins from a piclure by the 
late Sir Thomas Lawrence, President of the Royal Academy &c. &c." At foot in 
fine script lettering: "London March I st 1831 Published by M. Colnaghi 23 Cock- 
spur Street Charing Cross." Mr. F. Falkner. 

IV. The inscription erased. Instead, in small upright open lettering: "London 
March I st 1831. Published by M. Colnaghi, Printseller in Ordinary to the King & 
to Her Royal Highness the Duchess of Kent, N 23, Cockspur Street." In fine script 
lettering: "Miss Macdonald Engraved by Samuel Cousins from the Original Pi&ure 
by the late Sir Thomas Lawrence P R A in the Possession of Major General Mac- 
donald." B.M. 

106. MACLEAN, DONALD. After John Bridges. 

Born 1800, died 1874. Member of Parliament for Oxford from 1835 to 
1847. 

To knees, standing, dir. f, facing towards r. ; dark neckerchief, dark dress, 
long watch chain, reading-glass suspended by ribbon round neck; 1. arm by 
his side, r. forefinger on papers on table to 1. ; fluted pillar in background r. 

1 61 by i2f. 

I. In upright open lettering: " Painted by John Bridges. Engraved by Sam 1 Cousins, 
A.R.A. Oxford, Published April 20, 1837, by Mess rs Wyatt & Son." B.M. 

II. With additional inscription. In open upright capitals, with a line along the 
centre of each letter: "Donald Maclean Esq re M.P." In open Gothic lettering: 
" For the City of Oxford." Sale at Puttick and Simpson's, July 7, 1904. 

107. MALCOLM, MAJOR-GENERAL SIR JOHN. 

After Sir F. Chantrey. 

Born 1769, died 1833; Indian administrator. Governor of Bombay from 
1826 to 1830. His "Administration of India " was published in 1833. 

W.L., a statue, standing, dir. f., facing r. ; uniform, cloak, sash, orders, scarf 
round waist; r. hand to hip, 1. hand on hilt of sword; two books at his feet. 

Plate size 2i by 13^. 
82 



CATALOGUE OF PORTRAITS 

In fine and open upright capitals : " Drawn by Henry Corbould. Engraved by Sam 1 
Cousins. From the Marble Statues of Major General Sir John Malcolm, G.C.B. 
K.L.S. &c. &c." In fine script lettering: "Executed by Sir Francis Chantrey, one 
of which has been erected at Bombay, and the other in Westminster Abbey." B.M.; 
C.; V.andA. 

108. MARKER, REV. R. J. After J. P. Knight. 
Fully to waist, sitting, dir. and facing f. ; white neckerchief, black double- 
breasted coat fastened by one button, seals hanging from fob ; arms on arms 
of chair, 1. hand in lap. I2f by 9|. 

I. In fine script lettering: "Painted by J. P. Knight, R.A. Engraved by Sam 1 
Cousins, A.R.A." B.M. 

II. Facsimile of autograph added: " Yours faithfully R. J. Marker." Messrs. Graves 
and Co. 

The plate was engraved in 1848. 

109. METTERNICH-WINNEBURG, CLEMENT WENCESLAUS 
LOTHAR, PRINCE OF. After Sir t. Lawrence. 

Born 1773, died 1859; Austrian statesman. Born at Coblentz; negotiated 
the marriage between Napoleon I. and Marie Louise. 

Nearly w.l., sitting, dir. slightly r., facing towards 1.; embroidered coat, 
light breeches and stockings, sash, stars, orders; r. knee crossed over 1., 1. 
hand holding letter on knee, r. arm on arm of chair. 15^ by 12. 

I. In open upright lettering: " Painted by Sir Tho s Lawrence, P. R.A. Principal 
Painter in Ordinary to His Majesty &c. &c. Engraved by Samuel Cousins " In fine 
upright lettering at foot: " London Published for the Proprietor Sir Tho 8 Lawrence 
August 1829." B.M.; Lord Westbury, Mr. Harvey. 

II. From Principal to &c. ?V., and line of publication, erased. With additional 
inscription in several styles of light lettering: "His Serene Highness, Clement 
Wenceslaus Lothar Prince of Metternich-Winneburg, Chancellor of the Court 
and State of His Majesty The Emperor of Austria, &c. &c. Published Sep fc i, 1830, 
by Colnaghi, Son & C Pall Mall East, & Moon, Boys & Graves, 6, Pall Mall, 
London." B.M. 

The original picture was painted by order of the Prince Regent, for Windsor 
Castle. 

no. MILFORD, JOHN. After William Owen. 

To waist, dir. 1., looking f. ; bushy hair, spectacles, light neckerchief, frill, 
plain dark buttoned coat; curtain in background. io|- by 9. 

In open upright thick and thin lettering: " Engraved by Samuel Cousins from a 
Painting by the late William Owen Esq r R.A." In open thick and thin capitals: 
"John Milford Esq r " In fine upright lettering to r.: "Private Plate." B.M.; 
Mr. J. Charrington. 

The plate was engraved in 1835. 

83 



SAMUEL COUSINS, R.A. 

in. MITCHELL, JOHN, D.D. After John Graham. 

Nearly w.l., sitting, dir. slightly r., looking f. ; black hair, frill, white necker- 
chief, breeches, black stockings; r. knee crossed over 1., r. hand on arm of 
chair, 1. elbow on book on cloth-covered table r. on which lies a large open 
book, 1. hand to head. 17^ by 13^. 

Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription, and before plate was cleaned; unfinished. C. 

II. Proof with inscription space masked out; a pattern added to table cloth. E.M. 

III. In fine and open thick and thin lettering: " Painted by John Graham. Engraved 
by S. W. Reynolds, (Engraver to the King) and S. Cousins. Reverend John Mitchell, 
D.D. Anderston. Published by Mr. John Graham, North Montrose Street, Glasgow, 
July 1825." Towards 1., in etched letters: "Proof." B.M. 

112. MONCREIFF, SIR JAMES WELLWOOD [LORD MON- 
CREIFF]. After J. W. Gordon. 

Born 1776, died 1851; Scotch Lord of Session. Dean of the Faculty of 
Advocates, 1826. Favoured Catholic emancipation. 

To waist, dir. slightly r., facing towards f. ; frill, plain black coat fastened 
by one button, badge suspended by ribbon from neck. i if by <j|-. 

I. In fine upright lettering: "Private Plate, excudit I st May 1829 by W m Walker 
22 London Street Edinburgh." Mr. J. Charrington. 

II. With additional inscription in open upright, fine script, and fine italic lettering: 
" Sir James W. Moncreiff Bar* L.L.B. Dean of Faculty Engraved by S. Cousins, 
from a Painting by John Watson Gordon." To r.: " Proof." B.M.; 7. and A. 

III. The lettering strengthened; the line of title shaded by a line down each letter; 
the word Proof erased. E.M. 

113. MONTAGU, LADY CAROLINE (as " Winter "). 

After Sir J. Reynolds. 

Lady Caroline Montagu-Scott, daughter of Henry Scott, jrd Duke of Buc- 
cleuch. Born 1774, died 1854. Married, in 1803, Sir Charles Douglas, 
who became 5th Marquess of Queensberry, in 1810. 

W.L., a young girl, standing in a wintry landscape, dir. and facing f.; wear- 
ing dark hat, dark cloak over light frock, shoes; hands in muff; dog look- 
ing up at her in foreground 1., robin r. 18 by 14. 

In small italic lettering above subjeft: "London; Published, I st November 1875, 
by P. & D. Colnaghi & C 13, & "14, Pall Mall East & T. M c Lean, 7, Haymarket 
and Manchester by Tho 8 Agnew & Sons 14, Exchange Street." E.M.; Mr. J. 
Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 30, 1874: 275 Artist's proofs; 25 Presentation 
proofs; 100 Proofs before letters; 200 Lettered proofs. 

84 



SIR JOHN TAYLOR COLERIDGE 
1838 

AFTER MRS. MARGARET CARPENTER 



CATALOGUE OF PORTRAITS 

This portrait was engraved in mezzotint by John Raphael Smith, in 1777 
(i8|- by 14). The original picture is in the possession of the Duke of 
Buccleuch. 

114. MUNRO, SIR THOMAS, BART. After Sir M. A. Shee. 

Born 1761, died 1827. Worked and fought in India. Nominated Governor 
of Madras, 1819. Friend of the Duke of Wellington. Died of cholera in 
India. 

W.L., standing, dir. f., facing towards 1.; black neckerchief, uniform, scarf 
round waist, high boots, star, medal, cross; r. hand holding sheathed sword, 
1. hand on map of India which, with book, pocket-book and plumed hat, 
lies on table r., despatch box on floor 1. ; pillar and curtain in background, 
landscape seen through archway to r. 29 by 19-^-. 

Separate inscription plate i\ in. high. 

I. Before any inscription; with separate plate. 

II. In open upright lettering under subjedl: "Painted by Sir Martin Archer Shee, 
P.R.A. &c. &c. Engraved by Samuel Cousins " On separate plate in engraved open 
and script thick and thin lettering: " Major General Sir Thomas Munro, Bar fc K.C.B. 
Late Governor of Madras " B.M.; V. and A.; Mr. Harvey; Mr. J. Charrington. 

The plate was engraved in 1830. 

115. NAPOLEON I. After Mansion (or R. Lefevre). 
Born 1769, died 1821. 

Nearly to waist, in an oval, dir. f., facing r. ; hat, uniform, sash, orders. 

io by 9-1-. 

I. Before any inscription. B.M. 

II. In fine upright capitals under oval: "Engraved by S. Cousins, A.R.A. from 
the Original Picture by R. Lefevre." Messrs. Graves and Co. 

The plate was engraved in 1 844. 

1 1 6. NAPOLEON III. After F. X. Winterhalter. 
Born 1808, died at Chislehurst, Kent, 1873. 

W.L., standing, dir. very slightly r., looking f. ; uniform, chains round neck, 
orders, sash, high boots, long ermine cloak, 1. hand touching sword by his 
side, r. hand grasping sceptre; crown and another sceptre on cushion on 
table 1.; chateau in distance r. id\ by 17. 

In fine italic lettering: "Grave par S. Cousins d'apres, F. Winterhalter." B.M. 

An impression was exhibited at the Royal Academy in 1857 (No. 972). 

85 



SAMUEL COUSINS, R.A. 

117. NAYLOR, MRS. After Sir F. Grant. 

Wife of John Naylor of Leighton Hall. 

W.L., standing in foreground of a landscape, dir. r., facing towards and 
looking f. ; dark hair dressed close, black velvet dress with lace cuffs, shawl 
over 1. shoulder passing behind her and held by 1. hand at waist; r. arm by 
her side, felt hat trimmed with feather in r. hand. Arms in centre of in- 
scription space, motto: " Hoc Age.' 5 25 by 15. 

I. Before any inscription, and before the arms. Messrs. Graves and Co. 

II. In fine script lettering: "Painted by Francis Grant, Esq r R.A. Engraved by 
Samuel Cousins Esq r R.A." E.M. 

The plate (a private one) was engraved in 1859. 

1 1 8. NEELD, JOSEPH. After Sir M. A. Shee. 

Born 1789, died 1856. Of Grittleton House, Wilts. Member of Parlia- 
ment. 

Fully to the knees, sitting, dir. f., facing slightly 1. ; plain dark dress, coat 
fastened by two buttons; arms on arms of chair, paper in 1. hand; books 
and papers on table r., curtain and pillar in background. 17^- by 



In open upright lettering: "Painted by Sir Martin Archer Shee, P.R.A. Engraved 
by Samuel Cousins, A.R.A." In facsimile of autograph: "Joseph Neeld." In fine 
italic capitals to 1.: "Proof." Tor.: " Private Plate." B.M.; Lord Westbury. 

The plate was engraved in 1838. 

119. NEWMAN, JOHN HENRY. After Jane, Lady Coleridge. 

Born 1 80 1, died 1890. With Dr. Pusey joined the "Oxford Movement"; 
entered the Roman Church, 1845; created cardinal, 1879. "Composed 
' Lead Kindly Light ' during his passage in an orange boat from Palermo 
to Marseilles, in 1833" (" Dicft. Nat. Biog."). 

Nearly to waist, dir. and facing f., looking slightly r. ; rough hair, plain 
linen collar, plain buttoned coat. 13^ by 



I. " Artists' proofs," i.e., before the artists' names were engraved upon the plate. 

II. In fine italic lettering: "Engraved by Sam 1 Cousins. R.A. from the Original 
Drawing by Jane Fortescue, Lady Coleridge. London Published 2 nd December 1880 
by P. & D. Colnaghi & C 13 & 14 Pall Mall East." E.M. 

III. With facsimile of autograph added: "lohn H Cardinal Newman" Mr. J. 
Charrington. 

The following impressions were declared at the Printsellers' Association, 
December 9, 1880: 100 Artists' proofs; 25 Presentation proofs; 50 Lettered 
proofs; and Prints. 

86 



CATALOGUE OF PORTRAITS 

120. NORTHUMBERLAND, ALGERNON, 4 TH DUKE OF. 

After Sir F. Grant. 

Born 1792, died 1865; naval officer and man of learning and science. 
Admiral; First Lord of the Admiralty, 1852; president of the Royal 
Institution, and of the National Life Boat Institution. 

W.L., sitting, dir. towards r., facing towards 1. ; peer's robe over naval 
uniform, sash, star; r. hand on knee, 1. hand and arm on paper on carved 
table to r.; pillars in background r., curtain 1. 25-! by iff. 

I. Before any inscription. B.M. 

II. In fine italic lettering: "Painted by Francis Grant Esq r R.A. Engraved by 
Samuel Cousins Esq r R.A." In facsimile of autograph: "Northumberland" Lord 
Westbury. 

The plate was engraved in 1860. 

121. NORTHUMBERLAND, ELEANOR, DUCHESS OF. 

After Henry Weigall. 

Born 1 820; eldest daughter of Richard, 2nd Marquess of Westminster, K.G. ; 
married, August, 1842, Algernon, 4th Duke of Northumberland. 

To knees, sitting, dir. and facing ].; hair dressed close, dark low-necked 
dress with wide skirt and trimmed with pearls, dark lace shawl; pearl ear- 
ring and necklace, bracelets, finger rings, r. hand in lap holding lace hand- 
kerchief, 1. elbow on arm of chair, fingers raised to chin. 14^ by n-^. 

In fine script lettering: "Painted by H. Weigall Esq re . Engraved by Sam 1 Cousins 
Esq re , R.A. Eleanor Duchess of Northumberland." To r. " Private Plate." B.M.; 
Mr. Harvey. 

An impression was exhibited at the Royal Academy in 1865 (No. 874). 

122. PALMERSTON, HENRY TEMPLE, 3RD VISCOUNT. 

After John Partridge. 

Born 1784, died 1865. Succeeded to the peerage 1802; elected M.P. for 
Newport, Isle of Wight, 1807; held several Government posts; became 
Prime Minister at the time of the Crimean War. He was chosen Lord 
Redtor of Glasgow University in 1863, and on his death was buried in 
Westminster Abbey. 

W.L., standing, dir. and facing f. ; plain dress, star, sash under coat, with 
badge attached; r. thumb within waistcoat, 1. hand on letter on ornamental 
table to r. on which lie despatch box, books, papers, writing materials and 
bell; papers and boxes beneath table, books on floor to 1., armchair behind 
him, bust of Canning in background to 1. 26^ by i6. 

I. In fine italic lettering in upper r. corner of plate: " London: Published Feb y 3 rd 
1852, by P. & D. Colnaghi & C 13 & 14, Pall Mall East." B.M.; Mr. Harvey. 

8? 



SAMUEL COUSINS, R.A. 

II. The inscription erased. In scratched italics below subject: " Painted by John 
Partridge. Engraved by Samuel Cousins A.R.A." Messrs. Graves and Co. 

III. The inscription erased; instead, beneath subject, in open upright, and one line 
in fine script, lettering: " Painted by John Partridge Esq re . Engraved by Samuel 
Cousins Esq re A.R.A. The R' Hon. Viscount Palmerston, G.C.B. M.P. &c. &c. 
&c. This Portrait is respectfully dedicated to the Committee, who presented to the 
Right Hon ble The Viscountess Palmerston, The Picture from which the plate was 
engraved. London: Published May I st 1852, by Paul & Dominic Colnaghi & C 
13 & 14, Pall Mall East Publishers to Her Majesty." To 1.: "Proof." B.M. 

IV. A line added along the inside of each of the letters of the title, The R f Han. 
discount Palmerston, G.C.B. M.P. &c. &c. &c. The word Proof erased. B.M.; 

V. and A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, July 30, 1850: 200 Artists' proofs; 25 Presentation proofs; 
200 Proofs before letters; 250 Lettered proofs; and Prints. 

PATTEN, JOHN WILSON. See WILSON-PATTEN. 

123. PATTESON, SIR JOHN. After Mrs. Margaret Carpenter. 

Born 1790, died 1861. Appointed judge in the Court of King's Bench, 
1830. 

Nearly w.l., sitting, dir. towards 1., looking f.; long wig, bands, judge's 
robes; 1. arm on arm of chair, r. arm on book lying on table 1. on which 
are several books; curtain in background 1. 17-^ by 



I. In light open upright lettering: "Painted by Margaret Carpenter. Engraved by 
Samuel Cousins, A.R.A." In fine italics to 1.: "Proof." B.M.; V.andA. 

II. With additional inscription in open upright, script, and fine upright lettering: 
"The Honorable Sir John Patteson, Kn fc . One of the Justices of Her Majesty's 
Court of Oueens Bench. London, Nov r 2O th 1837, Published for the Engraver, by 
F. G. Moon, Printseller to the Queen, 20 Threadneedle Street." V. and A. 

PEEL, MISS ELIZA. See BEAUTY'S BATH (Catalogue of Subjects, 
No. 198). 

124. PEEL, JULIA, LADY. After Sir T. Lawrence. 

Born at Trichinopoly, 1795. Daughter of General Sir John Floyd, Bart. 
In June, 1820, she married Sir Robert Peel, the celebrated statesman, and 
it is said of her that " though in her own phrase ' no politician,' she became 
in time the closest or the only companion of the statesman in his inmost 
thoughts." She died in October, 1859. 

Fully to waist, standing, dir. and facing f. ; large hat with long drooping 
feathers, short curls, fur cloak held at waist by 1. hand, bracelets, rings. 

i of by 81. 



THE RETURN FROM HAWKING 
1838 

AFTER SIR E. LANDSEER, R.A. 



CATALOGUE OF PORTRAITS 

I. Engraver's proof before any inscription, and before any bordering lines. Mr. J. 
Charrington. 

II. Before any inscription ; with three bordering lines. B.M. 

III. As published. In open and fine upright capitals: "Painted by Sir Thomas 
Lawrence, Late President of the Royal Academy. Engraved by Samuel Cousins, 
163, Albany St. Regent's Park." In fine upright lettering : " London,-Published July 
1 7, 1832, by Moon, Boys & Graves, Printsellers to the King, 6, Pall Mall." Mr. J. 
Charrington; Mr. E. E. Leggatt (Cousins's own impression); Mr. E. 0. Schneider. 

IV. The title: " Lady Peel " added in fine script lettering. B.M. 

V. The lettering of title slightly strengthened. B.M. 

125. PEEL, MISS JULIA. After Sir T. Lawrence. 

Eldest daughter of Sir Robert Peel, the Prime Minister. Married (i) July, 
1841, George, 6th Earl of Jersey, who died, October, 1859; and (2) 
September, 1865, Charles Brandling, of Middleton Hall, Yorkshire. She 
died 14 August, 1893. 

W.L., a young girl, sitting on the ground, facing f., nursing a dog; trees 
and river in background, castle in distance 1. 15 by n|. 

I. Before any inscription ; unfinished. B.M. 

II. As published. With fine upright capitals : " Painted by Sir Thomas Lawrence, 
Late President of the Royal Academy. Engraved by Samuel Cousins. London, 
Published Ofl: r i, 1833, by Moon, Boys & Graves, Printsellers to the King, 6, Pall 
Mall." B.M.; Mr. J. Charrington; Mr. E. E. Leggatt; Lord Westbury. 

III. Title added in fine script lettering: "Miss Peel." B.M. 

IV. The title erased. Instead, in fine script lettering: "Miss Peel. Daughter of 
The Right Hon ble Sir Robert Peel, Bart." Beneath line of publication, in fine italic 
lettering: "& Rittner & Goupel [sic] Paris, Depos6e." B.M. 

An impression from the plate as it now exists (May 30, 1904), has been 
seen by the writer. The plate is terribly worn, and has been retouched. 
All the inscription has been removed. 

126. PEEL, SIR ROBERT, BART. After Sir T. Lawrence. 

Born 1788, died 1850; second baronet. First elected M.P. in 1809; held 
several offices. Became Prime Minister, 1841, with "seven past or future 
Prime Ministers, and five viceroys of India, members of his party " (" Did:. 
Nat. Biog."). 

To knees, standing, dir. f., facing towards r.; high shirt collar, white necker- 
chief, plain dark dress, watch chain; 1. hand on hip, r. fingers on table 1. on 
which is a despatch box; curtain in background 1. 18^ by 14. 

Preliminary etching. B.M. 

I. The plate finished. Before any inscription. Mr. E. E. Leggatt (Cousins'; own im- 
pression). 

80 N 



SAMUEL COUSINS, R.A. 

II. As published. In fine small italic lettering in upper r. corner of plate : "London 
Published 25 th Nov r 1850, by Paul & Dominic Colnaghi & C 13 & 14, Pall Mall 
East." In fine script lettering below subject: "Samuel Cousins, A. R.A." B.M.; 
Lord Westbury; Mr. J. Charrington. 

III. The inscriptions erased. Instead, beneath subjedt, in fine upright lettering: " Sir 
Tho 9 Lawrence, P.R.A. Pinx*. London: Published Dec r i6 th 1850, by Paul & 
Dominic Colnaghi & Co. 13 & 14, Pall Mall East. Publishers to Her Majesty. 
Samuel Cousins, A.R.A. Sculp* 1850." B.M.; Mr. Harvey. 

IV. With additional inscription in open upright, and fine script, lettering: "The 
Right Honourable Sir Robert Peel, Bar 6 M.P. &c. &c. &c. To Julia Lady Peel, 
this plate is dedicated with respedt." To r. : " Proof." V. and A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, July 30, 1850: 200 Artist's proofs; 25 Presentation proofs; 
200 Proofs before letters; 250 Lettered proofs; and Prints. 



127. FINDER, JOHN HOTHERSALL. After Sir W. BoxalL 

Born April 27, 1794; died April 16, 1868. Caius College, Cambridge; 
Principal of Codrington College, Barbadoes; Precentor of Wells Cathedral, 
1840; Principal of Wells Theological College, 1840-1865; Canon- 
Residentiary of Wells, 1852. 

Nearly w.l., sitting, dir. and looking f. ; black gown tied with tapes over 
dark dress; 1. knee crossed over r., r. arm on arm of chair, spectacles in r. 
hand, 1. hand holding book on knee with fingers between leaves, shelves of 
books and curtain in background, part of building seen through opening 1. 

18 by 14. 

In fine script lettering: " Painted by William Boxall. Engraved by Samuel Cousins. 
Proof." B.M. 

The plate was engraved in 1850. 



128. PITT, WILLIAM. After Sir F. Chantrey. 

Born 1759, died 1806. Entered Parliament as member for Appleby, 1781, 
became Prime Minister, 1783, "the announcement being received with 
laughter in the House of Commons " (" Didt. Nat. Biog."). 

W.L., a statue, standing, loose robe around him and held by 1. hand; r. 
hand holding roll of paper against thigh. The statue and the slab on which 
it stands are engraved in mezzotint, the rest of the plate is left white. 

Plate size, 21% by 14. 

On base, in upright capitals: "F. Chantrey, Sculptor and Founder. 1833." Under, 
in fine upright lettering: "Drawn by H. Corbould. Engraved by S. Cousins." In 
open upright capitals: "William Pitt" In fine script lettering: "From a Statue 
in Bronze, Eredled in Edinburgh, by the Pitt Club of Scotland, Twenty three 

years after his Death." To 1. : " Members Copy." Tor.: "To " B.M.} C.; 

Mr. J. Charrington. 

9 



CATALOGUE OF PORTRAITS 

129. PIUS VII., POPE. After Sir T. Lawrence. 

Born 1742, died 1823; elected Pope in succession to Pius VI. in 1792. 
With the aid of Cardinal Consalvi arranged the Concordat with Napoleon, 
1 80 1 ; crowned Napoleon at Paris, 1 804. Was, for some time, kept prisoner 
at Fontainebleau in consequence of his disputes with Napoleon. 

W.L., sitting in papal chair, his 1. foot on a cushion, dir. towards f., facing 
slightly r. ; robes, arms resting on arms of chair, paper and handkerchief in 
1. hand; curtains above, inner room with sculpture of the Laocoon in back- 
ground 1. 27! by 



I. Before any inscription. F. and A. 

II. With scratched lettering: " S. Cousins Sculp'." B.M. (one of only two impressions}. 

III. The scratched lettering erased; instead, in fine italic lettering: "Painted by 
Sir Tho 8 Lawrence P.R. A. Principal Painter in Ordinary to his Majesty. Engraved 
on Steel by Samuel Cousins." B.M. ; V. and A. 

IV. As published. With additional lettering, at foot: " Published for the Proprietor 
Sir Tho s Lawrence Nov r 1828." B.M.; Lord Westbury; Mr. Harvey. 

V. The inscriptions all erased. Papal arms added in centre of inscription space. 
In fine italic lettering, rather smaller than in state IV.: "Painted by Sir Tho s 
Lawrence, P.R.A. Principal Painter in Ordinary to His Majesty. Engraved by Samuel 
Cousins." In large open upright lettering: "Pius VII. Pont. Max." In fine italic 
lettering: "London, Published March 1829, by Walter B. Tiffin, 3, Haymarket." 
Tol.: " Printed by Chatfield." Tor.: Proof." B.M. 

VI. The line of publication, the printer's name, and the word Proof erased. Instead, 
in fine upright lettering: "London: Published by W. Hayward, January I st 1842." 
To 1., in fine italics: "Printed by Brooker & Harrison" C. ; V. and A. 

The original picture was lent to the Old Masters' Exhibition, Burlington 
House, January, 1904, by H.M. King Edward VII. It was painted for the 
Waterloo Gallery, Windsor Castle. 

130. PRITCHARD, JOHN. After A. W. Devis. 

To waist, seated by an open window; white neckerchief, coat buttoned; 
holding " an act " in r. hand. 

With artists' names in open lettering, and with " Proof" and " Private Plate." 
The plate was engraved in 1835. 

131. RAFFLES, SIR THOMAS STAMFORD. After Sir F. Chantrey. 

Born 1781, died 1826; statesman and naturalist. Engaged in military and 
civil service under the East India Company. Knighted 1817. When re- 
turning to England, in 1824, he lost his zoological and botanical collections 
in a fire that broke out in the ship. 

91 



SAMUEL COUSINS, R.A. 

A sculptured bust, dir. f., facing towards r.; a robe thrown loosely around 
shoulders. The bust is engraved in mezzotint, the rest of the surface of 
the plate is left white. Plate size, 10 by 7. 

I. In fine upright lettering: "Bust by F. Chantrey R.A. H. Corbould delin. 
Engraved by S. Cousins." In open upright capitals: "Sir Tho 8 Stamford Raffles 
K nt ". In script lettering: "President of the Zoological Society." In italics: 
"L.L.D. F.R.S. S.A.L.S. &c." B.M. 

II. The word "Proof" to 1. B.M. 

132. RASHDALL, REV. JOHN, M.A. After James Leakey. 

Born December, 1809, died February, 1869. Incumbent of Bedford Chapel, 
Exeter, 1836-47; of Eaton Chapel, London, 1847-50 and 1856-64. Vicar 
of Great Malvern, 1850-56; vicar of Dawlish, 1864-69. 

To waist, dir. and facing slightly 1., looking f. ; bands, black gown. 

i of by 8f. 

I. In fine italic lettering: "Engraved by Sam 1 Cousins, A.R.A. from the original 
Picture by James Leakey Esq re Published by the Proprietor James Leakey, Exeter, 
October 2o th 1846." In centre of inscription space, in facsimile of autograph : " T. 
Rashdall." B.M. 

II. Facsimile of autograph erased. In large open upright capitals: "The Rev d 
John Rashdall, A.M." In script lettering: "To the Congregation of Bedford 
Chapel, Exeter. This Plate is respectfully dedicated by their obedient Servant, 
James Leakey." Messrs. Graves and Co. 

133. RAVENSWORTH, ISABELLA, LADY, AND DAUGHTER. 

After Mrs. Anne Mee. 

Isabella Horatia, eldest daughter of Lord George Seymour. In November, 
1820, she married Henry, 2nd Baron Ravensworth, who was advanced to 
the dignity of an earldom in 1874. She died August 5, 1856. 

Fully to knees, sitting, dir. r., facing towards f. ; short curls with lace cap 
over, dark dress with low neck and short sleeves, muslin sleeves reaching to 
wrists, pearl bracelet; r. hand holding 1. hand of her daughter, who stands 
at her knee looking towards r. ; pilasters behind, and in distance to r. are 
seen the colonnade and portico of a building. 7 by 5^. 

Before any inscription. Mr. E. E. Leggatt (Cousins*! own impression signed in pencil 
by the engraver: " Sam 1 Cousins," below which he has added: " Lady Ravensworth." 

This mezzotint is of the greatest rarity, and the writer has been informed 
that in the course of many years' experience only two other impressions have 
come into the market one of them being the copy included in the Blyth 
sale, March, 1901. To show the extreme scarceness of the mezzotint it may 
be mentioned that about ten years ago Mr. Ernest Leggatt wrote to the late 
Lord Ravensworth and suggested that as the print was so scarce, his Lordship 
might allow a few impressions to be printed from the plate (which Mr. 
Leggatt assumed to be in Lord Ravensworth's possession), and he offered to 

92 



THE MARQUESS OF STAFFORD AND THE 

LADY EVELYN GOWER 

1840 

AFTER SIR E. LANDSEER, R.A. 



CATALOGUE OF PORTRAITS 

sell them at something like twenty pounds apiece, and hand the proceeds to 
any charity Lord Ravensworth might name. Lord Ravensworth replied that 
he would be quite willing for this to be done, but said he knew nothing of 
the plate Samuel Cousins had engraved, nor did he know before the receipt of 
Mr. Leggatt's communication that any such engraving of the portrait of his 
grandmother, which was in his possession, had ever been made. 

134. RAWLINSON, SIR HENRY CRESWICKE. 

After H. W. Philips. 

Born 1 8 TO, died 1895; orientalist; major-general; Member of Parliament. 
Created a baronet, 1891. President of the Royal Asiatic Society and of the 
Royal Geographical Society. 

To waist, sitting on further side of a table, dir. very slightly 1., looking f. ; 
dark neckerchief, plain dark dress, leaning with arms on table on which lie 
a note-book, and papers inscribed with hieroglyphics. I5f by 12. 

I. In fine italic lettering: " Painted by Henry Wyndham Phillips Esq re Engraved 
by Samuel Cousins Esq re R.A." Mr. J. Charrington. 

II. After " Painted by Henry Wyndham Phillips Esq re " add " A.D. 1850." With 
additional inscription. In fine italic lettering: "London, 9 th May i860; Published 
by Mess rs Paul & Dominic Colnaghi & C 13 & 14 Pall Mall East." Facsimile of 
autograph: " H. Rawlinson." B.M.; Lord Westbury. 

135. READSHAW, CALEB. After Thomas Ellerby. 
Born 1764, died 1838. Vicar of Easby, and reftor of Corrington. 

To waist, sitting, dir. f., facing towards 1.; black gown over black buttoned 
coat; 1. hand seen at waist. roj by 9. 

In open upright lettering: " Painted by Tho s Ellerby. Engraved by Sam 1 Cousins, 
A. R.A." In open upright capitals: " Rev d C. Readshaw, A.M." In fine italic 
capitals to 1.: "Proof." Tor.: " Private Plate." B.M. 

136. RICH, MISS. After W. Hogarth. 
Daughter of John Rich the theatrical manager; afterwards Mrs. Horsley. 

To waist, a young girl, dir. slightly 1., facing slightly r. ; lace cap with dark 
ribbon, dark frock with low neck edged with lace, and with bows at bosom. 

I2|by 9 . 

With small italic lettering above subject: "London, Published I st November 1877, 
by P.& D. Colnaghi & C 13 & 14, Pall Mall East." B.M.; Mr. J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, July 18, 1877: 400 Artist's proofs; 25 Presentation proofs; 
100 Proofs before letters; India Prints; and Prints. 

93 



SAMUEL COUSINS, R.A. 

137. ROLLE, LOUISA, LADY. After Mrs. J. Robertson. 

Louisa Barbara Trefusis, born November, 1796; youngest daughter of 
Robert, Lord Clinton; second wife of John, Baron Rolle of Stevenstone, 
whom she married, September, 1822. 

W.L., dir. r., facing over r. shoulder towards and looking f.; attired in corona- 
tion robes, and about to enter Westminster Abbey, the interior of which, 
prepared for the coronation of William IV., is seen between columns r. 
Arms in centre of inscription space, motto: "Nee Rege Nee Populo Sed 
Utroque." 22^ by I4f. 

I. Before any inscription. Mr. E. E. Leggatt (Cousins's own signed impression). 

II. In fine upright lettering: "Painted by M rs J. Robertson. Engraved by Sam 1 
Cousins, A.R.A." In fine script lettering : "The Right Hon ble Lady Rolle." E.M.; 
Mr. J. Charrington ; Lord Westbury, 

The plate was engraved in 1836. 

138. RUTLAND, ELIZABETH, DUCHESS OF. After G. Sanders. 
Wife of John Henry, fth Duke of Rutland, K.G. 

W.L., standing, dir. and looking towards f.; short dark ringlets, white satin 
dress with low neck, cloak over 1. shoulder,!, foot advanced; 1. hand holding 
open book, r. arm by her side, r. hand holding porte-crayon; window to r., 
through which a part of Belvoir Castle is seen, with four figures on a balcony. 
Coronet on cushion above subject. 23 by 



I. In open upright lettering: " Painted by G. Sanders, Esq re Engraved by S. 
Cousins, A.R.A." In fine script lettering: "Elizabeth, Duchess of Rutland. Second 
Daughter of Erederick Earl of Carlisle, K.G. Born 13 th November 1780. Died 
29 th November 1825." In facsimile of autograph: "E Rutland." To r. in italics: 
"Private Plate." To 1. : "Proof" Mr. J. Charrington; Lord Westbury; Mr. E. 
E. Leggatt. 

II. The script lettering strengthened, the word Proof erased. B.M. 

139. RUTLAND, MARY ISABELLA (SOMERSET), DUCHESS 
OF. After Sir J. Reynolds. 

Born 1756, died 1831. Youngest daughter of Charles, 4th Duke of Beau- 
fort; wife of Charles Manners, 4th Duke of Rutland. 

W.L., standing in wooded landscape, dir. f., facing towards r., hair dressed 
high with turban and feathers, light scarf tied across bosom, light dress, 
cloak across 1. shoulder, 1. foot crossed over r., 1. arm on pedestal r. 

23! by 15. 

In small italic lettering above subject: "London, Published I st May 1878, by P & 
D. Colnaghi & C 13 & 14, Pall Mall East & Thomas M c Lean, 7, Haymarket 
Manchester by Thomas Agnew & Sons, Exchange Street." B.M.; Mr. J. Char- 
rington. 

94 



CATALOGUE OF PORTRAITS 

Of this plate the following impressions were declared at the Printsellers' 
Association, June 17, 1877: 325 Artist's proofs; 25 Presentation proofs; 
TOO Proofs before letters; and India prints. 

This portrait was engraved in mezzotint by Valentine Green, in 1780 (2jf 

by i5i)- 

140. SANDFORD, DANIEL, D.D. After J. Watson Gordon. 

Born 1766, died 1830. Bishop of Edinburgh from 1806. Writer on re- 
ligious subjects. 

To knees, sitting, dir. facing and looking r.; wearing the daily costume of 
a bishop; elbows on arms of chair, hands in lap, r. hand holding spectacles; 
panelled wall in background. lof by 8^. 

Mezzotinted by Samuel Cousins; etched by W. Walker. 

I. Before any inscription. Mr. J. Charrington (with Cousins' s autograph in pencil). 

II. In upright fine lettering: "Private Plate, excudit I st March, 1829, by W m 
Walker, N 22, London S fc Edinburgh." In upright open capitals: "The Right 
Rev d Daniel Sandford, D.D. Oxford," In fine script lettering: " Bishop of Edin- 
burgh in the Episcopal Church of Scotland" In fine italics: "Etched by W m 
Walker and Mezzotinted by S. Cousins from a Painting by John Watson Gordon." 
V. and A.; Mr. W. Walker. 

141. SEDGW1CK, ADAM. After ?hos. Phillips. 

Born 1785, died 1873; geologist. Made secretary to Prince Albert when 
elected Chancellor of Cambridge University, 1 847. President of the British 
Association, 1833. 

To knees, standing, dir. f., looking slightly r. ; black gown over plain dark 
dress, seals hanging from fob; roll in r. hand, 1. hand on geological specimen 
on table r., diagram on wall in background. 13^ by n. 

I. In open upright lettering: " Painted by Thomas Phillips Esq e R.A. Engraved 
by Samuel Cousins London Published Nov r I st 1833, by Molteno, & Graves, 20, 
Pall Mall." B.M.; C. 

II. The lettering slightly strengthened. With additional inscription in open upright, 
and in script lettering: "The Reverend Adam Sedgwick, M.A. F.R.S. Wood- 
wardian Professor of Geology, in the University of Cambridge 1833." E.M.; C. 

142. SELBY, THOMAS. 

A drawing (or miniature) was exhibited at the Royal Academy in 1854: 
" 854. Thomas Selby Esq. S. Cousins A.E." 

This is one of only three drawings (or miniatures) ever shown by Samuel 
Cousins at the Royal Academy. They were all exhibited in 1854. See also 
MRS. COLEMAN (No. 39) and CAPT. THOMAS IMPETT (No. 90). 

95 



SAMUEL COUSINS, R.A. 

"In the year 1826 he [Samuel Cousins] took a trip to Brussels with his 
friend Mr. Selby and visited the field of Waterloo. At Brussels he painted 
three miniatures in ivory, one of which was a portrait of a French Colonel 
of Cavalry." G. Py croft. 

Cousins, in his will, bequeathed " Unto my friend Thomas Selby late of 
3 Trafalgar Square, Chelsea, the sum of one thousand pounds sterling." 



143. SELWYN, GEORGE AUGUSTUS, D.D. 

After George Richmond. 

Born 1809, died 1878. Bishop of New Zealand, 1841 (at the time this 
portrait was engraved), Bishop of Lichfield, 1868. Selwyn College, Cam- 
bridge, was creeled to his memory. 

To knees, standing, dir. and facing f., looking very slightly 1.; bishop's even- 
ing dress; 1. arm by his side, r. hand holding closed book edgeways on table 
1. ; balustrade r., landscape in distance. i6 by i if . 

I. Before any inscription. B.M. 

II. In fine italic lettering: "Painted by George Richmond. Published for the 
Proprietor the Rev d Edward Coleridge Nov r 2i sfc 1842. Engraved by Samuel 
Cousins A.R.A." Messrs. Graves and Co. 



144. SHAKESPEARE, WILLIAM. 
Born 1564, died 1616. 

From the Chandos picture presented by the Earl of Ellesmere to the National 
Portrait Gallery in 1856. 

To waist, in an oval frame, dir. and facing towards 1., looking f. ; earring, 
moustache, trimmed beard, plain linen collar with two small ends hanging. 

10 by 8. 

I. In fine italic lettering under centre of subject: "Samuel Cousins, A.R.A. 
Artist's Proof." B.M.; Mr. E. E. Leggatt; Lord Westbury. 

II. Artisfs Proof erased, instead " Director's Proof." In open Gothic lettering: 
" William Shakespeare." Mr. J. Charrington (on this impression is written in pencil 
at edge of plate mark, to 1. : " No. 9", to r. : " J. Payne Collier." See the prospefius 
which fallows']. 

III. With additional inscription. In fine script lettering: " From the Chandos Por- 
trait in the possession of the Earl of Ellesmere." In fine italic capitals: " Engraved 
for the Shakespeare Society, June, 1849." B.M. 

The following prospectus gives full particulars of the production of this 
mezzotint: 

96 



LADY DURHAM 
1843 

AFTER SIR T. LAWRENCE, P.R.A. 



CATALOGUE OF PORTRAITS 

THE SHAKESPEARE SOCIETY 

THE CHANDOS PORTRAIT OF SHAKESPEARE 
THE PROPERTY OF THE EARL OF ELLESMERE 

The noble Owner of this Portrait, the President of the Shakespeare Society, having 
most liberally given permission that it shall be engraved for the Members, they are 
informed, 

That the Council of the Society has appointed a Committee to make arrangements 
for the execution of the Engraving, on a large scale, by the best Artist this country 
can produce. It will be accompanied by a Dissertation on the imputed Portraits of 
Shakespeare. 

The present Members, who shall have paid their Annual Subscriptions for 1849, 
and arrears, by the 3151 of January next, will be entitled to a copy of the Engraving 
and Letter-press. 

All persons not now Members, who are desirous of becoming so, and of possessing 
this work, may entitle themselves to it, and to the other advantages of membership, by 
paying the Subscriptions of the current year, and of the year I 849, being i for each of 
the two years. 

Those who may wish to have Artist's Proofs (limited to Twenty-five, numbered 
and signed by the Engraver), whether present Members or new Members, will be re- 
quired to pay ^3 in addition. Those who wish to have Proofs on India Paper (limited 
to Fifty, numbered and signed by the Director), will be required to pay ^2 in addition. 

No new names can be received after the 3151 of January next, by which day the 
present Members are also expedled to pay their Subscriptions : the lists will then be 
closed, and, the number of impressions necessary having been thus ascertained, no more 
copies will on any account be worked off, and the plate will be destroyed by the Council. 
The Agent for the Society is Mr. Rodd, of 9, Newport Street, Leicester Square, 
who is authorized to receive Subscriptions, and to whom it will be necessary, at the 
same time, to signify whether Artist's Proofs, Proofs on India Paper, or only Engrav- 
ings, are required. 

J. PAYNE COLLIER, Director. 
F. G. TOMLINS, Secretary. 
November^ 1848. 

145. SHARP, GRANVILLE. After Sir F. Chantrey, 

Born 1735, died 1813; slave trade abolitionist. A founder of the British 
and Foreign Bible Society, 1804; and of the Society for the Conversion of 
the Jews, 1 808. 

A sculptured bust, dir. f., facing slightly downwards towards r.; a robe thrown 
loosely around shoulders. The bust and sill on which it rests engraved in 
mezzotint, the rest of the plate left white. Plate size, 9^ by 6|. 

With title in facsimile of autograph, and rest of inscription in open and fine letter- 
ing: "Granville Sharp born Nov r io th 1735, died July 6 th 1813. Engraved by 
S. Cousins from a Bust by Francis Chantrey, R.A. in the Council Room, Guild- 
hall. London, Published Nov r i. 1827." To r. : "Proof." B.M. 

146. SHAW-STEWART, SIR MICHAEL. After Sir H. Raeburn. 
Born 1788, died 1836; baronet; M.P. 

To waist, dir. 1., facing towards f. ; white neckerchief, military coat with 

97 



SAMUEL COUSINS, R.A. 

braided button-holes. Arms in centre of inscription space, mottoes; " Spero 
Meliora I Mean Well " 1 1| by gf . 

I. Before any inscription, and before the arms. E.M. 

II. As published. With arms and mottoes as described. In italic lettering: "Painted 
by Sir Henry Raeburn Engraved by Sam 1 Cousins " In open upright thick and thin 
lettering: "Sir Mich 1 Shaw Stewart Bar*" In italic lettering: " Pall Mall East, 
London, Published Nov r i sfc 1827, by Colnaghi, Son, & Co. Printsellers to the 
King." To r.: "Proof." B.M.; Mr. J. Charrington; Mr. E. E. Leggatt. 

III. The word Prvw/"erased. 

147. SIDMOUTH, HENRY ADDINGTON, IST VISCOUNT. 

After T. C. Thompson. 

Born 1757, died 1844. Speaker of the House of Commons 1789-1801; 
created Viscount Sidmouth 1805. 

Nearly to knees, standing, dir. towards f., facing towards 1.; frill, plain dark 
dress; 1. hand on waist, r. arm by his side, roll of papers in r. hand; curtain 
and pillar in background. i6J by 12^. 

Engraved by S. Cousins and S. W. Reynolds. 

I. Before any inscription. B.M. 

II. In open and fine lettering: " T. C. Thompson Pinx* S. W. Reynolds Sculp' 
The Right Hon ble Viscount Sidmouth, &c. &c. &c. Proof. Pub d by the Engraver 
Bayswater Sept r 1823." C, 

III. Pinx' erased, instead " R. H. A. Pinx*"; S. W. Reynolds erased, instead: " S. 
W. Reynolds, (Engraver to the King) & S. Cousins." C. 

148. SMITH, ABEL. After F. R. Say. 
Born 1788, died 1859. Of Woodhall Park. M.P.; banker. 

Nearly to knees, sitting in arm-chair, dir. and facing towards 1.; dark necker- 
chief, plain dark dress; arms folded; paper on corner of table seen to r. 

Hi by n-i. 

In fine italic lettering: " Painted by F. R. Say. Engraved by Sam 1 Cousins R.A. 
Private Plate." In facsimile of autograph : " Abel Smith " B.M. 

The plate was engraved in 1860. 

149. SOPHIA MATILDA OF GLOUCESTER, PRINCESS. 

After Sir J. Reynolds. 

Born 1773, died 1843. Daughter of William Henry Duke of Gloucester. 
For many years Ranger of Greenwich Park. 

W.L., a child, lying on the ground, in close-fitting cap and white frock, 
facing and looking f., her 1. arm embracing a shaggy dog; trees and land- 
scape background. 



CATALOGUE OF PORTRAITS 

Similar to mezzotint by Thomas Watson, engraved in 1775 (n-J by 13^). 

i af by 1 51. 

I. Before any inscription. Mr. jf. Ckarrington. 

II. In fine italic lettering above subject: " London, Published 3 rd November 1879 
by P. & D. Colnaghi & C 14 & 15 Pall Mall East & Tho 8 MLean, Haymarket 
& Manchester Tho 3 Agnew & Sons Exchange Street." E.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, August 16, 1879: 300 Artist's proofs; 25 Presentation proofs; 
100 Proofs before letters; 200 Lettered proofs. 



150. SPENCER, LAVINIA (BlNGHAM), COUNTESS. 

After Sir J. Reynolds. 

Born 1762, died 1831. Eldest daughter of Sir Charles Bingham, ist Earl 
of Lucan, and sister to Lady Anne Bingham (No. 17). Married, March, 
1781, George John, 2nd Earl Spencer, K.G. 

Fully to waist, dir. 1., facing more towards f. ; straw hat with wide brim, 
curls, white dress, black waistband, eye-glass suspended from neck; land- 
scape background. I2f by loj. 

In fine italic lettering above subject: "Published 3 rd October 1876, by P. & D. 
Colnaghi & C 13 & 14, Pall Mall East & Tho 8 MLean, 7, Haymarket, London, 
and by Tho 3 Agnew & Sons, Exchange Street, Manchester." B.M.; Lord West- 
bury; Mr. J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, November 4, 1875: 300 Artist's proofs; 25 Presentation proofs, 
100 Proofs before letters; 200 Lettered proofs; and Prints. 

This portrait was engraved in stipple by F. Bartolozzi in 1787 (8-1- by 6-). 



151. SPENCER, LAVINIA (BINGHAM), COUNTESS. 

After Sir J. Reynolds. 
See No. 1 50. 

To waist, dir. and facing f. ; elaborate lace cap tied under chin, fur-edged 
cloak. 13^ by log. 

In small italic lettering above subject: "London, Published I st Feb^ 1877, by P. & 
D. Colnaghi & C 14 Pall Mall East T. M c Lean, 7, Haymarket & Manchester 
by Tho 8 Agnew & Sons, Exchange SV B.M.; C.; Mr. J. Charrington; Mr. E. 
F. Sheppard. 

Of this plate the following impressions were declared at the Printsellers' 
Association, October 27, 1876: 325 Artist's proofs; 25 Presentation proofs; 
100 Proofs before letters; 200 Lettered proofs. 

This portrait was engraved in mezzotint by C. H. Hodges in 1784 (12^ 
by io). 

99 



SAMUEL COUSINS, R.A. 

152. SPENCER, LAVINIA, COUNTESS, AND HER SON, LORD 
ALTHORP. 4f ter Sir 7- Reynolds. 
For Countess Spencer, see No. 150. Lord Althorp (born 1782, died 1845) 
became a member of the House of Commons, and was Chancellor of the 
Exchequer from 1830 to 1834. He succeeded as 3rd Earl Spencer upon 
the death of his father in 1 834. 

W.L., seated in a wooded landscape, dir. and facing r. ; broad-brimmed hat, 
powdered hair, light dress, dark shawl loosely around her at waist; with 
both arms clasping her son, who stands before her, his 1. hand placed on his 
head; shaggy dog r. 2o by 15!. 

I. In small italic lettering above subjeft: "Published I st Decem 1 ' 1877 by P. & D. 
Colnaghi & C 13 & 14 Pall Mall East and by Tho 8 MLean 7, Haymarket, 
London and by, Tho 8 Agnew & Sons, 14, Exchange Street, Manchester." B.M.; 
Mr. J. Char ring ton; Mr. E. F. Sheppard. 

II. " Proofs before letters," i.e., with artists' names and line of publication, but before 
the title. 

III. With title in light script lettering to r.: "The Countess Spencer & Lord 
Althorp." Messrs. Graves and Co. 

IV. Title erased. Instead, in light script lettering in centre of inscription space: 
" The Countess Spencer & Lord Althorp. From the original Picture in the pos- 
session of the Right Hon ljle Earl Spencer K.G." Messrs. Graves and Co. 

Of this plate the following impressions were declared at the Printsellers' 
Association, August 3, 1877: 325 Artist's proofs; 25 Presentation proofs; 
100 Proofs before letters; 200 Lettered proofs. 

A stipple engraving of this subject was commenced by Bartolozzi or 
Gaugain (9-?- by yi). 

153. SPENCER, JOHN POYNTZ SPENCER, STH EARL. 

After H. T. Wells. 

Born 1835; succeeded his father, as 5th Earl, December, 1857. Lord 
Lieutenant of Ireland, 1868-74, and 1882-85; Lord President of the Council; 
First Lord of the Admiralty. 

Fully to waist, standing, dir. and facing towards r. ; moustache and beard; 
r. hand in pocket of dark jacket, 1. thumb in pocket of dark waistcoat; 
watch-chain. 15^ by ii^. 

In fine italic lettering: "Painted by Henry T. Wells Esq re A. R.A. Engraved by 
Sam' Cousins Esq' e R.A. Private Plate." B.M. 

The plate was engraved in 1867. 

154. STAFFORD, THE MARQUESS OF, AND LADY EVELYN 
GOWER. After Sir E. Landseer. 

George, Marquess of Stafford, born 1828, died 1892; Lieutenant-Colonel 
ist Sutherland Rifle Volunteers; succeeded his father as 3rd Duke of Suther- 

100 



BEAUTY'S BATH [MISS ELIZA PEEL] 
1846 

AFTER SIR E. LANDSEER, R.A. 



CATALOGUE OF PORTRAITS 

land, 1 86 1. Lady Evelyn Gower married, in 1843, Charles, I2th Lord 
Blantyre, and died November, 1869. 

Two children amid foliage. The young Marquess is seated on the ground, 
his r. arm on shaggy dog lying beside him; his sister stands on r. and is 
feeding a tame deer with leaves, while a spaniel begs before her; to 1. sits a 
large collie; Dunrobin Castle in distance 1. The upper corners of subject 
are rounded. 22 by 17^. 

Preliminary etching. With scratched italic inscription: "Painted by Edwin Landseer, 
R.A. Etched by Samuel Cousins, A.R.A. London, Published July i, 1840 by 
Hodgson & Graves, Printsellers to Her Majesty and His Royal Highness Prince 
Albert of Saxe Coburg, N 6, Pall Mall." B.M. 

I. As published. The plate finished. Inscription as in preliminary etching, but the 
date altered to: "May I st 1841," and for Etched read "Engraved." A high-light 
showing in the buckle at the waist of the Marquess's frock, and a light is also seen 
on a fold of his frock over the r. breast. A circular portion of the down trimming 
of the jacket shows through the hair on the girl's 1. shoulder. Mr. J. Charrington ; 
Lord Westbury. 

II. Title added in scratched lettering towards r.: "The Marquess of Stafford and 
the Lady Evelyn Gower." In this state the portions mentioned in state I have been 
worked over, but the buckle can still be seen. B.M. 

III. The title erased; instead, in rather smaller scratched lettering: "The Lady 
Evelyn Leveson Gower and the Marquis of Stafford." Mr. F. Falkner ; Mr. E. 
O. Schneider. 

IV. The high-light of the buckle worked over and obliterated. B.M. 

V. The inscription erased. Sutherland arms added in centre of inscription space, 
motto: "Frangas non FlecStis.' In open upright capitals: "Painted by Edwin 
Landseer, R.A. Engraved by Samuel Cousins, A.R.A." In fine script lettering: 
"To Her Grace the Duchess of Sutherland These Portraits of" In open upright 
capitals, with a line along the centre of each letter: " Lady Evelyn Leveson Gower & 
the Marquis of Stafford." In fine script lettering: " Are with permission respectfully 
dedicated by Her Grace's most obedient humble Servants Henry Graves & Comp>'." 
In fine upright capitals: "London. Published June I. 1841 By: Graves & Warmsley 
Printsellers to Her Majesty & H.R.H. Prince Albert; 6, Pall Mall." Messrs. 
Graves and Co. 

Note. This state was issued at a later date than specified, for in 1841 the firm was: 
" Henry Graves & Comp^ " and it was not changed to " Graves & Warmsley " until 
afterwards. See note following state V of No. I. 

VI. Arms, and all inscription, erased, except the artists' names. Title added in 
large open upright capitals: "The Pet Fawn." Messrs. Graves and Co. 

An impression was exhibited at the Royal Academy of 1841 (No. 951): 
c< Portraits of the Marquess of Stafford, and the Lady Evelyn Gower." 

STANLEY, DOROTHY, LADY. After Sir J. E. Millais. 

See " NO! " [Catalogue of Subjects, No. 223.] 

101 



SAMUEL COUSINS, R.A. 

155. STEPHENS, CATHERINE. After Henry Fradelle. 

Born 1794, died 1882; aftress and operatic singer; "unsurpassed for her 
rendering of ballads." Married the 5th Earl of Essex, 1838. 

W.L., standing by a toilet table in a room, her bust reflected in a looking- 
glass; long veil, white dress; 1. hand holding ribbon, r. hand touching lace 
cap on table; chair r., trees seen through doorway r. I4f by lof. 

Engraved by S. Cousins and S. W. Reynolds. 

I. In fine, and open thick and thin lettering: " From a Painting by Henry Fradelle. 
Engraved by S. W. Reynolds. Engraver to the King. Miss Stephens, As " Su- 
sanna," in the Marriage of Figaro. 

" Turn this way, my Cap admire it " 

London, Published July I st 1825, by W. Sams, Book and Printseller to the Royal 
Family, N I, S* James's Street." C. 

II. The phrase Engraver to the King enclosed in brackets} and under it: "& S. 
Cousins." The date altered to: " Sep I st 1825." 

III. With title: " Miss Stephens Countess of Essex." 

156. STEWART, DUGALD. After Sir D. Wilkie. 

Born 1753, died 1828; eminent philosopher. His published works include: 
" Elements of the Philosophy of the Human Mind," " Outlines of Moral 
Philosophy," and " Ledtures on Political Economy." A monument was 
erected to him on Calton Hill, Edinburgh. 

Fully to waist, seated, facing towards and looking f.; 1. arm on large open 
book on table r. 

The plate is engraved in an open dotted manner, and has the appearance of 
being unfinished. There is no mezzotint work. Plate size, 2if- by i6|-. 

In facsimile of manuscript, to 1.: " Dugald Stewart /Etat Suae 71 ". To r. : "D 
Wilkie 1824" In script lettering at foot: " Engraved by Sam 1 Cousins from the 
original Portrait in the possession of M 1 Stewart's Nephew, D r Miller, of Exeter." 
To r.: "Private Plate." B.M.; . and A.; Mr. J. Charrington. 

157. SUMNER, CHARLES RICHARD. After Sir M. A. Shee. 

Born 1790, died 1874; brother of John Bird Sumner. Obtained several 
Court appointments; Bishop of Llandaff and Dean of St. Paul's, London, 
1826; Bishop of Winchester 1827. 

Nearly w.l., sitting, dir. and facing slightly 1., looking f.; ecclesiastical robes, 
with Garter robe and badge over, college cap in r. hand; curtain in back- 
ground, cathedral in distance 1. 17^ by ijf. 

I. In open upright lettering : " Painted by Sir Martin Archer Shee. P. R.A. En- 
graved by Samuel Cousins." To 1.: "Private Plate." Tor.: "Proof." B. M. 

IO2 



CATALOGUE OF PORTRAITS 

II. With additional inscription. In open upright lettering: "The Right Reverend 
Charles Richard Sumner, D.D." In open Gothic letters: " Bishop of Winchester," 
In fine script lettering: "and Prelate of the Most Noble Order of the Garter." 
Mr. jf. Charrington. 

III. The words Private Plate erased. V. and A. 

158. SUMNER, JOHN BIRD, D.D. After Mrs. Margaret Carpenter. 

Born 1780, died 1862; brother of Charles Richard Sumner. Bishop of 
Chester 1828; Archbishop of Canterbury 1848; in favour of Catholic 
relief, and supported the Reform Bill. 

Nearly w.l., sitting, dir. towards f., facing towards 1. ; bands, dark robes, 
r. hand on knee, 1. hand supporting open book on 1. knee; doorway in back- 
ground 1. iyf by 131. 

I. In upright open, and upright fine, lettering: " Painted by Margaret Carpenter. 
Engraved by Samuel Cousins, A.R.A. Published April ao th 1840, by J. Seacome, 
Chester, and Ackermann & C London." B.M.; V. and A. 

II. With additional inscription in fine script, and open lettering: " The Right 
Reverend John Bird Sumner, D.D. Lord Bishop of Chester." B".M.; C. 



SUTHERLAND, HARRIET, DUCHESS OF, AND DAUGHTER. 
See GOWER. 



SUTHERLAND CHILDREN. See STAFFORD, MARQUESS OF, 
AND LADY E. GOWER. 



159. SUTTON, CHARLES MANNERS. After H. W. Pickersgill. 

Born 1780, died 1845; politician. Speaker of the House of Commons 
1817-35; rnade G.C.B. 1833; created Viscount Canterbury 1835. 

Nearly w.l., sitting, dir. f., facing towards 1.; long wig, dark dress, lighter 
stockings, star, sash, robe; arms resting on arms of chair, r. hand holding 
eye-glass, 1. hand holding three-cornered hat on knee; 1. leg crossed over r. 



I. In open upright lettering: "Painted by Henry William Pickersgill Esq r R.A. 
Engraved by Samuel Cousins." B.M. 

II. With additional inscription: "London Published April 13 th 1835, for the Pro- 
prietor by Colnaghi Son & Co. Printsellers to the Royal Family, 14, Pall Mall East." 
Lord Westbury. 

III. With title added: "The Right Hon ble Sir Charles Manners Sutton, G.C.B. 
Speaker of the House of Commons." Messrs. Graves and Co. 

IV. The lettering strengthened, a line added along the centre of each letter of the 
words: "Speaker of the House of Commons." B.M. 

103 



SAMUEL COUSINS, R.A. 

1 60. TATE, REV. JAMES. After H. W.Pickersgill. 

Born 1771, died 1843. Besides the facls noted in the inscription, Tate was 
Vicar of Edmonton. 

Nearly w.l., sitting, dir. and facing very slightly 1.; white neckerchief, frill, 
dark coat fastened by one button, breeches; reading glass suspended by 
ribbon round neck, r. knee crossed over 1., arms on arms of chair, r. hand 
on knee; books and papers on table r., a book and a paper bearing inscrip- 
tions, iff by i2|. 

In various styles of open and fine lettering: " Painted by Henry William Pickersgill, 
Esq. R.A. Engraved by Samuel Cousins. The Rev d James Tate, M. A. Head 
Master of Richmond Grammar School, 1796, Canon Residentiary of S fc Pauls, 1833. 
To the R l Hon ble Earl Grey, K.G. &c. &c. This Engraving from a Portrait of 
M r Tate, the gift of his affeftionate Pupils, Is in grateful acknowledgment of 
The Royal favour bestowed on their Old Master, most respectfully dedicated By the 
Committee of the Subscribers." To 1. :" Proof." B.M. 

The plate was engraved in 1833. 

161. VAUGHAN, SIR CHARLES RICHARD. 

After Sir T. Lawrence. 

Born 1774, died 1849; diplomatist. Secretary of the Embassy in Spain; 
Ambassador to Switzerland and to the United States. Knighted in 1833. 

Nearly to the knees, sitting, dir. slightly r., facing 1.; white neckerchief, frill, 
dark coat with fur collar; arms on arms of chair, hands joined in lap. 

14! by ii. 

I. Before any inscription. B.M. 

II. In several styles of light lettering: "Painted by Sir Thomas Lawrence, late 
President of the Royal Academy Engraved by Sam 1 Cousins, 163, Albany Street, 
Regents Park The Right Hon ble Charles Richard Vaughan, His Majesty's Envoy 
Extraordinary and Minister Plenipotentiary to the United States of America and 
Fellow of All Souls College Oxford " To r.: " Proof." B.M. 

The plate was engraved in 1832. 

162. VENN, HENRY, B.D. After George Richmond. 

Born 1796, died 1872. Honorary Secretary of the Church Missionary 
Society. 

Nearly w.l., dir. slightly 1., facing and looking f. ; plain dark dress, four 
buttons of waistcoat fastened; r. hand holding book edgeways upon knee, 
forefinger between leaves, 1. elbow on arm of chair, hand raised to cheek; 
table r. with papers and inkstand, curtain and shelves of books in back- 
ground. i6f by ijf-. 

Before any inscription. B.M. 

This plate is not mentioned in Mr. Algernon Graves's list. 

104 



MRS. BRADDYLL 
1847 

AFTER SIR J. REYNOLDS, P.R.A. 



CATALOGUE OF PORTRAITS 

163. VICTORIA, QUEEN. After A. E. Chalon. 

Born at Kensington Palace, May 24, 1819; died at Osborne, Isle of Wight, 
January 22, 1901. 

W.L., standing on a terrace reached by two steps, dir. towards f,, facing 
towards 1.; tiara, earrings, necklace, state robes, long ermine cloak, Garter 
sash with badge attached; r. arm by her side, gloved hand holding hand- 
kerchief, 1. arm on base of pillar to r., in panel of which is a sculptured 
lion; balustrade 1. jof by 2o|. 

The large plate. 

In fine italic lettering: "Painted by Alfred E. Chalon, R.A. London, Published 
June 28, 1838, by F. G. Moon, Printseller by Special Appointment to Her Majesty, 
& H.R.H. the Duchess of Kent, 20, Threadneedle Street. Engraved by Samuel 
Cousins, A.R.A." To r. in facsimile of autograph : "ViaoriaR." B.M.; Mr. J, 
Charrington. 

The Queen granted Samuel Cousins an interview, that he might add touches 
to a proof of the engraving, and so produce a better likeness. 

164. VICTORIA, QUEEN. After A. E. Chalon. 
Similar to preceding, smaller. 23 1 by i6-J. 

Preliminary etching. In fine scratched lettering: "Painted by Alfred E. Chalon, 
R.A. Etched by Sam 1 Cousins, A.R.A. and B. P. Gibbon. London Published Oa. 
I 1838 by F. G. Moon, Printseller by Special Appointment to Her Majesty & Her 
Royal Highness the Duchess of Kent 20 Threadneedle Street." B.M. 

I. The plate finished. Inscription erased, instead, in fine italic lettering: "Painted 
by Alfred E. Chalon, R.A. London Published May I 8t 1839, by F. G. Moon, 
Printseller by Special Appointment to Her Majesty, 20, Threadneedle Street En- 
graved by Samuel Cousins A.R.A." Facsimile of autograph: "Victoria R." B.M. 



165. VICTORIA, QUEEN. After Lowes Dickinson. 

Nearly w.l., sitting, dir. towards r., facing f. ; coronet over widow's cap 
with long lace veil, earrings, necklace with cross pendant, black dress trimmed 
with ermine, sash with Garter jewel; arms crossed before her, bracelet on r. 
wrist with miniature of the Prince Consort; closed fan and handkerchief in 
lap. The upper corners of subject are rounded. 19^ by 14^. 

I. Before any inscription. Mr. y. Charrington. 

II. In fine italic lettering above subject: " Dickinson Bros: Publishers to The Queen; 
114 New Bond Street, Feb^ 2 d 1871." In fine italic lettering below subjea: 
"Painted by Lowes Dickinson. Engraved by Samuel Cousins, R.A." Messrs. 
Graves and Co. 

III. With facsimile of autograph added: "ViaoriaR." B.M. 

An impression was exhibited at the Royal Academy in 1871 (No. 841). 

105 p 



SAMUEL COUSINS, R.A. 

166. VICTORIA, QUEEN, WITH THE PRINCESS ROYAL AND 
THE PRINCE OF WALES. After Sir E. Landseer. 

The subject is almost a circle. The Queen is seated with the Prince of Wales, 
in long clothes, lying in her lap; the Princess Royal is standing on the couch 
touching the r. shoulder of the Queen, who raises her r. forefinger to prevent 
her from waking the infant Prince. 1 8-J by 1 7^. 

I. Before any inscription. Mr. J. Charrington. 

II. In fine scratched italic lettering: " S. Cousins, A.R.A." B.M. 

III. The inscription erased ; instead, in fine script lettering: " Engraved by Sam 1 
Cousins, A.R.A. from the original Picture by Edwin Landseer, R.A." At foot of 
plate in fine upright capitals: "London, Published Nov r 9 th 1844, by H. Graves & 
C Printsellers to Her Majesty, & H.R.H. Prince Albert, 6, Pall Mall, Paris, Public' 
par Goupil & Vibert, 15 Boulevard Montmartre. Depose." Messrs. Graves and Co. 

IV. With additional inscription in open upright capitals: " Her Majesty the Queen, 
With the Infant Princess Royal and Prince of Wales." Messrs. Graves and Co. 

V. The lettering erased. Royal arms and motto added in centre of inscription space. 
In various styles of light engraved lettering: " Painted by Edwin Landseer, R.A. 
Engraved by Samuel Cousins, A.R.A. To His Royal Highness Prince Albert, K.G. 
&c. &c. &c. This Engraving of Her Majesty The Queen, the Infant Princess 
Royal, and the Prince of Wales Is by special permission most respeftfully dedicated 
by His Royal Highness's most obedient humble Servants Henry Graves & Comp y . 
London Published Nov r 9 th 1844, by H. Graves & C Printsellers to Her Majesty, 
& H.R.H. Prince Albert, 6, Pall Mall. Paris, Public^ par Goupil & Vibert, 15, 
Boulevard Montmartre. Depos6." Mr. jf. Charrington. 

The original picture was a birthday gift from the Prince Consort to Queen 
Victoria. 

167. VICTORIA, QUEEN, PRINCE CONSORT, AND FAMILY. 

After F. X. Winterhalter. 

The Queen and the Prince Consort are sitting on carved chairs, dir. towards 
1. ; the Queen wears a light flounced dress, coronet, necklace, earrings, brooch 
at bosom, and sash; the Prince Consort wears dark coat, breeches and 
stockings, light waistcoat, orders, sash, and Garter; the Queen's r. hand is 
on the r. shoulder of the Prince of Wales who stands beside her; in f. stands 
Prince Alfred, with outstretched arms, looking at the Princess Royal and 
the Princess Alice, who, on r., are playing with the infant Princess Helena; 
fruit on an ornamental table r., large vase of flowers 1., open landscape in 
distance. 24% by 31%. 

In fine italic scratched lettering: " Painted by F. Winterhalter. London, Published 
March 20, 1850, by F. G. Moon, Her Majesty's Publisher in Ordinary, 20, 
Threadneedle Street. Engraved by Sam 1 Cousins, A.R.A." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 9, 1850: 275 Artists' proofs; 25 Presentation proofs; 
150 Proofs before letters; 200 Lettered proofs; and Prints. 

1 06 



CATALOGUE OF PORTRAITS 

An impression was shown at the Royal Academy in 1850 (No. 1096); and 
with the Anderdon set of Royal Academy catalogues in the British Museum 
is the following note written by the engraver: " Please to deliver the Proof 
of the Royal Family to Mess ra Vokins. Sam 1 Cousins. To The Secretary 
of the Royal Academy." 

VICTORIA, QUEEN, RECEIVING THE SACRAMENT AT HER 
CORONATION. After C. R. Leslie. 

See under Catalogue of Subjects, No. 209. 

168. VICTORIA, PRINCESS ROYAL. After F. X. Winterhalter. 

The Princess Royal married Frederick, Crown Prince of Prussia, January 25, 
1858; and died August 5th, 1901. 

To the knees, in an oval, standing, dir. 1., facing towards and looking f. ; 
hair dressed with floral sprays, necklace, light figured low-necked dress, 
brooch with medallion of Queen Victoria and the Prince Consort on 1. 
shoulder; bracelet on 1. wrist, rings on 1. third finger; carrying a fan. 

15-Jby 12*. 

I. In fine italic lettering: "Grave par S. Cousins d'apres F. Winterhalter". 

II. The inscription erased; instead, in fine italic lettering above subject: "Pub- 
lished March I st 1858; by Paul & Dominic Colnaghi & C Pall Mall East; Pub- 
lishers to Her Majesty." B.M.; Mr. J. Charrington. 

III. " Proof before letters," i.e., before the title. 

IV. Inscription above subject erased; instead, beneath, in fine upright capitals: 
" F .Winterhalter, Pinx*. S. Cousins, R.A. Sculp'." In open upright capitals: " Her 
Royal Highness Princess Royal, Princess Frederic William of Prussia, 1858." In 
fine script lettering: "Dedicated by permission to Her Majesty the Oueen" In 
fine upright capitals: "Published March 10, 1858; by Paul & Dominic Colnaghi 
& C Pall Mall East, Publishers to Her Majesty." 

An impression was exhibited at the Royal Academy in 1858 ("1137. 
Victoria Princess Frederick William of Prussia."). 

Of this plate the following impressions were declared at the Printsellers' 
Association, April, 1858 : 150 Artists' proofs; 25 Presentation proofs; 100 
Proofs before letters; 150 Lettered proofs; and Prints. 

WALES, PRINCE OF. See EDWARD VII. 

WALES, PRINCESS OF. See ALEXANDRA, QUEEN. 

169. WATSON, SIR THOMAS. After George Richmond. 

Born 1792, died 1882. Became a leading physician in London. Physician 
to Queen Victoria; created a baronet in 1866. D.C.L. ; LL.D. 
To knees, sitting, dir. towards r., facing towards f.; academic robes, 1. hand 
holding small book on knee with forefinger between leaves, r. elbow on arm 
of chair, hand to chin. 14^ by 1 1. 

107 



SAMUEL COUSINS, R.A. 

In fine italic lettering: "Painted by George Richmond Esq re R.A. Engraved by 
Samuel Cousins Esq re R.A. Private Plate." B.M. 

An impression was exhibited at the Royal Academy in 1869 (No. 1097). 

170. WELLESLEY, RICHARD COLLEY WELLESLEY, MAR- 
QUESS. After Sir T. Lawrence. 

Born 1760, died 1842. Appointed Governor-General of India and created 
Baron Wellesley, 1797; created Marquess Wellesley, 1799; Lord- Lieutenant 
of Ireland, 1821-28. 

To waist, sitting, dir. and facing f. ; frill, star on dark coat, George attached 
to broad ribbon under coat, 1. hand seen in lower r. corner; curtain in back- 
ground. II J by 9^. 

I. Before any inscription. B.M; Mr. Harvey. 

II. In fine upright and italic lettering: " Sir Tho s Lawrence P.R.A. Pinx* London, 
Jan'' I st 1842; Published by Welch & Gwynne, 24, S* James's Street. Samuel 
Cousins, A.R.A. Sculp 1 ." B.M.; Lord Westbury. 

III. With additional inscription in several styles of fine and open lettering: "To 
the Queen's most Excellent Majesty, This Portrait of The Most Noble Richard 
Marquess Wellesley, K.G. &c. &c. &c. Is by permission dedicated, by Her 
Majesty's most faithful Subjects and very humble Servants, Welch & Gwynne." 
Tol.: "Proof." B.M. 

IV. The lettering strengthened, the word Proof erased. B.M. 

Charles Turner mezzotinted the same portrait, in 1815 (17 by ijf); but 
in Turner's engraving the portrait is nearly whole length. 

171. WELLINGTON, ARTHUR WELLESLEY, IST DUKE OF. 

After Sir T. Lawrence. 
Born 1769, died 1852. 

To waist, dir. very slightly r., facing and looking f . ; order suspended at 
throat, light waistcoat, large military cloak; r. hand to 1. shoulder. 

ni by 51. 

I. Before any inscription. B.M.; Mr. J. Cbarrington. 

II. In fine italics below centre of subject: "London June 1828 Published by M 
Colnaghi 23 Cockspur Street Charing Cross " Mr. y. Cbarrington. 

III. With additional inscription in fine upright lettering: "Sir Tho 8 Lawrence, 
P.R.A. Pinx* S. Cousins Sculp*." In r. lower corner, in small italics: " Printed by 
Lahee" Lord Westbury. 

IV. The following lettering almost erased from plate: "Sir Tho 8 Lawrence P.R.A. 
Pinx*. S. Cousins Sculp* ". With additional inscription in open upright, and script 
lettering: " Field Marshal The Duke of Wellington, K.G. &c. &c. &c. First Lord 
of the Treasury. Engraved by Samuel Cousins, from a picture by Sir Thomas 
Lawrence, P.R.A. Principal Painter in Ordinary to His Majesty." To 1.: " Proof." 
B.M. 

There are very similar mezzotints of this subject (almost the same size) 
engraved by Walker, J. R. Jackson, and G. R. Ward. 

108 



THE FIRST OF MAY 
1851 

AFTER F. X. WINTERHALTER 



CATALOGUE OF PORTRAITS 

172. WELLINGTON, ARTHUR WELLESLEY, IST DUKE OF. 

After Sir T. Lawrence. 

W.L., standing in foreground of the Field of Waterloo, dir. and facing f.; 
undress military uniform, cloak, sword; arms folded, r. hand holding tele- 
scope. 26f by i6f. 

I. In fine italic lettering: "Engraved by Samuel Cousins. A.R.A. 1848." B.M. 

II. The inscription erased. Instead, in light lettering: "Sir Thomas Lawrence, 
P.R.A. Pinx fc . London; Published June 15, 1848, by Paul & Dominic Colnaghi 
& C 13 & 14, Pall Mall East, Publishers to Her Majesty. Samuel Cousins, 
A.R.A. Sculp'." i ord Westbury. 

III. With additional inscription, in various styles of light lettering: "Field Marshal 
The Duke of Wellington, K.G. &c. &c. &c. To the Right Honourable Sir 
Robert Peel, Bar 6 M.P. This Plate Engraved from the Original Picture in his Col- 
lection, Is respectfully dedicated by his Obliged humble Servants, Paul & Dominic 
Colnaghi & C." V. and A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, June, 1847: 125 Artist's proofs; 100 Proofs before letters; 
too Lettered proofs. 

173. WELLINGTON, ARTHUR WELLESLEY, IST DUKE OF. 

After John Lucas. 

W.L., standing, dir. f., facing towards 1.; lace cravat with long ends, dark 
dress, black stockings, shoes; orders, sash and Garter; chancellor's robe, 
cloak over r. arm, college cap in 1. hand by his side; chair and curtain 
behind him, book and paper on table r., arch and stained glass window r. 

2?i b y 17$- 

I. Before any inscription. Sale at Puttick and Simpson's^ May 26, 1904. 

II. In italic lettering: " Painted by John Lucas. Engraved by Samuel Cousins, 
A.R.A. London, Published Dec r I st 1840, by F. G. Moon, Printseller by Special 
Appointment to Her Majesty & Her Royal Highness the Duchess of Kent, 20, 
Threadneedle Street." B.M. 

III. With facsimile of autograph: "Wellington." With additional inscription, in 
fine upright capitals under centre of subject: " F. G. Moon Pro r " At foot of plate 
in fine script lettering: "J. Watson, Vere S l " "Oxford, J. Ryman " Messrs. 
Graves and Co. 

IV. The inscriptions erased. Arms added in centre of inscription space. In several 
styles of engraved lettering, with title in open upright capitals : " Painted by John 
Lucas. London, Pub d by F. G. Moon, Prop r Jan. 28, 1841, Printseller by Special 
Appointment to Her Majesty, & H.R.H. the Duchess of Kent 20 Threadneedle 
Street. Engraved by Samuel Cousins, A.R.A. To the Lord High Steward, Vice 
Chancellor, Heads of Houses, the Noblemen & Gentlemen of the University of 
Oxford, This Portrait of Their Chancellor, Arthur Duke of Wellington, K.G. 
&c. &c. Engraved from the Original Picture by M r John Lucas, presented to 
the University by His Grace. Is respectfully inscribed by their Obedient Servant, 
Francis Graham Moon." To L: " J. Watson, Vere Street." To r.: "J. Ryman, 
Oxford." Messrs. Graves and Co. 

109 



SAMUEL COUSINS, R.A. 

WESTMINSTER, ELIZABETH MARY, MARCHIONESS OF, 
WHEN COUNTESS GROSVENOR. See GROSVENOR. 

% 

174. WESTMORLAND, JOHN FANE, IOTH EARL OF. 

After Sir T. Lawrence. 

Born 1759, died 1841; Lord-Lieutenant of Ireland from 1790 to 1795. 

Fully to waist, standing, dir. towards r., looking f.; light neckerchief, black 
coat with large buttons, r. elbow leaning on rock 1., glove on r. hand; land- 
scape in distance r. 1 1 by 8-|. 

Engraved by S. Cousins and S. W. Reynolds. 

I. Unfinished proof showing four bright buttons on r. of coat. B.M.; Mr. 
Harvey. 

II. Finished proof; showing only one bright button on r. of coat; before any in- 
scription. E.M. 

III. In fine upright lettering: "Sir Thomas Lawrence, P.R.A. &c. &c. Pinx' 1807. 
Engraved by S. W. Reynolds (Engraver to the King) and S. Cousins, 1825." In 
open upright thick and thin capitals : " John, Earl of Westmorland." E.M.; C. 

175. WILBERFORCE, WILLIAM. After George Richmond. 

Born 1759, ^' e d I ^33- Devoted himself to the abolition of the slave trade. 
A founder of the Church Missionary Society, and of the British and Foreign 
Bible Society. 

W.L., sitting, in a room, facing f, in a rather twisted posture, with r. knee 
crossed over 1., and holding reading-glass between hands; table to 1. with 
book and writing materials, book-case behind it, books on floor r. 



I. Before any inscription. E.M. (touched impression); Mr. J. Charrington. 

II. In open upright lettering: "Painted by George Richmond. Engraved by Samuel 
Cousins." In fine upright lettering: "London, May 20 th 1834, Published for the 
Proprietor, George Richmond, Esq re by Colnaghi, Son & C Printsellers to the Royal 
Family, 14, Pall Mall East." 7. and A. 

176. WILSON-PATTEN, JOHN. After George Richmond. 

Born 1802, died 1892. M.P. for Lancashire from 1830 to 1874, when he 
was created Baron Winmarleigh. Chief Secretary for Ireland, 1868. 

Nearly to knees, standing, dir. f., facing and looking slightly r.; uniform, 
with cordings depending from r. shoulder, sash; 1. arm by his side, hat in 
hand; r. hand holding paper level with waistbelt; tree r., flat landscape 1. 

by 



In fine italic lettering: "Painted by George Richmond, A.R.A. Engraved by 
Sam 1 Cousins, R.A. Subscriber's Proof." B.M. 

The plate was engraved in 1860. 

I 10 



CATALOGUE OF PORTRAITS 

WINDSOR, HARRIET (WINDSOR-CLIVE), BARONESS. See 
CLIVE. 

177. WODEHOUSE, HON. JOHN. After Sir W. C. Ross. 

Born 1 77 1, died 1846; Lord-Lieutenant of Norfolk. Afterwards 2nd Baron 
Wodehouse. Resided at Witton and Kimberly Park. 

Nearly to knees, sitting, dir. towards r., looking f. ; dark coat over white 
waistcoat, r. arm on arm of chair, hand on knee holding letter. Arms in 
centre of inscription space, mottoes: " Frappez Fort" " Agincourt." 

4f by 3f 

In small italic lettering: "Engraved by S. Cousins from a Miniature by W. C. 
Ross." In open upright lettering: "Hon ble John Wodehouse." In fine script letter- 
ing: " Lord Lieutenant of the County of Norfolk." E.M. 

The plate was engraved in 1829. 

178. WOLFF, MRS. After Sir T. Lawrence. 

Wife of Jens Wolff, the Danish Consul; died 1829. Resided at Sherwood 
Lodge, Battersea; passed the last eight years of her life in the neighbour- 
hood of Monmouth. She was an intimate friend of Sir Thomas Lawrence's 
sister, and a friend and adviser of the painter himself. " A lady destined to 
have a considerable influence upon his life and fortune, and one for whom 
his family and friends entertained respect and attachment" ("The Life of 
Sir Thomas Lawrence," by D. E. Williams, 1831, vol. ii. p. 44). 

Nearly w.l., sitting, dir. and facing 1.; turban, tress of hair on r. shoulder, 
light dress, rose at waist; 1. arm by her side, r. elbow on large open book 
at which she is looking, r. hand raised to head; hanging lamp in upper 1. 
corner. 14* by n. 

I. Before any inscription. Mr. E. E. Leggatt (Cousins's own impression). 

II. In italics under centre of subject: "S: Cousins Sculpt" Lord Ifestbury; Mr. 
y. Gharrington. 

III. As published. In open upright lettering: "Engraved by Samuel Cousins from 
a Pidture by the late Sir Thomas Lawrence. P.R.A. &c. &c. London. Published 
March I st 1831, by Colnaghi Sen 1 Dominic Colnaghi & Co. Printsellers to their 
Majesties, Pall Mall East." E.M. 

IV. Title added in fine script lettering: "M r8 WolfF." To r. in fine italic lettering: 
Proof." E.M. 

V. The inscription slightly strengthened, so that the open lettering is now thick and 
thin. The word Proof erased. C. 

VI. The subject reduced to IO-J- by 9, and the figure enclosed within an oval frame. 
Outside the subject a line engraved border. Before any inscription. E.M. 

VII. In open upright lettering: " Painted by Sir Thomas Lawrence. Engraved 
by Samuel Cousins." In fine script lettering: "The Painter's Study." In open 

III 



SAMUEL COUSINS, R.A. 

upright lettering: " London Published O6to r 15 th 1 832 by Colnaghi Sen r & Dominic 
Colnaghi, Printsellers to the Royal Family, Pall Mall East." B.M. 

VIII. The title and publication line erased. New line of publication in fine upright 
lettering: "March i, 1844, Published by J. C. Grundy, Manchester; R. H. 
Grundy, Liverpool; The Anaglyphic Company, Berners Street, London; & Goupil 
Vibert, Paris." C. 

179. WOODHOUSE, JOHN CHAPPEL, D.D. After T. Barber. 

To waist, sitting, dir. towards r., looking f . ; bands, clerical robes; r. arm 
on arm of chair, 1. hand holding college cap on knee; curtain in background. 

I2 by 10. 

Engraved by Samuel and Henry Cousins. 

In open upright lettering: "Engraved by Sam 1 and Henry Cousins, from the Original 
Pifture by Barber." In open upright capitals: "The Very Rev d John Chappel 
Woodhouse, D.D." In open Gothic lettering: "Dean of Lichfield." In fine 
script lettering: "Born, Aug st 19 th 1749. Died, Nov r 17 th 1833" To 1., in fine 
italics: " Private Plate"; to r., " Proof." B.M. 

The plate was engraved in 1834. 

1 80. YORK AND ALBANY, H.R.H. FREDERICK, DUKE OF. 

After J. Jackson. 

Born 1763, died 1827; second son of George III. Commander-in-chief from 
1798 to 1809. 

To waist, dir. f., facing towards r. ; black neckerchief, plain dark buttoned 
coat, star. Royal arms with mottoes in centre of inscription space. 

9 by 7f . 
Engraved by S. Cousins and S. W. Reynolds. 

I. Inscribed in various styles of lettering: "Painted by J. Jackson, Esq r R.A. 
Engraved by S. W. Reynolds, Engraver to the King, & S. Cousins. His Royal 
Highness The Duke of York, Dedicated to His Most Gracious Majesty George, 
4 th by His Loyal & most devoted Servant, William Sams. London Published 
June I st 1825, by W. Sams, Book & Printseller to the Royal Family opposite 
S* James's Palace." EM. 

II. Diagonal shading added to the lettering of the title. B.M. 



112 



THE ORDER OF RELEASE 
1854 

AFTER SIR J. E. MILLAIS, P.R.A. 



CATALOGUE OF SUBJECTS 

1 8 1. HOUSE OF COMMONS, INTERIOR OF THE. 

After H. W. Burgess. 

A view of the interior of the old House of Commons, as it appeared before 
the fire of Odrober 16, 1834. It contains no figures. Arms in centre of 
inscription space, mottoes: " Tria Juncta In Uno," " Pour Y Parvenir." 

2 1 by 1 6|, 

I. In open upright, fine script, open Gothic, and fine upright lettering: "H. W. 
Burgess, Pinx' Sam 1 Cousins, Sculp' To the R e Hon ble Viscount Canterbury, 
this Print of the Interior of the late House of Commons, is respectfully dedicated 
by His Lordship's obedient and obliged Hum ble Serv' H. W. Burgess. Published 
for the Proprietor by J. Dickenson, N 114, New Bond Street, June I st 1835." To 
1., in italic capitals: "Proof." B.M. 

II. The inscription slightly strengthened, a line added in each letter of the words 
"Interior House of Commons," and the word Proof erased. B.M.; C. 

182. JOUEURS, LES. After N. T. Char let. 

A group of three boys playing at marbles, one of them holding a restless 
infant with his 1. arm; a house beyond a bank in background. 7^ by 5^. 

Engraved by S. Cousins and S. W. Reynolds. 

I. Before the title, with Gericault's name as painter. Mr. W. Walker. 

II. In fine, and title in shaded, lettering: " Peint par Charlet. Grave 1 par S. W. 
Reynolds, Graveur au Roi d'Angleterre et S. Cousins. Les Joueurs. A Paris 
chez Schroth, Marchand de Tableaux, et de Dessins modernes Rue de la Paix, 
N 1 8. Brevetd de S. A. R. Madame, Duchesse de Berry." Bibliotheque Nationa/e, 
Paris. 

183. OTJERELLEURS, LES. After N. <T. Charlet. 

A schoolboy has fallen to the ground, and two others prevent a third from 
attacking their comrade; books and caps scattered on the ground; on a wall 
behind is inscribed: " A la Grace de Dieu." j^ by 6. 

Engraved by S. Cousins and S. W. Reynolds. 

In fine, and title in shaded, lettering: "Peint par Charlet. Gravd par S. W. 
Reynolds, Graveur du Roi d'Angleterre et S. Cousins. Les Querelleurs. A Paris 
chez Schroth Marchand de Tableaux et de Dessins modernes Rue de la Paix, 
N 1 8. Br6vet de S. A. R. Madame Duchesse de Berry." Bibliotheque Nationale, 
Paris. 

113 Q 



SAMUEL COUSINS, R.A. 

184. PET RABBIT, THE. After Fanny Corbaux. 

A girl, nearly w.l., dir. 1., sitting on a bank beneath trees, nursing a rabbit, 
which a younger girl is touching with her r. hand. 13^ by n. 

I. In open upright lettering: "Painted by Miss Fanny Corbaux. Engraved by 
Samuel Cousins." In fine upright capitals: "London, Published May I st 1835, by 
Fran 8 Grah m Moon, Printseller to the King, 20, Threadneedle Street." B.M.; 
Mr. E. E. Leggatt. 

II. With the addition of the title: "The Pet Rabbit", in open upright thick and 
thin lettering. 

185. CHRIST IN THE GARDEN OF GETHSEMANE. 

After Correggio. 

Christ is kneeling on a small plateau with outstretched arms, and an angel 
is descending from upper 1. corner and extending his r. hand towards Him ; 
the three disciples recline in the foreground asleep. 1 7^ by 1 2f . 

In fine and open upright lettering: "Antonio da Correggio pinx fc Published for 
the Proprietor George Fairholme Esq re , (from his Celebrated Picture of the same 
size) by Colnaghi Son & Co. Pall Mall East [these last three words in fine capitals] 
Dec' 1832. Samuel Cousins sculp'." In small fine script lettering at foot of plate: 
"See Vasari; Vite di Pittore. Parte Terza: Primo Vol. p. 24." B.M.; Mr. J. 
Charrington. 

1 86. EARLY DAWN, THE. After Joshua Cristall. 

A peasant woman standing in foreground of hilly landscape, turned to r. and 
looking towards the rising sun. 17^ by iaf. 

Engraved in " mixed " method. 

I. In open upright capitals: "Painted by Joshua Cristall. Engraved by Samuel 
Cousins. A.R.A." E.M.; Mr. J. Charrington. 

II. With inscription as in state III, but before the arms and motto. Messrs. Graves 
and Co. 

III. Arms in centre of inscription space, motto: " Indbranlable." With additional 
inscription. In fine upright lettering: "London, Published April 3, 1844, by F. G. 
Moon, Her Majesty's Publisher in Ordinary, 20, Threadneedle Street. Paris, Publi 
par Goupil & Vibert, Boulevart (sic) Montmartre." In italics: "Depose." Lord 

Westbury. 

IV. Title and dedication added. In upright capitals, with a line along the centre 
of each letter: "The Early Dawn." In fine script lettering: "From a drawing in 
the possession of Sir Thomas Dyke Acland, Bar* To whom this Engraving is 
respectfully dedicated by his Obedient Servant Fra s Grah m Moon." B.M. 

187. BENEDICTA. After Frank Dicksee. 

Portrait of a lady, seen to waist, dir. almost to f., head leaning very slightly 
1.; hair dressed close, narrow necklace; pattern on wall behind. 13 by 9f. 

I. With publication line only, above subject. 

114 



CATALOGUE OF SUBJECTS 

II. Inscription erased. In fine italic lettering beneath : " Painted by Frank Dicksee, 
A.R.A. Engraved by Samuel Cousins, R.A. Benedicla. From the Original 
picture in the possession of J. F. Hall, Esq. London, Published March 25 th 1881, 
by The Fine Art Society (Limited) 148, New Bond Street." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 28, 1881: 325 Artists' proofs; 25 Presentation proofs; 
200 Proofs before letters; 200 Lettered proofs; and Prints. 

1 88. SURPRISE, LA. After C. M. Dubufe. 

A young woman, seen to waist, leaning towards 1., facing towards r., hold- 
ing a chemise to her bosom with both hands, her neck and bosom exposed. 

13* b y i if- 

I. Before any inscription. Mr. J. Charrington; Mr. E. E. Leggatt. (On this im- 
pression Cousins has written " Selected Proof' ; and below the plate mark, to /., it bears 
an oblong collector's (or other] stamp containing several initial letters, oj which the first 
appears to be a y.) 

II. In small open upright lettering: " Engraved by S. Cousins after the original Picture 
by Dubuffe London Published by Jones, 34, Brewer Street, Golden Square, and at 
Paris chez Giraldon Bovinet, Passage Vivienne. N 26." B.M.; Lord Westbury. 

There are later states. 

The plate was engraved in 1827. 

The original painting is in the National Gallery, London. (Now away on 
loan, August, 1904.) 

189. CHRIST MOURNING OVER JERUSALEM. 

After Sir C. L. Eastlake. 

Christ is seated on a stone, His hands clasped before Him, and with sorrowful 
face He looks, beyond a shepherd carrying a lamb and followed by his flock, 
to the city which is seen in distance to r. ; towards the 1. are grouped five 
disciples, and beyond, a young woman with a pitcher on her head leads a 
child forward; the background is composed of trees, in the trunk of one of 
which an axe is " laid." The subject is semicircular. 21* by 32. 

Preliminary etching. In fine italic lettering: " Painted by Charles Lock Eastlake, 
R.A. London, Published May I st 1846, by F. G. Moon, Her Majesty's Printseller 
in Ordinary and to His Royal Highness Prince Albert, 2O, Threadneedle Street 
Engraved by Samuel Cousins, A.R.A. Paris Goupil & Vibert, 15, Boulevard, 
Montmartre, Depose." B.M. 

I. The subject finished. The inscription erased. B.M. 

II. In fine italic lettering: "Painted by C. L. Eastlake, R.A. London, Published 
June i, 1847, by F. G. Moon, Publisher in Ordinary to Her Majesty, & H.R.H. 
Prince Albert, N 20, Threadneedle Street. Engraved by Samuel Cousins, A.R.A. 
Paris, E. Gambart, Junin & C 51, Rue Aumaire, Depose." B.M. 

An impression was shown at the Royal Academy in 1847 (No. 1069). 
The original painting is in the Tate Gallery, London. 

"5 



SAMUEL COUSINS, R.A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, June 10, 1847: 200 Artists' proofs; 200 Proofs before letters; 
100 Lettered proofs. 

190. FROM DAWN TILL SUNSET. After Thos. Faed. 

A scene in the room of a cottage, containing persons of all ages. An infant 
lies in his mother's lap, two boys play on the floor one of them with an 
hour glass a boy and a girl, rather older, have just entered by the door on r., 
the boy wearing cap and muffler, the girl carrying a basket and an umbrella ; 
on 1. sits a middle-aged man in serious thought, facing towards a bed on 
which lies an aged person whose r. hand can be seen, and beside which a 
young woman kneels weeping. 22 by 30^. 

Preliminary etching. In fine italic scratched lettering: " Painted by T. Faed A.R.A. 
Etched by Alf d Smith." B.M. 

I. The subject finished. In fine italic lettering above subjeft: "London Published 
Feb. I st 1864, by Henry Graves & C the Proprietors Publishers to the Queen 
6 Pall Mall." B.M.; Mr. J. Cbarrington. 

An impression was exhibited at the Royal Academy in 1864 (No. 824). 

Of this plate the following impressions were declared at the Printsellers' 
Association, January 12, 1864: 575 Artists' proofs ; 25 Presentation proofs ; 
100 India proofs before letters; 200 Plain proofs before letters; and 
Prints. 

191. MITHERLESS BAIRN, THE. After Thomas Faed. 

A scene in a country kitchen. On 1. sits a mother nursing a baby and with 
a boy beside her; towards centre stands a deaf grandmother holding a young 
girl by the hand, and by the girl is a chubby boy; the bairn, in ragged 
clothes, has entered by an open door r. and stands falteringly beside an 
armchair, his handkerchief bundle on the ground. 2if by 31-^. 

In fine italic lettering in upper r. corner of plate: "London; Published by Henry 
Graves & Compy Nov r 6. 1860, Printsellers to the Queen 6 Pall Mall." B.M.; 
Mr. J. Charrlngton; Mr. E. F. Sheppard. 

An impression was exhibited at the Royal Academy in 1861 (No. 945)- 

Of this plate the following impressions were declared at the Printsellers' 
Association, October, 1860: 475 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 100 Lettered proofs; and Prints. 

192. MATER DOLOROSA. After Frederick GoodalL 

A mother, in loose black robe over a white robe, and with black veil over her 
head, is seen nearly w.l., with hands clasped before her, standing, dir. towards 
r., and leaning against a stone wall in an Eastern city ; streaks of light of 
the setting sun to 1. 

116 



A MIDSUMMER NIGHT'S DREAM 
1857 

AFTER SIR E. LANDSEER, R.A. 



CATALOGUE OF SUBJECTS 

Inl. lower corner of subject is the monogram " F. G." and the date Cc i868." 
In r. lower corner, the monogram " S. C." 2if by 15. 

In fine italic lettering above subject: "London, Published July I st 1869; by 
E. Gambart & C I King Street, S* James's Square " E.M.; Mr. J. Cbarrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December, 1868: 300 Artists' proofs; 25 Presentation proofs; 
too Proofs before letters; 300 Lettered proofs; 1,000 Prints. 

193. MATER PURISSIMA. After Frederick Goodall. 

A young mother, nearly w.l., standing, dir. and facing 1., wearing loose 
flowing robe and long white veil over her head, holding to her bosom a pair 
of doves; decorated wall behind, hanging lamp in upper 1. corner. 
In lower 1. corner of subject the monogram " F. G." and the date " 1868." 
In r. lower corner, the monogram " S. C." 2 if by 15. 

In fine italic lettering above subject: "London; Published July I st 1869; by 
E. Gambart & C i, King Street S fc James's Square." E.M.; Mr.J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December, 1868: 300 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 300 Lettered proofs; 1,000 Prints. 

194. LITTLE POUTER, THE. After Gustave Greux. 

To waist, a child, in an oval frame, facing and looking f. ; light curly hair, 
light frock, a bib attached to frock with one side unfastened. She is sitting 
in a chair with a barrier in front of her. 9 by 8. 

I. In small italic lettering above subject : "London Published November I st 1880 by 
Thomas M c Lean, 7, Haymarket." B.M.; Lord Westbury; Mr. J. Cbarrington; 
Mr. E. F. Sheppard. 

II. In fine italics: "Painted by Greuse [sic]. London Published November I st 
1880 by Thomas M c Lean, 7, Haymarket. Engraved by Sam 1 Cousins, R.A." In 
script lettering: "The little Pouter." Messrs. Graves and Co. 

Of this plate the following impressions were declared at the Printsellers' 
Association, October 20, 1880: 200 Artist's proofs; 25 Presentation 
proofs; 200 Lettered proofs ; and Prints. 

195. GOLDEN PIPPIN, A. After J. B. Greuze. 

To waist, a young girl, dir. 1., looking f., leaning forward with arms on 
table before her to 1. ; apple on flat stone on table. 1 1 by 8f . 

In fine italic lettering above subjedt: "London, Published April 25. 1882 by 
Tho 8 M c Lean, 7 Haymarket & P. & D. Colnaghi & C Pall Mall East." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, February 28, 1882: 400 Artist's proofs; 25 Presentation 
proofs; 50 Proofs before letters; 200 Large Paper proofs; and Prints. 



SAMUEL COUSINS, R.A. 

196. NINETTE. After J. B. Greuze. 

A young girl, seen to waist, dir. towards 1., looking f.; band of ribbon in 
hair, bodice open at neck. io by 8f. 

In fine italic lettering above subject: "London Published Dec r I st 1880 by The 
Fine Art Society (limited) 148 New Bond St." Lord Westbury. 

Of this plate the following impressions were declared at the Printsellers' 
Association, September 16, 1880: 325 Artist's proofs; 25 Presentation 
proofs; 200 Proofs before letters; and 200 Lettered proofs. 

197. MESSAGE FROM THE SEA, A. After Henry Howard. 

A young girl, kneeling on the seashore, holding shells in her lap with her 
1. hand, and, with her r., holding up a shell to her 1. ear. 13 by 10^. 

I. Before any inscription. Lord Westbury. 

II. In small italic lettering abovesubjed: " London, Published 4, February, 1878, by 
P. & D. Colnaghi & C 13 & 14, Pall Mall East." EM. 

The title for this print was suggested to Messrs. P. and D. Colnaghi by the 
Earl of Beaconsfield. 

Of this plate the following impressions were declared at the Printsellers' 
Association, February 12, 1878: 300 Artist's proofs; 25 Presentation 
proofs; 50 Proofs before letters; 100 Lettered prints. 

This subject was also mezzotinted by J. C. Easling, a pupil of Charles 
Turner, with the title: " Girl picking up shells on the coast." Size of the 
work 13^ by 10. 

198. BEAUTY'S BATH. After Sir E. Landseer. 

Portrait of Eliza, younger daughter of Sir Robert Peel, afterwards the 
Hon. Mrs. Stonor; died 1883. 

W.L., a young girl, standing with bare feet on stone step with water in 
front of her on which floats a rose; dir. very slightly r., looking f. ; holding 
a spaniel in her arms; sponges in vase 1., brushes and hand mirror r.; cur- 
tains in background. The upper corners of subject rounded. 2o| by 13^. 

I. Before any inscription. EM. 

II. In fine upright capitals: "Painted by Edwin Landseer, R.A. Engraved by 
Samuel Cousins, A. R.A. London Published March io th 1847, by Henry Graves 
& CompJ Printsellers to the Queen & Prince Albert, 6, Pall Mall, Paris Goupil, 
Vibert & C Depose " Messrs. Graves and Co. 

III. Title added in fine script lettering: "Miss Eliza Peel." To 1., in fine script 
lettering: "Proof." Messrs. Graves and Co. 

IV. With the title: "Beauty's Bath." Note by Mr. Algernon Graves. 

An impression was shown at the Royal Academy of 1847 (No. 1060): 
" Portrait of Miss Eliza Peel." 

118 



CATALOGUE OF SUBJECTS 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 17, 1847, by Messrs. H. Graves and Co.: 163 Artists' 
proofs; 1 84 Proofs before letters; 1 127 Proofs before letters; 2 74 India 
proofs; 2 and Prints. 

199. BOLTON ABBEY IN THE OLDEN TIME. 

After Sir E. Landseer. 

Scene at the portal of the abbey ; the prior with letter in 1. hand and book 
under r. arm, and attended by a monk carrying flagons on a salver, is 
inspecting the provisions for the larder deer and birds which lie strewn 
upon the ground; a man on 1. kneels and holds the dead deer, a youth on r. 
carries two birds at his back, a young woman near him holds a board on 
which lie fish; to 1. two dogs in leash, and above them a smoking censer 
hanging to the wall. 22! by 281. 

Preliminary etching; before any inscription. B.M. 

I. The subject finished. Before any inscription. Lord Westbury. 

II. In fine italic scratched lettering: "Painted by Edwin Landseer, R.A. En- 
graved by Samuel Cousins, A. R.A. London, Published May I st 1837, by Thomas 
Boys, Printseller to the King, XI, Golden Square." Sale at Christie's, June 26, 
1883. [There were only six or eight impressions taken with this date one day's printing. 
As the metal plate had not "got into work" these few impressions are not of very brilliant 
quality.] 

III. As published. The date altered to "May g th 1837." B.M.; Mr. E.O.Schneider. 

IV. The inscription erased. The Devonshire arms, and motto: " Cavendo Tutus," 
added in centre of inscription space. In open upright capitals: "Painted by Edwin 
Landseer, R.A. Engraved by Samuel Cousins, A. R.A." In large open upright 
capitals: "Bolton Abbey in the Olden Time." In open Gothic lettering: "To the 
Most Noble" In fine script lettering: "William Spencer Cavendish Duke of Devon- 
shire. K.G. &c. &c." In open Gothic lettering: " This Engraving from the Original 
Picture in the possession of His Grace" In fine script lettering: "Is by special per- 
mission most respectfully dedicated by the Proprietor Thomas Boys " In upright 
fine capitals: "London, Published May 9, 1837, by Thomas Boys Printseller to His 
Majesty XI Golden Square." To 1. in fine italic capitals: "Proof." Messrs. Graves 
and Co. 

V. The word Proof erased. A line added along the centre of each letter of the title. 
In this state the plate was printed from until much worn. Messrs. Graves and Co. 

1 Marked " W. W." on face. Marked also on back: " Verified Proof. Printsellers' 
Association. W. Walter, Secy ". 

2 Stamped on the left. 

In reference to the above notes i and 2 it may be explained that " Beauty's Bath " 
was the first plate of which impressions were sent to the Printsellers' Association to be 
stamped. At the time, the stamp had not been sent in by the makers; and as the proofs 
were wanted quickly by the publishers, the Secretary of the Association marked them 
in pencil, as stated in note i. The stamp was delivered before the impressions in all the 
states were verified, so some of the impressions in the later states were impressed with 
the Association's stamp in the ordinary course. This verifying of the proofs by hand 
was not done in any other plate that came within the scope of the Association. 



SAMUEL COUSINS, R.A. 

VI. The plate re-worked by Samuel Cousins. Arms and motto as before. The in- 
scription of state IV repeated, except that the line of title: "Bolton Abbey in the 
Olden Time," is in fancy lettering; and that in the line of Gothic lettering: "This 
Engraving from the Original Picture in the possession of His Grace," a line has 
been added along the centre of each letter. To 1. in italic capitals: "First Class." 
Messrs. Graves and Co. 

VII. The words First Class erased. In this state the plate was again printed from 
until much worn. B.M. 

VIII. The plate again repaired, this time by Charles Tomkins. The inscription and 
arms erased. Instead, in script lettering: "Painted by Sir Edwin Landseer, R.A. 
Engraved by Samuel Cousins, R.A. London, Published 8 th May 1858 by Henry 
Graves & CompS' 6 Pall Mall." Messrs. Graves and Co. 

IX. Title added, in script lettering, towards r.: "Bolton Abbey in the Olden Time." 
Messrs. Graves and Co. 

X. Print state in imitation of state IV, with line of publication: " London Published 
May 9 th , 1839, by Thomas Boys; Printseller to her Majesty, xi Golden Square." 
Messrs. Graves and Co. 

An impression was shown at the Royal Academy of 1837 (No. 954). This 
was the first time Cousins exhibited. J. H. Anderdon notes: "This print 
attracted much attention, and as ' proofs,' much money. At length too 
many made their appearance at once, and down went the market. After 
twenty years, proofs are valuable again. 5 ' This note would be made in about 
the year 1857. 

CONNOISSEURS, THE. After Sir E. Landseer. 

See LANDSEER (Catalogue of Portraits, No. 99). 

200. MAID AND THE MAGPIE, THE. After Sir E. Landseer. 

Scene in a farm building. A milkmaid is milking a cow and watching a 
magpie pecking at a spoon in one of two wooden shoes in 1. foreground ; to 
r. two goats and a calf; a man standing outside the building is looking 
towards the maid; buildings and a church spire in distance. 28^ by 24. 

In fine italic lettering above subject: "London, Published August 22 nd 1862; by 
Henry Graves & C the Proprietors: Publishers to the Oueen 6 Pall Mall." 
B.M.; Mr. J. Charrlngton; Mr. E. 0. Schneider; Mr. E. F. Sheppard. 

An impression was exhibited at the Royal Academy in 1863 (No. 950). 

Of this plate the following impressions were declared at the Printsellers' 
Association, September 24, 1862: 725 Artists' proofs; 25 Presentation 
proofs; 250 India proofs before letters; 250 Plain proofs before letters; and 
Prints. 

The original picture is in the Tate Gallery, London. 

1 2O 



THE STRAWBERRY GIRL 

1873 

AFTER SIR J. REYNOLDS, P.R.A. 



CATALOGUE OF SUBJECTS 

201. MIDSUMMER NIGHT'S DREAM, A. After Sir E. Landseer. 

Bottom is seated on the ground in the centre, with one shoe off, and is 
caressed by Titania who reclines on 1. beside him, her 1. arm through his r. 
arm, and a rose in her r. hand; an elf, undraped, stands in front and looks 
up at Bottom's ass's head; rabbits and fairies on r. 21 by 34^. 

Preliminary etching. In fine italic lettering: " Painted by Sir Edwin Landseer, R.A. 
London, Published Aug. 12, 1856, by Henry Graves & Comp^ -Printsellers to Her 
Majesty 6 Pall Mall. Engraved by Samuel Cousins, R.A." B.M. 

I. The subject finished, the inscription erased. Mr. J. Charrington (engraver' s proof ). 

II. As published. In fine scratched lettering: "London, Published November 9 th 
1857, by Henry Graves & CompJ 1 6 Pall Mall." Mr. E. O. Schneider; Mr. E. F. 
Sheppard. 

III. The inscription erased ; instead, in fine italic, and title in open upright, lettering: 
" Painted by Sir Edwin Landseer, R.A. New York, Published by M. Knoedlcr, 
Broadway, Jan^ I st 1858; and Entered according to AcT: of Congress in the Clerk's 
Office of the District Court of the United States of the Southern District, of New 
York. Engraved by Samuel Cousins, R.A. Midsummer Nights Dream. London; 
Published Jan-^ i, 1858; by Henry Graves & Comp y Publishers to the Oueen 
6 Pall Mall." B.M. 

An impression was exhibited at the Royal Academy in 1858 (No. 1120). 

Of this plate the following impressions were declared at the Printsellers' 
Association, December, 1857: 625 Artists' proofs; 25 Presentation proofs; 
300 Proofs before letters; 300 Lettered proofs; and Prints. 

202. PIPER AND A PAIR OF NUTCRACKERS, A. 

After Sir E. Landseer. 

Two squirrels on the trunk of a tree, eating nuts; and beside them, on a thin 
bough to 1., a bullfinch singing. 23 by i8f. 

In fine italic lettering above subject: "London, Published Aug. I st 1865, by 
Henry Graves & C the Proprietors, Publishers to the Oueen 6 Pall Mall " B.M.; 
Mr. J. Charrington; Mr. E. 0. Schneider (signed"]?. Landseer"). 

Of this plate the following impressions were declared at the Printsellers' 
Association, August 3, 1865: 950 Artists' proofs [728 were stamped]; 25 
Presentation proofs; 200 Proofs before letters; 200 Lettered proofs; and 
Prints. 

203. RETURN FROM HAWKING. After Sir E. Landseer. 

A lady in dark riding habit, on a black horse, holding a girl on her lap and 
with a riding whip in 1. hand, has stopped by a doorway on r., behind which 
is a circular stone staircase; a man, whose gray horse is held by a lad, stands 
in conversation with the lady. To 1. is a falconer who carries a number of 
hawks on a stand, and holds one aloft on his 1. hand ; a girl is touching one 
of the hawks with a feather ; dogs r, and 1. ; in background is an archway 
through which can be seen an avenue of trees ending in a distant gateway. 

22 by 34^. 
Preliminary etching. B.M. 

121 R 



SAMUEL COUSINS, R.A. 

Preliminary etching, more advanced. In fine italic scratched lettering: " Painted by 
Edwin Landseer, R.A. Etched by Samuel Cousins, A.R.A. London, Published 
Dec r II th 1838, by F. G. Moon, Printseller by Special Appointment to Her Majesty 
& Her Royal Highness the Duchess of Kent, 20, Threadneedle Street." 7. and A. 

I. As published. The plate finished. The lettering and date as in preliminary 
etching. Buccleuch Sale, March 8, 1887. 

II. The lettering all erased. Mr. Algernon Graves has had two impressions through 
his hands. 

III. In fine script lettering: "Painted by Edwin Landseer, R.A. Engraved by 
Samuel Cousins, A.R.A. "London Published Oft r 28 th 1839, by F. G. Moon, 
Printseller by Special Appointment to Her Majesty, & Her Royal Highness the 
Duchess of Kent, 20, Threadneedle Street," Mr. J. Charrington. 

IV. Arms in centre of inscription space, motto: "Sic Donee." In several styles of 
open and fine lettering, the title in large open upright capitals: " Painted by Edwin 
Landseer, R.A. London, Published Feb? 28, 1840, by F. G. Moon, Printseller by 
Special Appointment to Her Majesty & H.R.H. The Duchess of Kent, 20, Thread- 
needle Street. Engraved by Samuel Cousins, A.R.A. Return from Hawking. To 
The Lord Francis Egerton, this Engraving from the Original Pifture in his Lord- 
ships Collection, (Containing Portraits of his Lordships Family.) Is with Per- 
mission most respectfully dedicated by his Lordship's most Obedient Servant. Fra 8 
Grah Moon." B.M. 

V. The lettering slightly strengthened, a line added along the centre of each letter 
of the title. Messrs. Graves and Co. 

VI. Publication erased, instead, Published by Thomas Boys (of the late firm of 
Moon, Boys and Graves). Note by Mr. Algernon Graves. 

204. SAVED! After Sir E. Landseer. 

A large Newfoundland dog, turned towards 1., has just brought a child to 
a pebbly shore by a breakwater, and the child lies motionless on its back on 
the forepaws of the dog; three gulls flying, and a steamer out at sea in 
distance. 2of by 31^. 

In fine italic lettering in upper r. corner of Plate: "London May i, 1859, Pub- 
lished by Henry Graves & CompV 6, Pall Mall." B.M.; Mr. J. Charrington; 
Mr. E. 0. Schneider; Mr. E. F. Sheppard. 

An impression was exhibited at the Royal Academy in 1859 (No. 1206). 

Of this plate the following impressions were declared at the Printsellers' 
Association, December, 1858: 675 Artists' proofs; 25 Presentation proofs; 
250 Proofs before letters; 250 Lettered proofs; and Prints. 

205. NATURE. After Sir T. Lawrence. 

Portraits of Emily and Laura Calmady, daughters of Charles B. Calmady 
of Langdon Court, Devon. Laura died unmarried, August 10, 1894. 

Two young girls, in a circular frame; the younger, on 1., almost w.I., her 
r. hand at back of neck, her 1. hand raised; the elder, on r., seen to waist, 
looking into her sister's face and supporting her with her r. arm. 7^ by 7. 

122 



CATALOGUE OF SUBJECTS 

I. Before any inscription. 

II. In fine italic lettering: " Sir Tho s Lawrence, P.R.A. Samuel Cousins." To 1. : 
" I 8t Proof." At foot: "London, Published August i, 1835, by Hodgson Boys & 
Graves, Printsellers to the King, 6, Pall Mall." Mr. E. E. Leggatt (Cousins' 1 ; own 
impression] ; Mr. F. Falkner. 

III. With title added in centre, in fine script lettering: "Nature." Mr. E. F. 
Skeppard. 

IV. In fine italic lettering: " Sir Tho 8 Lawrence, P.R.A. Samuel Cousins. London 
Published Sept r i, 1835, by Hodgson Boys & Graves Printsellers to the King 6 Pall 
Mall." Tor., in fine italics: "Nature." C.; Mr. J. Charrington; V. and A. 

V. The inscription erased; instead, in fine upright lettering: "Sir Thomas Law- 
rence, P.R.A. Samuel Cousins. London, Published Sept' i. 1835, by Hodgson, 
Boys & Graves, Printsellers to the King, 6, Pall Mall." In upright open letters in 
centre of inscription space: "Nature." B.M.; C. 

One of the plates to the volume of" Engravings from The Choicest Works 
of Sir Thomas Lawrence, P.R.A." 

D. E. Williams, in his " Life and Correspondence of Sir Thomas Lawrence " 
(2 vols., 1831), describes the painting of the picture of the Calmady children 
(vol. ii., p. 337), and relates that from a strong desire to paint the children, 
Lawrence undertook the work at a reduced fee, saying: " Well, we must 
say one hundred and fifty pounds, for merely the two little heads in a circle, 
and some sky." He set to work, "and never did artist proceed with more 
increasing zeal and pleasure. . . . The children caught his amiable humour, 
and played with him as with la bonne nourrice. . . . Having once fed the 
children with their dinner, as they sat on his knees, he drew to the table to 
take his luncheon; but when he rose, to his surprise he found the child had 
got hold of his palette and paints, and with her hands had daubed her face 
in a ludicrous manner. When Mrs. Calmady entered the room, she was 
surprised, until she knew the cause, to find Sir Thomas and his servant 
busily employed, not in painting, but in washing the child. . . . When the 
painting was finished Sir Thomas declared, ' This is my best picture. I have 
no hesitation in saying so my best picture of the kind, quite one of the 
few I should wish hereafter to be known by.' " 

206. BIONDINA. After Lord Leighton. 

To waist, a girl, dir. and facing 1. ; dark cuirass bodice, with bows at shoulders 
and bosom, over white dress. 1 2^ by 9^. 

I. In fine italic lettering above subjeft: "London Published, July i st i88ibyTheFine 
Art Society (Limited) 148. New Bond Street." Mr. J. Charrington. 

II. " Proofs before letters," i.e., before the title. 

III. The inscription of State I. erased; instead, in fine italic lettering below subjedl: 
" Painted by Sir F. Leighton. P.R.A. Engraved by Sam 1 Cousins. R.A. Biondina. 
London. Published July I st 1881 by The Fine Art Society (Limited) 148. New 
Bond Street." B.M. 

I2 3 



SAMUEL COUSINS, R.A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, July i, 1881: 50 Artists' proofs on satin; 275 Artists' proofs; 
25 Presentation proofs; 200 Before letter proofs; 200 Lettered proofs; and 
Prints. 

207. MORETTA A VENETIAN GIRL. After Lord Leight on. 

To waist, a young woman, dir. facing and looking 1. ; plain dark dress open 
at throat and with lace edging. 13-^ by 9^. 

I. In fine italic lettering above subject. At top of plate: " Entered according to Act 
of Congress in the Year of 1876 by William Schans (sic) in the Office of the 
Librarian of Congress at Washington." Immediately above subjedt : " London 
Published July 28 th 1876 by Arthur Lucas, the Proprietor, 49, Wigmore Street, 
Cavendish Square W." Mr. jf. Charrington ; Lord Westbury; Mr. E. F. Sheppard. 

II. " Proofs before letters," i.e., before the title. 

III. Inscription erased; instead, in fine upright lettering below subject: " Painted by 
Fred k Leighton. R.A. London: Published July 28 th 1876. by Arthur Lucas. The 
Proprietor. 49. Wigmore Street. Cavendish Square. W. Engraved by Sam 1 Cousins. 
R.A." In fine script lettering: " Moretta A Venetian Girl. Engraved from the 
Original Pifture in the possession of A. Harris Esq rc " In fine upright lettering: 
" Entered according to Ad of Congress in the Year of 1876, by William Schaus, in 
the Office of the Librarian of Congress at Washington." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 31, 1875: 375 Artists' proofs; 25 Presentation 
proofs; 100 Before letter proofs; 300 Lettered proofs; and Prints. 

208. ZEYRA. After Lord Leighton. 

A young girl, to waist, dir. and facing f., wearing a hood, and holding an 
apple to waist with r. hand. 12^ by lof. 

In fine italic lettering above subject: "London Published May I st 1883 by The 
Fine Art Society (limited) 148, New Bond Street" B.M.; Mr. J. Charrington; 
Mr. E. F. Sheppard. 

Of this plate the following impressions were declared at the Printsellers' 
Association, June 4th, 1883: 350 Artists' proofs; 25 Presentation proofs; 
50 Proofs before letters; 50 Lettered prints. 

209. VICTORIA, QUEEN, RECEIVING THE SACRAMENT AT 
HER CORONATION. After C. R. Leslie. 

The scene is in Westminster Abbey. On the 1. is the altar on which the 
Coronation Plate is displayed, and by which are an ecclesiastic holding a 
chalice, and three officers of state. The Archbishop of Canterbury, with his 
back to the altar, is administering the bread to the Queen who kneels before 
him, her hands placed on her bosom. The right portion of the subject is 
filled with ladies and some noblemen, and among them the coronation chair 
can be seen. Rays of light stream down from the upper r. corner. Royal 
arms with mottoes in centre of inscription space. 22f by 43!-. 

124 



SIMPLICITY 
1875 

AFTER SIR J. REYNOLDS, P.R.A. 



CATALOGUE OF SUBJECTS 

I. In fine italic lettering: " Painted by Charles Robert Leslie, R. A. London; Pub- 
lished May I st 1843, by F. G. Moon, Threadneedle Street, Publisher in Ordinary 
to Her Majesty. Engraved by Samuel Cousins, A.R.A." In fine script lettering: 
"The Queen receiving the Sacrament at Her Coronation." B.M. 

II. Inscription erased; instead, in fine script lettering: "Painted by Charles Robert 
Leslie, R.A. Engraved by Samuel Cousins, A.R.A. The Queen receiving the Holy 
Sacrament at Her Coronation in Westminster Abbey, June 28, 1838. To the 
British Nation, this Historical Engraving is respectfully dedicated by Thomas Boys." 
In fine upright lettering: "London, Republished Feb^ 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 9, Rue D'Orleans au Marais Depose 
Originally Published May i, 1843." 7. and A. 

An impression was shown at the Royal Academy in 1843 (No. 1150). 

210. ORPHAN, THE After H. Liverseege. 

This is a portrait of Anne, eldest daughter of John Chancellor, carriage 
builder, of Kensington. She became the wife of Sir Francis Graham Moon, 
the printseller, whom she married in 1818; died May 24, 1870. 

A young woman, dressed in black, seated in an armchair, a veil depending 
from back of head, ribbon round neck with long ends, hands in lap. 

8f by 6-1, 

I. In fine italic scratched lettering: " H. Liverseege Samuel Cousins The Orphan 
London, Published Fefay i, 1831, by Moon, Boys & Graves, Pall Mall, & J. C. 
Grundy, Manchester." To 1.: " Proof." B.M. (in the volume of" Engravings from 
the Works of Henry Liverseege"),- Mr. J. Charrington; Mr. E. E. Leggatt. 

II. The inscription erased; instead, in light upright, open, and italic lettering: " H. 
Liverseege. Samuel Cousins. The Orphan. To John Bentley, Esq re of Birch 
House. One of His Majesty's Justices of the Peace for the County of Lancaster, 
&c. &c. This print from the Original Picture in his Collection is respectfully dedicated 
by The Publishers. London, Published March i, 1834, by Moon, Boys & Graves, 
6, Pall Mall, & J. C. Grundy, Manchester." B.M. 

211. VISIONARY, THE. After H, Liverseege. 

This is a portrait of Anne Eaton, who, in 1841, married John Leech the 
caricaturist. The picture was painted before her marriage. 

A young woman, seated at a window, turned to 1.; 1. hand on r., which is 
placed on open book on knee. 8| by 6^. 

I. In fine scratched italic lettering: "H. Liverseege. Samuel Cousins The 
Visionary. London, Published June i, 1833, by Moon, Boys & Graves, & J. C. 
Grundy, Manchester." B.M. (in the volume of " Engravings from the Works of 
Henry Liverseege ") ; Mr. jf. Charrington ; Mr. E. E. Leggatt. 

II. The inscription erased. Instead, in light upright, open, and italic lettering: "H. 
Liverseege. Samuel Cousins. The Visionary. To Joseph Marsland, Esq r Man- 
chester. This print from the Original Picture in his Collection, is respectfully 
dedicated by The Publishers. London, Published June I. 1833, by Moon, Boys & 
Graves, 6, Pall Mall ; and J. C. Grundy, Manchester." B.M. 

i2 5 



SAMUEL COUSINS, R.A. 

212. PLAYMATES. After H. Merle. 

A child, seen to knees, sitting, dir. towards r., looking f., shoulders bare, 
hugging a tabby kitten. 9-^ by 8. 

I. In fine italic lettering above subject : " London, Published by Thomas MLean, 
7, Haymarket, June I st 1877." Mr. J. Cbarrington , Mr. E. F. Sheppard. 

II. "Proofs before letters," i.e., before the title. 

III. The inscription erased. In fine upright lettering beneath subject: " Painted, by 
H. Merle, Engraved by Samuel Cousins, R.A." In fine italic lettering: "'Play- 
mates.' Engraved from the Original Picture in the Collection of Jose d Murrieta 
Esq re and respectfully dedicated to Madame d Murrieta by Her most Obedient 
Servant Thomas McLean London Published by Thomas MLean, 7, Haymarket, 
June I st 1877." B.M.; Mrs. Wynne Finch. 

An impression was exhibited at the Royal Academy in 1877 (No. 1281). 

Note. False proofs of this plate exist. They were issued by a dealer who 
bought the plate, erased the lettering, and had a facsimile of Cousins' s name 
scratched on the right of the inscription space. These late impressions do 
not bear the stamp of the Printsellers' Association. 

Of this plate the following impressions were declared at the Printsellers' 
Association, April 17, 1877: 350 Artists' proofs; 25 Presentation proofs; 
50 Proofs before letters; 200 Lettered proofs; and Prints. 

213. CHERRY RIPE. After Sir J. E. Millais. 

A young girl, wearing mob cap, white frock, and black mittens, sitting on a 
large log with her hands joined in her lap; cherries lying on leaf on log 
beside her; background of foliage. 2oJ by 14. 

I. In fine italic lettering above subject: " London, Published by Thomas MLean, 
7 Haymarket, T. Agnew & Sons, Manchester and The Fine Art Society, Bond 
Street. Nov r 24 th 1881." B.M. 

II. " Proof before letters," i.e., before the title. 

III. The inscription above subject erased; instead, in fine italics beneath: "Painted by 
I. E. Millais, RA. London, Published by Thomas M c Lean, 7 Haymarket, Novem- 
ber 24* 1881. Engraved by Samuel Cousins RA T. Agnew & Sons, Manches- 
ter and the Fine Art Society, Bond Street." In fine script lettering towards r. : 
" Cherry Ripe." Mrs. Wynne Finch. 

Miss Edie Ramage was the model for this picture. 

Of this plate the following impressions were declared at the Printsellers' 
Association, November 3, 1881: 425 Artists' proofs; 25 Presentation 
proofs; 50 Proofs before letters; 200 Lettered proofs. 

214. LITTLE MISS MUFFIT. After Sir J. E. Millais. 

W.L., a young girl, sitting on a bank with water in foreground, holding a 
basin of curds and whey in her lap with r. hand ; looking towards 1. at the 

126 



CATALOGUE OF SUBJECTS 

spider in his web among foliage. In r. lower corner, Millais' monogram and 
the date 1884. 18 by I2-|. 

Engraved by T. L. Atkinson and S. Cousins. 

In fine italic lettering above subject : "London Published September I st 1885 by 
Thomas M c Lean, 7, Haymarket." Mr. McLean (on Impression is written in pencil 
by the artists: " J. E. Millais " " T L Atkinson " " assisted by Sam 1 Cousins"}. 

Of this plate the following impressions were declared at the Printsellers' 
Association, September 22, 1884: 300 Artists' proofs; 25 Presentation 
proofs; 50 Proofs before letters; 200 Lettered proofs; and Prints. 



215. MINUET, THE. After Sir J. E. Millais. 

W.L., a young girl, standing in a room, dir. and facing f., looking slightly 
1.; pearls and flowers in hair, black ribbon round neck with cross attached, 
hands holding her skirt out wide, her r. heel placed against her 1. foot; a 
lady sitting on 1. playing a piano; teapot, cups and saucers on chair r. ; 
tapestry in background with subject of a banquet and dancing. The upper 
corners of subject are rounded. 23-^ by 



I. In lower 1. corner of subject, the monogram " H. G. " surmounted by a crown; 
in lower r. corner, the monogram "J. M. " and the date "1866." In fine italic 
lettering above subject: "London; Published July 17 th 1868; by Henry Graves & 
C the Proprietors, Publishers to H.M. the Queen, and T.R.H. the Prince & 
Princess of Wales : 6 Pall Mall. Copyright Registered." B.M.; Lord Westbury. 

II. The date below the monogram " J. M. " altered to "1868." Mr. J. Charrington. 
Miss Effie Millais (Mrs. James) was the model for this picture. 

Of this plate the following impressions were declared at the Printsellers' 
Association, July 25, 1868: 100 Artists' proofs, "1866 in the Millais 
monogram "; 25 Presentation Proofs; 400 Artists' proofs; 200 India proofs 
before letters; 100 India lettered proofs; and Prints. 

216. NEW LAID EGGS. After Sir J. E. Millais. 

Nearly w.l., a young woman, in flowered dress with short sleeves, carrying 
a basket containing eggs on 1. arm; dir. 1., looking towards f.; reaching 
forward with r. hand to take eggs from a hutch on 1. ; a hen sitting in a 
hutch on r.; a large wicker basket in 1. foreground. 19^ by 13^. 

In fine italic lettering above subject: " London ; Published March 5 th 1875, by T. 

Agnew and Son's [sic] Proprietors, 5, Waterloo Place, Copyright. Registered 

Entered according to Act of Congress in the Year 1875, by W m Schaus in the Office 
of the Librarian of Congress at Washington." B.M.; Mr. J. Charrington. 

An impression was exhibited at the Royal Academy in 1875 (No. 1107). 

Miss Effie Millais (Mrs. James) was the model for this picture. 

I2 7 



SAMUEL COUSINS, R.A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, February n, 1875; 5 Artists' proofs;' 25 Presentation 
proofs; 300 Proofs before letters; 300 Lettered proofs; India prints; and 
Plain prints. 

217. ORDER OF RELEASE, THE. After Sir J. E. Millais. 

A Scotchman, whose r. arm is in a sling, has bowed his head on the r. 
shoulder of his wife, who carries a child, and with his 1. arm he enfolds her. 
She stretches out her r. arm and hands the order of release to a gaoler, who 
stands by an open door 1., two keys hanging from a chain held in his r. 
hand; a large collie dog has raised himself on his hind legs and is licking 
the prisoner's r. hand. The subject is circular at top. In lower 1. corner of 
subject: " S. Cousins"; in r. corner: "J. Millais, 1853." 25^ by 18. 

I. Before any inscription. Mr. J. Charrington. 

II. In fine italic lettering in upper r. corner of plate : " London, May I 6t 1 856, Pub- 
lished by Henry Graves & Comp^ Proprietors." E.M.; V. and A. 

Lady Millais was the model for the wife in this picture. The original 
picture is in the Tate Gallery, London. 

Of this plate the following impressions were declared at the Printsellers' 
Association, May i, 1856: 475 Artists' proofs; 25 Presentation proofs; 
375 Proofs before letters; 75 Lettered proofs; and Prints. 

218. PERFECT BLISS. After Sir J. E. Millais. 

W.L., a young girl, sitting on the ground among strawberry plants, dir. 1.; 
holding a strawberry in r. hand in lap, looking up at two butterflies 1.; an 
obelisk surmounted by an urn in background 1. 20^ by 14^. 

Engraved by T. L. Atkinson and S. Cousins. 

In fine italic lettering above subject to r. ; "London Published June I st 1886 by 
Thomas MLean 7, Haymarket." Mr. T. M c Lean (on impression is written in pencil 
by the artists : " J. E. Millais " " T L Atkinson " " assisted by Sam' Cousins "). 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 30, 1886: 300 Artists' proofs; 25 Presentation proofs; 
50 Proofs before letters; 200 Lettered proofs; and Prints. 

219. PICTURE OF HEALTH, THE. After Sir J. E. Millais. 

A young girl, seen to the knees, dir. and facing f., standing at the foot of a 
flight of stone steps, wearing small hat and winter coat, her hands placed 
within a dark muff. i8f by 



I. In fine italic lettering above subject: "London, Published Jan^ 24 th 1876, by 
Mess re Tho 8 Agnew & Son's (sic) the Proprietor's (tie) 5, Waterloo Place Copy- 
right Registered Entered according to Act of Congress in the Year 1876, by 
Mess ra Knoedler & C in the Office of the Librarian of Congress at Washington." 
B.M.; Mr. J. Charrington. 

II. " Proofs before letters," i.e., before the title. 

128 



THE PRINCES IN THE TOWER 
1879 

AFTER SIR J. E. MILLAIS, P.R.A. 
(By permission of the Fine Art Society, the owners of the copyright) 



CATALOGUE OF SUBJECTS 

III. With inscription added below subject. In fine upright capitals : " Painted by 
J. E. Millais, R.A. Engraved by Samuel Cousins, R.A." In open upright capitals 
with a line along the centre of each letter: "The Picture of Health." In fine 
upright lettering: "London, Published January 24* 1876: by Thomas Agnew & 
Sons, the Proprietors, 5, Waterloo Place, copyright Registered. Entered according 
to Aft of Congress in the Year 1876: by Mess rs Knoedler & C in the Office of 
the Librarian of Congress at Washington." B.M. 

Miss Alice MiJlais was the model for this picture. 

Of this plate the following impressions were declared at the Printsellers' 
Association, June 17, 1875: 500 Artists' India proofs; 25 Presentation 
proofs; 300 India proofs before letters; 300 Lettered India proofs; India 
prints; Plain impressions. 

220. POMONA. After Sir J. E. Millais. 

A young girl, nearly w.l., dir. in profile r., facing slightly towards f., stand- 
ing in an orchard, wearing mob cap and light dress; a barrow containing 
apples on r., an apple in her 1. hand. 17^ by 13. 

I. In fine italic lettering above subject: "London. Published Oct r 2 nd 1882 by 
Arthur Tooth & Sons, 5 & 6, Haymarket, S.W. & The Fine Art Society, New Bond 
Street, Copyright Registered Entered according to Aft of Congress in the Year 
1882 by Mess' rs Knoe'dler & C in the Office of the Librarian of Congress at Wash- 
ington." Mr. y. Cbarrington. 

II. Inscription erased; instead, in fine italic lettering below subject: " Painted by 
J. E. Millais, R.A. London, Published Odt r 2 nd 1882 by Arthur Tooth & Sons, 
5 & 6, Haymarket, S.W. & The Fine Art Society New Bond Street. Copyright 
Registered. Entered according to Act of Congress in the Year 1882 by Mess ra 
Knoedler & C in the Office of the Librarian of Congress at Washington. Engraved 
by S. Cousins, R.A." B.M. 

Miss Margaret Millais was the model for this picture. 

Of this plate the following impressions were declared at the Printsellers' 
Association, October 23, 1882: 475 Artists' proofs; 25 Presentation 
proofs; 250 Proofs before letters; 250 Lettered proofs; India prints; and 
Prints. 



221. PRINCES IN THE TOWER, THE. After Sir J. E. Millais. 

The two boys, in dark dress and with badges suspended from necks, stand 
at the foot of a circular stone staircase, their hands clasped. In 1. lower 
corner of subject, Millais's monogram and the date " 1878." 26^ by 



In fine italic lettering above subject: " London, Published March i6 th 1879, by The 
Fine Art Society (limited) 148, New Bond Street." B.M.; Mr. J. Charringtm; 
Mr. E. O. Schneider. 

An impression was exhibited at the Royal Academy in 1879 (No. 1253). 

Cousins's fee for engraving the plate was 1,600 guineas. 

129 s 



SAMUEL COUSINS, R.A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, February 18, 1879: 600 Artists' proofs; 25 Presentation 
proofs; 200 Proofs before letters; 300 Lettered proofs. 

222. YES OR NO? After Sir J. E. Millais. 

A lady, to the knees, standing, dir. and facing to 1., meditating; her hands 
joined behind her, and with photograph portrait of a gentleman in 1. hand; 
before her to 1. is a writing desk on which are a letter and papers, and a 
piece of Venetian glass. r 9 J 



I. In fine italic lettering above subject: "London, Published Oftober 20 th 1873, by 
Thomas Agnew & Sons, the Proprietors, 5 Waterloo Place, Copyright registered- 
Entered according to Aft of Congress in the Year 1873, by W m Schaus, in the 
Office, of the Librarian of Congress at Washington." Mr. J. Charrington. 

II. " Proofs before letters," i.e., before the title. 

III. "Lettered proofs," i.e., with the title in light script or open letters. 

IV. The inscription of State I. erased; instead, beneath subjecl, in fine upright letter- 
ing: "Painted by J. E. Millais, R.A. Enr/aved by Samuel Cousins, R.A." In open 
upright lettering, with a light line along centre of each letter: "Yes or No?" In 
fine upright lettering: "London; Published O&ober 2O th I 873; by Thomas Agnew 
& Sons, the Proprietors, 5 Waterloo Place, Copyright Registered. Entered accord- 
ing to A<ft of Congress in the Year 1873, by William Schaus in the Office of the 
Librarian of Congress at Washington." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, December 30, 1873: 375 Artists' proofs; 25 Presentation 
proofs; 200 Proofs before letters; 300 Lettered proofs; and Plain im- 
pressions. 

223. NO! After Sir J. E. Millais. 

This is a portrait of Dorothy (Tennant), Lady Stanley, widow of Sir Henry 
M. Stanley, the African explorer. 

To the knees, standing, dir. and facing r., looking down at a letter she holds 
in her 1. hand, a quill pen in her r. hand by her side; she wears a lace collar, 
and a dark dress with a single row of plain dark buttons down the front; 
a table r. with an open envelope and an ornamental square vase containing 
a plant; chair 1. 19! by 



I. In fine italic lettering above subjeft: " Published by Tho 8 Agnew & Sons, London 
Jan*" 29 th 1877 and Entered according to A6t of Congress in the Year 1876, by 
Mess rs Knoedler & C in the Office of the Librarian of Congress at Washington." 
Mr. J. Charrington. 

II. Inscription erased; instead, in fine italic lettering below subject: "Painted by J. 
Everett Millais, R.A. London, Published Jan* 29 th 1877, by Tho 8 Agnew & Sons, 
5, Waterloo Place Manchester and Liverpool. Engraved by Samuel Cousins, R.A. 
Entered according to Aft of Congress in the Year 1876, by Mess re Knoedler & C 
in the Office of the Librarian of Congress at Washington." B.M. 

130 



CATALOGUE OF SUBJECTS 

The original picture was sold at Messrs. Christie's, February 2Oth, 1904, 
for 780 guineas. 

Of this plate the following impressions were declared at the Printsellers' 
Association, June 17, 1875: 500 India artists' proofs; 25 Presentation 
proofs; 300 India proofs before letters; 300 India lettered proofs; India 
prints; and Plain prints. 

224. YES! After Sir J. E. Millais. 

A young man and woman, nearly w.l., standing, the former on 1., the latter 
on r., their hands clasped and looking into each other's eyes; she wears a 
flower in her hair, a black dress with a white fichu, and lace mittens; the 
man wears an overcoat with cape, and holds a cap with r. hand; his luggage 
is seen 1. 22^ by 17^. 

In fine italic lettering above subject: "London Published June I st 1878 by Thos 
Agnew & Sons, the Proprietors 37 Old Bond Street, Copyright Registered Entered 
according to Act of Congress by Mess rs Knoedler & C in the year 1878 at the 
Office of the Librarian of Congress at Washington." B.M. Mr. J. Charrington. 

For this picture Mr. Lionel Benson, a well-known vocalist, was the model 
for the man, and a professional model for the lady. 

Of this plate the following impressions were declared at the Printsellers' 
Association, April 18, 1878: 500 Artists' proofs; 25 Presentation proofs; 
200 Proofs before letters; 200 Lettered proofs; and Plain prints. 

225. SUNSHINE OF LOVE, THE. After Jean Raoux. 

A young lady, seen to the knees, leaning 1. elbow on table r., on which lies 
a small box with portrait of a gentleman; holding a letter open with both 
her hands, and reading it; a bright reflected light on face and bosom. 

12 by 9J. 

I. In open upright lettering: " Painted by John Raoux. Engraved by Samuel Cousins, 
A.R.A." To 1., in fine italics: "Depose a la direction." In fine upright lettering 
at foot of plate: " London, Published October 2 1837, by Thomas Boys, Printseller 
to His Late Majesty, XI Golden Square. A Paris Rittner & Goupil Boulevard 
Montmartre N 12.' Lord Westbury; Mr. E. E. Leggatt. 

II. With additional inscription. In open upright capitals: " The Sunshine of Love." 
In fine script lettering: "To Edward W. Lake Esq re this Engraving from the 
Original Picture in his Collection Is respectfully dedicated by his Obliged and 
Obedient Servant Thomas Boys." To 1.: "Proof". 

226. AGE OF INNOCENCE, THE. After Sir J. Reynolds. 

W.L., a young girl, dir. towards and facing in profile r., sitting on ground in 
the foreground of a landscape ; ribbon round head with bow on top, white 
frock, hands to bosom, bare feet. 14 by n-J. 

I. In fine italic lettering above subject: " London, Published by Thomas M c Lean, 
7 Hay market, May I st 1874." Mr. J. Charrington (on which Cousins has written in 
pencil: "4" Working Proof''). 



SAMUEL COUSINS, R.A. 

II. With publication line, in fine italic lettering above subject, changed to: " London, 
Published by Thomas MLean, 7 Haymarket, and P. & D. Colnaghi, 14 Pall Mall 
East, May I st 1874." Sale at Christie's, May 27, 1904. 

III. The inscription erased from above subject; instead, in small italic lettering 
below subject: " Sir Joshua Reynolds, P.R.A. London, Published by Tho 8 M c Lean 
7 Haymarket; and P. & D. Colnaghi, 14 Pall Mall, East, May I st 1874. Samuel 
Cousins, Esq re R.A." B.M. 

IV. The title added in scratched script lettering towards r.: "The Age of Inno- 
cence." Mrs. Wynne Finch. 

An impression was exhibited at the Royal Academy in 1874 (No. 1256). 
The original picture is in the National Gallery, London. 

Of this plate the following impressions were declared at the Printsellers' 
Association, May i, 1874: 275 Artist's proofs; 25 Presentation proofs; 
50 Proofs before letters; 200 Lettered proofs; and Prints. 

This subject was engraved in stipple by J. Grozer, in 1794 (81 by 7). 

227. MUSCIPULA. After Sir J. Reynolds. 

A young girl, seen to the knees, standing, facing and looking f., with both 
hands holding up a mousetrap containing a mouse, which a cat, on table 1., 
is looking at eagerly; distant house and trees seen through window 1. 

y ill. 



I. In small italic lettering above subject: "London Published by Thomas MLean. 
7. Haymarket. January. 10. 1879." Mr. J. Charrington. 

II. The inscription above subject changed to: "London, Published March I st 1879 
by Thos. Agnew & Sons, 39, Old Bond Street, and Thos. M c Lean, 7, Haymarket." 
B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, January 27, 1879: 350 Artist's proofs; 25 Presentation proofs; 
50 Proofs before letters; 200 Lettered proofs. 

This subject was engraved in stipple by John Jones, in 1786 (io by 9^). 

SIMPLICITY. See GWATKIN, THEOPHILA (Catalogue of Portraits, 
No. 78). 

228. STRAWBERRY GIRL, THE. After Sir J. Reynolds. 

Nearly w.l., a young girl, standing, dir. very slightly towards r., facing f. ; 
cloth twisted round head, light coloured frock, wicker basket on r. arm, 
hands clasped to waist; rock in background. 13! by lof . 

I. In small italic lettering above subject: " Published May I 8t 1873; byTho 8 Agnew 
& Sons, 5 Waterloo Place, London." E.M.; Lard Westbury, Mr. J. Charrington. 

II. " Proofs before letters," i.e., before the title. 

132 



SAMUEL COUSINS, R.A. 
1884 

AFTER EDWIN LONG, R.A. 
(By permission of the Fine Art Society, the owners of the copyright) 



CATALOGUE OF SUBJECTS 

III. The inscription of State I. erased, though traces of it can be seen. In fine italic 
lettering under subject: " Sir Joshua Reynolds, P.R.A. Published, May I st 1873, by 
Tho 8 Agnew & Sons, 5 Waterloo Place, London, Manchester, and Liverpool. Samuel 
Cousins Esq re R.A." In roughly scratched script lettering: " The Strawberry Girl." 
B.M. 

The original painting is in the Wallace Collection, Hertford House, 
London. 

Of this plate the following impressions were declared at the Printsellers' 
Association, April 26, 1873: 250 Artist's proofs; 25 Presentation proofs; 
100 India proofs before letters; 200 India lettered proofs. 

This subject was engraved in mezzotint by Thomas Watson, in 1774 (12^ 
by u). 

" SYLVIA." See FITZPATRICK, LADY ANNE (Catalogue of Por- 
traits, No. 60). 

WINTER. See MONTAGU, LADY CAROLINE (Catalogue of Por- 
traits, No. 113). 

229. IMPRISONED. After Briton Riviere. 

A young girl, with hair tied with black ribbon, standing by a high window, 
in which are two stained glass representations of arms, watching the snow 
falling; a large, light shaggy dog by her side; curtain to r. In lower r. 
corner of subject: " B Riviere." 24! by 19. 

In fine italic lettering above subject: "Published March I st 1880 by Tho 8 Agnew 
& Sons, London, Manchester and Liverpool; Copyright Registered; Entered 
according to Aft of Congress in the year i 880, by William Schaus in the Office 
of the Librarian of Congress at Washington." B.M.; Mr. J. Charrington ; Mr. 
E. F. Sheppard. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 13, 1880: 500 Artists' proofs on India paper; 25 
Presentation proofs; 100 Proofs before letters; 150 Lettered proofs; and 
Plain prints. 

230 COMEDY. After James Sant. 

A nearly circular subject. A lady is seen to the knees, sitting in a theatre box, 
dir. 1., facing more towards f. ; flowers in hair, light satin dress with low 
neck and short sleeves, bracelet on 1. wrist, r. hand holding open fan; pro- 
gramme and opera glasses before her, a lady and gentleman seen in another 
box in background 1. 15 by 



In fine italic lettering: " Painted by James Sant. Engraved by Sam 1 Cousins, 
R.A." B.M. 



SAMUEL COUSINS, R.A. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 28, 1856: 175 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 75 Lettered proofs; and Prints. 



231. TRAGEDY. After James Sant. 

A nearly circular subject. A lady, to the knees, sitting, dir. slightly r., 
looking slightly 1., intently watching a play; light dress with low neck and 
short sleeves, wreath of flowers on hair, flowers at bosom, r. hand holding 
bouquet in lap; bracelet on r. wrist, 1. arm across back of chair. 1 5 by i^f. 

In fine italic lettering: "Painted by James Sant. Engraved by Sam 1 Cousins, 
R.A." B.M. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 28, 1856: 175 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 75 Lettered proofs; and Prints. 

232. SAMUEL, THE INFANT. ["Speak, Lord, for Thy Servant 
heareth." i Samuel, iii., 10.] After James Sant. 

Samuel, a young boy, sitting in bed, his knees drawn up, his hands joined, 
facing f., looking upwards slightly r. 14^- by 12. 

I. Before any inscription. Mr. J. Cbarrington. 

II. "Artists' proofs", i.e., before the artists' names were engraved on the plate. 

III. In fine upright capitals: "Painted by James Sant. Engraved by Sam 1 Cousins, 
A.R.A." In open upright lettering: " London, Published by Henry Graves & 
CompJ" I st May 1854: 6 Pall Mall." At foot a long line of American publication 
as in No. 233, state III, with date: "June I st 1854." Messrs. Graves and Co. 

An impression was shown at the Royal Academy in 1854. 

Of this plate the following impressions were declared at the Printsellers' 
Association, May 5, 1854: 300 Artists' proofs; 25 Presentation proofs; 
250 India proofs before letters; 225 Plain proofs before letters; 225 
Lettered proofs; and Prints. 

233. TIMOTHY, THE INFANT. [ He knew the Scriptures from his 
youth."] After James Sant. 

Nearly w.l., a young boy, sitting, dir. and facing towards r. ; light loose robe, 
with dark robe around him from the waist downwards; 1. elbow on Hebrew 
scroll on table r., the end of scroll hanging down and held by r. hand; 1. hand 
raised to forehead. 14^ by 12. 

I. Before any inscription. B.M.; Lord Westbury, Mr. J. Charrington. 

II. With line of publication above subject. 

III. Publication above subjecl: erased. In fine upright capitals: " Painted by James 
Sant. Engraved by Sam 1 Cousins, R.A." In open upright lettering: "London, 

'34 



CATALOGUE OF SUBJECTS 

Published by Henry Graves & Compy i6 th April 18556 Pall Mall." At foot of 
plate a long line of publication in fine italics: " New York: Published by Williams 
Stevens Williams & Comp^ April i6 th 1855: and Entered according to A6t of 
Congress " etc. Messrs. Graves and Co. 

Of this plate the following impressions were declared at the Printsellers' 
Association, March 24, 1855: 250 Artists' proofs; 25 Presentation proofs; 
200 India proofs before letters; 175 Plain proofs before letters; 175 India 
lettered proofs; and Prints. 

234. TURN AGAIN, WHITTINGTON. After James Sant. 

Nearly to knees, a young boy, turned to 1., sitting on a bank, carrying his 
bundle suspended on a stick over his 1. shoulder, his 1. forefinger raised and 
his head inclined in the attitude of listening to the bells; to 1. a distant view 
of London with the spire of St. Paul's. 15 by 12. 

In fine italic lettering above subject: "London, Published Dec. io th 1864 by Henry 
Graves & C the Proprietors, Publishers to the Queen 6 Pall Mall." Mr. Algernon 
Graves. 

Of this plate the following impressions were declared at the Printsellers' 
Association, November 25, 1864: 275 Artists' proofs; 25 Presentation 
proofs; 100 Proofs before letters; 100 Lettered India proofs; and Prints. 

235. LOUIS XVI. AND MARIE ANTOINETTE IN THE PRISON 
OF THE TEMPLE. After E. M. Ward. 

The apartment has an arched roof. To r., the King lies asleep on a couch; 
near him sits the Queen at needlework, looking apprehensively towards 
her husband; the young Dauphin sits on the floor and is playing with a 
shuttlecock, near him sits the King's sister, the Princess Elizabeth, her r. 
hand reaching down to a work-basket on the floor; on the further side of a 
table stands the King's daughter adding water to a small vase of flowers; in 
an inner room to 1., beyond a curtain, are seen four revolutionary figures. 

22^- by 



In fine italic lettering above subject: "London; Published May 9 th 1862; by 
E. Gambart & C 120, Pall Mall." B.M.; Mr. J. Charrington. 

Of this plate the following impressions were declared at the Printsellers' 
Association, May 9, 1862: 300 Artists' proofs; 25 Presentation proofs; 
100 Proofs before letters; 100 Lettered Proofs; and Prints. 

236. SARAGOSSA, THE MAID OF. After Sir D. Wilkie. 

The Maid in light dress is turned to r., and with match in ornamental handle 
ready to apply to the touch-hole of a cannon, urges two men to push the 
weapon forward towards r., while a priest on further side of the cannon, with 
crucifix in outstretched 1. hand is eagerly pointing out to a soldier in which 
direction the shot shall be aimed; a large dog on r. beneath cannon. To 1. 

135 



SAMUEL COUSINS, R.A. 

a priest is writing a letter which a soldier beside him is dictating; a ruined 
building on extreme 1.; weapons, a dead soldier, etc., lying on the ground. 

19 by 28^. 

Preliminary etching. In fine italic lettering: "Painted by David Wilkie, Esq re 
R.A. Etched by Samuel Cousins, A. R.A. London, Published June I st 1836, by 
F. G. Moon, Printseller to the King, 20, Threadneedle Street." B.M. 

I. The subject finished, the inscription erased. In fine italic lettering: "Painted 
by Sir David Wilkie, R.A. & Corr Member of the Institute of France. London, 
F. G. Moon, Publisher to the King, 20, Threadneedle Street, May I st 1837. En- 
graved by Samuel Cousins, A.R.A." B.M.; Mr. J. Charrington. 

II. The inscription erased. Royal arms and motto added in centre of inscription 
space. In upright open capitals: " Painted in Madrid by Sir David Wilkie, R.A. 
Principal Painter in Ordinary to His Majesty Engraved by Samuel Cousins, A.R.A." 
At intervals along the plate, in italic capitals: " Tutor of Palafox. Agostina. Don 
Joseph Palafox. Rev d Father Consolation." In open upright capitals: 

" Her lover sinks she sheds no ill-timed tear; 
Her chief is slain she fills his fatal post; 
Her fellows flee she checks their base career; 
The foe retires she heads the sallying host." 

In upright open capitals with a line along the centre of each letter: " The Maid of 
Saragossa." In fine script: " To His Most Gracious Majesty King William the 
Fourth." In Gothic lettering: "This Engraving from the Original Picture in the 
Royal Collection." In fine script: " Is most humbly dedicated by His Majesty's very 
devoted Servant Fra s Grah 1 " Moon." In fine upright capitals: "London, Published 
May i, 1837, by F. G. Moon Printseller to the King, 20, Threadneedle Street." 
Messrs. Graves and Co. 

An impression was exhibited at the Royal Academy in 1837 (No. 759). 
This was the first time Cousins exhibited. 

Sir David Wilkie was knighted in June, 1836; hence the difference, in the 
inscriptions, between the preliminary etching and the first state. 

237. FIRST OF MAY, 1851, THE. After F. X. Winterhalter. 

Queen Victoria in light flowered dress, standing and holding the infant 
Prince Arthur, who, with drapery loosely around him, is offering a bunch of 
lilies to the Duke of Wellington, who stands on 1., and is in the act of pre- 
senting a casket. Prince Albert stands behind, and in the distance to 1. is 
seen the central portion of the Great Exhibition building in Hyde Park. 

1 6 by i 9 . 

In fine italic lettering at top of plate: "London, Published Nov r 6 th 1852, by 
P. & D. Colnaghi & C 13 & 14 Pall Mall East." B.M.; 7. and A. 

Prince Arthur (H.R.H. the Duke of Connaught) was the godson of the 
Duke of Wellington, and the birthday of each was the first of May. 

Of this plate the following impressions were declared at the Printsellers' 
Association, October i, 1851: 225 Artists' proofs; 25 Presentation proofs; 
200 Proofs before letters; 250 Lettered proofs; and Prints. 

136 



APPENDIX 

In this appendix are given brief descriptions of the eighty- 
nine plates Samuel Cousins claimed to have engraved from begin- 
ning to end, of the series of nearly three hundred and sixty small 
plates after the paintings of Sir Joshua Reynolds, published in four 
volumes by Samuel William Reynolds between about the years 
1820-1824. The subjects have been taken from Samuel Cousins's 
manuscript list in the possession of Mr. E. E. Leggatt. 



1 Holy Family. Joseph and Mary 

seated; Mary clasps the Infant, and 
before them stands St. John; land- 
scape background. 5f by 4f. 

2 John, St. (oblong) (Sir W. Williams- 

Wynne, Bart.). A boy, holding 
shell to a stream of water, lamb r. 
4 by 5- 

3 Hope. From the Oxford window. 

5f by 2f . 

4 Justice. From the Oxford window. 
, 51 by af . 

5 Samuel, the Infant. Nearly to knees, 

turned 1., looking upwards, r. hand 
raised. 4^ by 3^. 

6 Contemplative Youth (Master Brown). 

Nearly w.L, sitting, dir. 1., looking 
upwards, landscape background. 3^ 

bysi- 

7 Death of Dido. She lies stretched on 

the pile, a woman with outstretched 
arms beside her. 4-^ by 7. 

8 Guardian Angels (Master Dunning). 

Two youthful angels clasping the 
body of a child. 6 by 6f . 

9 Infant Jupiter. Seated, dir. f. ; r. hand 

grasping lightning; goat 1., eagle 
above. 5f by 4f-. 

10 Macbeth. Scene with the witches; 

procession of the seven kings in 
background. 7 by 9. 

1 1 Puck. W.L., nude, sitting on a toad- 

stool; trees in background. 6 by 



12 Snake in the Grass. Cupid pulling at 

waistband strings of young woman ; 
snake r. 5^ by 4^. 

13 Ugolino and his family in prison. 5^ 

. by 61. 

14 Abington, Mrs. W.L., as Comic 

Muse, standing in landscape, mask 
in r. hand. 6-J- by 4. 

15 To waist, sitting, leaning on 

back of chair; dog on chair. 4^ 
by 4. 

16 Acland, Sir Thos., Bart. Nearly w.L, 

sitting, riding whip in r. hand, 1. 
hand on head of dog. 5-|- by 4. 

17 Lady Henrietta. Nearly w.L, 

sitting, 1. hand in lap, r. elbow on 
pedestal of fluted pillar 1. 5 by 4. 

1 8 Acland, Colonel. Nearly to knees, 

standing, r. elbow leaning on ped- 
estal of draped pillar 1. 5^ by 4. 

19 Archer, Maria Elizabeth. Young 

girl, to knees, standing, hands joined 
before her. 5^- by 4. 

20 Aylesford, Louisa, Countess of. To 

knees, standing, white dress, r. arm 
beside her, 1. arm on pedestal of 
pillar 1. 5|. by 4. 

21 Baldwin, Mrs. W.L., sitting on sofa, 

looking at miniature in r. hand; 
fanciful head-dress. 5^ by 4f. 

22 Beaumont, Sir George, Bart. Nearly 

to waist, dir. 1., powdered hair, dark 
coat. 3! by 3^. 

23 Boringdon, Children of Lord (John 



137 



SAMUEL COUSINS, R.A. 



and Theresa). In landscape, sitting, 
the boy on 1. clasping his sister, his 
feet wide apart. 6-|- by 5j. 

24 Buller, Mrs. Anne (of Morval). 

Nearly w.L, sitting, dir. f., feathers 
and pearls in hair, holding rose in 
lap. 5by4j. 

25 Bunbury, Lady Sarah. W.L., sacri- 

ficing to the Graces, yf by 4f. 

26 Bunbury, Mrs. Henry. Nearly w.l., 

sitting, 1. elbow on table r., back of 
1. hand to chin. 5 by 3f. 

27 Carlisle, Margaret Caroline, Countess 

of. To knees, standing in land- 
scape, r. arm over broken bough of 
tree. 5i by 4. 

28 CarnaCj Mrs. W.L., standing, facing 

r., feathers in hair, trees in back- 
ground. 6^ by 4. 

29 Cavendish, Lord Richard. To knees, 

standing, dir. 1., r. hand on bank 1., 
Egyptian landscape in distance. 5^ 

by4t- 

30 Delme, Lady Betty, and Children. 

W.L., seated in landscape, her 1. arm 
around two children, dog r. 6^ by 4. 

31 Devonshire, Georgiana, Duchess of. 

W.L., about to descend steps, r. 
hand on balustrade. 6| by 4. 

32 - Georgiana, Duchess of, and 

child. The child, with arms raised, 
sits on her mother's knee; the 
mother's r. hand raised. 4-! by 5f. 

33 Edgcumbe, Richard, Second Lord. 

To knees, standing, robes, r. arm on 
pedestal 1., wand in r. hand. 5 by 4. 

34 -- Emma, Lady. Nearly w.l., sit- 

ting, dir. f., holding small book open 
on lap. 5 by 4 |. 

35 Fisher, Miss Kitty. To waist, dir. f., 

arms crossed and resting on table in 
front of her, on which lies a letter. 
4i by 3 f . 

36 Fitzpatnck, Lady Anne (as Collina). 

W.L., a young girl standing on a 
hillock, hands joined before her. 6 



37 - Lad y Anne (as Sylvia). W.L., a 

young barefooted girl standing on 
stepping-stone of brook; landscape 
background. 6j by 4^. 

38 Gallwey, Mrs. Payne, and Child. To 

waist, dir. 1., carrying her child pick- 
a-back. 3fby 3 . 



39 Garrick, David (with inkstand). To 

waist, sitting, hands clasped on table 
before him, thumbs joined. 3f by3. 

40 Gordon, Frances, Daughter of Lord 

William (Angels' Heads). Five 
cherub heads amid clouds. 8 by 6j. 

41 Granby, John, Marquess of. W.L., in 

uniform, standing by his horse, look- 
ing 1. ; negro on r. of horse. 5f by 

41- 

42 Greenway, Miss. To waist, dir. f., 

looking r., long tress of hair on 1. 
shoulder, hands joined. 51 by 4^. 

43 Hardinge, Mrs. To knees, standing; 

1. hand on shoulder of dog whose 1. 
forepaw she holds with r. hand. 5| 
by 4. 

44 Harrington, Jane, Countess of. W.L., 

in landscape, standing, profile to r., 
wreath in 1. hand, r. holding scarf. 
6 by 4. 

45 Hayes, Mrs. To waist, in an oval, 

dir. 1., light flowered dress, shawl 
over r. shoulder. 4^ by 3^. 

46 Herbert, Lady E. (Countess of Car- 

narvon), and Son. W.L., reclining 
in a landscape, her son, nude, raising 
his 1. hand to his mother's chin. 5-f 

by 4i- 

47 Hope, Mrs. Ann. To knees, sitting, 

dir. r., large muslin cap, mantilla 
around shoulders, hands clasped. 5^ 
by 4. 

48 Horneck, The Misses. Two girls, to 

waist, r. hand of the younger on 1. 
shoulder of the elder on r. 7 by 5^. 

49 Hunter, M.D., John. Nearly w.L, 

sitting at a table, where lie books, 
etc., 1. hand to chin. 5 by 4. 

50 Johnson, LL.D., Samuel. To waist, 

dir. f., short full wig, 1. hand to waist. 
3f by 3. 

51 Johnson, Mrs. (Sister of Sir J. Rey- 

nolds). To waist, in oval frame, dir. 
f., pearl earring and necklace. 4f 
by 4. 

52 Manners, Lady Catherine. Nearly to 

waist, a young girl, striped muslin 
cap, low-necked frock. 3f by 3!-. 

53 Mansfield, William, Earl of. Fully to 

knees, sitting, arms on arms of chair, 
judge's robes, table, etc. 4^ by 4. 

54 Melbourne, Elizabeth, Lady, and 

Child (Maternal Affedlion). W.L., 



I 3 8 



APPENDIX 



sitting, holding her child whom she 
appears to have taken from cradle 1. 
6i by 4. 

55 Merrick, Mrs. Fully to waist, stand- 

ing, dir. r., hat, mantilla, 1. hand 
drawing on r. glove. 5f by 4^-. 

56 Monckton, the Hon. Mary (afterwards 

Countess of Cork). W.L. , seated in 
landscape, 1. arm on pedestal r., 1. 
forefinger to mouth, dog lying at her 
feet. 6f by 4. 

57 Mudge, Rev. Zachariah. To waist, 

facing r., short full wig, black gown, 
r. hand to chin. 41 by 3^. 

58 Pelham, Mrs. Sophia. W.L., standing 

in landscape, holding sieve, and feed- 
ing poultry. 6^ by 4. 

59 Reynolds, Sir Joshua. To waist, a 

young man, in plain dress, dir. r., 
facing towards f. 5^ by 4^-. 

60 Robinson, Richard, Archbishop of 

Armagh. Nearly w.L, sitting, dir. 
r., robes, r. hand turning page of 
book on table. 5 by 4. 

6 1 Rutland, Mary Isabella, Duchess of. 

W.L., standing in landscape, feathers 
in hair, 1. arm on pedestal r., 1. foot 
crossed over r. 6^ by 41. 

62 Cumberland, Henry Frederick, Duke 

of. W.L., in robes of the Garter, 
standing, dir. L, pillars, curtain, etc., 
6f by 3 |. 

63 Gloucester, Maria, Duchess of. Nearly 

w.L, in oval, seated, dir. r., 1. elbow 
on knee, back of 1. hand to chin. 

6* by 51 

64 Princess Sophia of. W.L., a 

child, lying in a landscape, her 1. 
arm round a shaggy dog. 4^ by 5^-. 

65 George IV., when Prince of Wales. 

To waist, dir. L, powdered hair, 
sash, star on plain coat. 5f by 4^. 

66 when Prince of Wales. W.L., 

standing by horse in landscape, r. 
hand holding sword pointing down- 
wards. 5f by 6f. 

67 York and Albany, Frederick, Duke 

of. W.L., standing, robes of the 
Garter, 1. hand on sword, curtain, 
pillars, etc. 6^ by 4^. 

68 St. Asaph, Sophia, Lady, and Infant. 

W.L., sitting, white dress, holding 
nude infant on his back on a cushion. 
SI by 4 . 



69 Salisbury, Mary Amelia, Marchioness 

of. W.L., standing in landscape, r. 
hand drawingglove on 1., dog running 
and pulling at dress. 6|- by 4. 

70 Sheridan, Mrs. (as St. Cecilia). Seated 

at an organ, pipes almost enveloped 
in clouds, two angels on her r., sing- 
ing- 5i b y 4- 

7 1 Siddons, Mrs. (as The Tragic Muse). 

6f by 4f . 

72 Southampton, Charles Fitzroy, Lord. 

Fully to waist, dir. f., uniform, hat 
under 1. arm, r. hand pointing down- 
wards. 5|- by 4. 

73 Spencer, Margaret, Countess (in Per- 

sian dress). To knees, sitting, dir. 1., 
veil over hair, 1. elbow on table r., 1. 
forefinger upright on cheek. 4f by 4. 

74 Spencer, Lord Henry and Lady Char- 

lotte (The Young Fortune-tellers). 
A young girl telling the fortune of 
a young boy, landscape background. 
5i by 4f . 

75 Stanhope, Mrs. ("Contemplation"). 

Nearly w.L, sitting in moonlit land- 
scape, r. elbow on knee, r. hand 
touching face. 51 by 4. 

76 Sterne, Rev. Laurence. Nearly w.L, 

sitting, wig, gown, 1. knee crossed 
over r.,r. forefinger touching temple. 
5i by 4 i. 

Tarleton, Lieut.-Colonel. W.L., uni- 
form, 1. foot on cannon, hands hold- 
ing sword; horse, standard, and 
cannon 1. 6f by 4. 

78 Tavistock, Elizabeth, Marchioness of 
(when Lady E. Keppel). W.L., in 
bridesmaid's dress, decorating aTerm 
of Hymen with wreaths, negress 1. 
attending her. 6| by 4. 

Townshend, George, Marquess. To 
waist, dir. f., cuirass under dark coat, 
both hands at waist. 5^ by 4^. 

Anne, Marchion-^ Adorning a 

ess of. terminal sta- 

Mrs. Gardner. I tue of Hy- 

The Hon. Mrs. Beres- men. 
ford. J 8. 

8 1 Vansittart, Henry. To waist, in oval, 

frill, plain coat with collar. 4^ by 3f . 

82 Waldegrave, Maria, Countess, and 

Daughter. Fully to waist, dir. r., 
nursing her child, around whom she 
holds her ermine cloak. 5f by 4f. 



77 



79 



80 



6iby 



'39 



SAMUEL COUSINS, R.A. 

83 Yorke, Master Philip. W.L., standing 86 Lady with ermine muff. To waist, 

in landscape, a bird perched on 1. dir. towards 1., ermine-edged mantle. 

arm, dog 1., looking up at bird. 5-^ 5 by 4. 

by 4^-. 87 Lady with ostrich feather on head. To 

84 Fenhoulet, Lady A. "\ waist, dir. r., earring, ribbon round 
Chambers, Lady C. I t , j neck. 3f by 3^. 

Bingham, Hon. Anne. H T *" 88 Lady with a large muff. To waist, 

Spencer, Lavinia Countess.J ribbon round neck, mantilla, low- 



85 Lockhart, John. 

Hervey, Hon. Augustus. 
Saunders, Admiral Sir 

Charles. 
James, Sir William, Bart. 



necked dark bodice. 3f- by 
89 Boy in frill. In oval, nearly to waist, 



by si, dir. f. 3 f by 



140 



INDEX TO PAINTERS 



Allen, J., 84, 103 

Allston, Washington (born 1779, died 1843), 

41 
Archer, Archibald, 70 

Barber, Thomas (b. 1768, d. 1843), 179 
Beechey, Sir William, R.A. (b. 1753, d. 

1839), 8 

Behnes, William (d. 1864), 55 
Boxall, Sir William, R.A. (b. 1800, d. 1879), 

ii, 66, 89, 127 
Bridges, John, 106 
Burgess, H. W., 181 

Carpenter, Mrs. Margaret (b. 1793, d. 1872), 

40,47,123, 158 
Chalon, Alfred Edward, R.A. (b. 1780, d. 

1860), 163, 164 
Chantrey, Sir Francis Leggatt, R.A. (b. 1781, 

d. 1842), 9, 34, 61, 79, 107, 128, 131, 

H5 
Charlet, Nicolas Toussaint (b. 1792, d. 1845), 

182, 183 

Cole, Solomon, 96 
Coleridge, Jane, Lady, 119 
Corbaux, Fanny, 184 
Correggio, Antonio (b. about 1494, d. 1534), 

185 
Cousins, Samuel (b. 1801, d. 1887), 39, 90, 

94, 142 

Cregan, M., 12 
Cristall, Joshua (b. 1767^. 1847), 186 

Devis, Arthur William (b. 1763, d. 1822), 

130 

Dickinson, Lowes (b. 1819), 165 
Dicksee, Frank, R.A. (b. 1853), 187 
Dubufe, Claude Marie (b. 1790, d. 1864), 

188 
Dubufe, Louis Edouard (b. 1820, d. 1883), 21 

Eastlake, Sir Charles Lock, R.A. (b. 1793, 

d. 1865), 189 

Eddis, Eden Upton (b. 1812, d. 1901), 101 
Ellerby, Thomas, 1 3 5 
Etty, William, R.A. (b. 1787, d. 1849), '3 



Faed, Thomas, R.A. (b. 1826), 190, 191 
Fradelle, Henry (b. 1778, d. 1865), 155 

Goodall, Frederick, R.A. (b. 1822, d. 1904), 

192, 193 
Gordon, Sir John Watson (b. 1788, d. 1864), 

112, 140 

Graham, John, 28, III 

Grant, Sir Francis, P.R.A. (b. 1803, d. 1878), 

37, 117, 120 

Greux, Gustave Marie (b. 1838), 194 
Greuze, Jean Baptiste (b. 1725, d. 1806), 50, 

195, 196 

Hogarth, William (b. 1697, d. 1764), 136 
Holl, Frank, R.A. (b. 1 845, d. 1888), frontis- 
piece 

Howard, Frank, (b. 1805, d. 1866), 42 
Howard, Henry, R.A. (b. 1769, d. 1847), 
68, 197 

Jackson, John, R.A. (b. 1778, d. 1831), 26, 
64, 1 80 

Knight, John Prescott, R.A. (b. 1803, d. 
1881), 108 

Landseer, Sir Edwin Henry, R.A. (b. 1802, 

d. 1873), i, 99, 154, 166, 198-204 
Lane, Samuel (b. 1780, d. 1859), 86 
Lauchert, Richard (b. 1823, d. 1868), 7 
Lawrence, Sir Thomas, P.R.A. (b. 1769, d. 
1830), 2, 3, 19, 33, 36, 43, 48, 49, 52, 
53, 54, 71, 74, 75, 77, 87, 97, 98, 100, 
104, 105, 109, 124, 125, 126, 129, 161, 
170, 171, 172, 174, 178, 205 
Leakey, James (b. 1773, d. 1865), 132 
Lefevre, R., 115 
Leighton, Frederic, Lord, P.R.A. (b. 1830, 

d. 1896), 206, 207, 208 
Leslie, Charles Robert (b. 1794, d. 1859), 209 
Liverseege, Henry (b. 1803, d. 1832), 210, 

211 

Long, Edwin, R.A. (b. (?)i839, d. 1891), 

27,46 
Lucas, John (b. 1807, d. 1874), 6, 69, 173 



SAMUEL COUSINS, R.A. 



Mansion, 1 1 5 

Mee, Mrs. Anne (d. 1851), 133 

Merle, Hughes (b. 1823, d. 1881), 212 

Millais, Sir John Everett, P.R.A. (b. 1829, 

d. 1896), 213-224 
Mogford, Thomas (d. 1868), 5 

Nasmyth, Alexander (b. 1758, d. 1840), 31 
Newton, Gilbert Stuart, R.A. (b. 1794, d. 
1835), 102 

Owen, William, R.A. (b. 1769, d. 1825) no 

Partridge, John (b. 1790, d. 1872), 85, 122 
Phillips, Henry Wyndham (b. l82O,d. 1868), 

20,62, 134 
Phillips, J., 24 
Phillips, Thomas, R.A. (b. 1770, d. 1845), 

10, 30, 32, 38, 44, 65, 67, 81, 92, 93, 141 
Pickersgill, Henry William, R.A. (b. 1782, 

d. 1875), 59, 159, 160 

Raeburn, Sir Henry, R.A. (b. 1756, d. 1823), 

146 

Raoux, Jean (b. 1677, d. 1734), 22 5 
Reinagle, Ramsay Richard, R.A. (b. 1775, 

d. 1862), 18 

Reni, Guido (b. 1575, d. 1642), 35 
Reynolds, Sir Joshua, P.R.A. (b. 1723, d. 

1792), '7, 22, 23,25, 51,60,78,88, 113, 

I39> H9> l $> 'S 1 , I 5 2 , 226, 227, 228 
Reynolds, Samuel William, jun. (b. 1794, d. 

1872), 82 



Richmond, George, R.A. (b. 1 809, d. 1 896), 

56, 63, 83, 95, 143, 162, 169, 175, 176 
Riviere, Briton, R.A. (b. 1840), 229 
Robertson, Mrs. J., 1 37 

Robinson, William (b. 1799, d. 1839), 72 
Ross, Sir William Charles, R.A. (b. 1794, d. 
1860), 177 

Sanders, George (b. 1774, d. 1846), 138 

Sant, James (b. 1820), 230-234 

Say, Frederick Richard, 148 

Severn, Joseph (b. about 1795, d. 1879), 4 

Shee, Sir Martin Archer, P.R.A. (b. 1769, 

d. 1850), 29, 45, 73, 114, 118, 157 
Smith, Colvin (b. 1795, d. 1875), 91- 
Stewardson, Thomas (b. 1781, d. 1859), *5 
Sully, Thomas (b. 1783, d. 1872), 16 

Thompson, Thomas Clement, 147 

Ward, Edward Matthew, R.A. (b. 1816, d. 

1879), 235 
Watts, George Frederick, R.A. (b. 1818, d. 

1904), 76 

Weigall, Henry, 121 
Wells, Henry Tanworth, R.A. (b. 1828, d. 

I 93), H, '53 
Wilkie, Sir David, R.A. (b. 1785, d. 1841), 

156, 236 
Winterhalter, Franz Xavier(b. 1806, d. 1873), 

57, 58, 80, 116, 167, 168, 237 



142 



INDEX TO SUBJECTS 



Age of Innocence, 226 

Bairn, The Mitherless, 191 

Beauty's Bath, 198 

Benedidta, 187 

Biondina, 206 

Bliss, Perfeft, 218 

Bolton Abbey in the Olden Time, 199 

Cherry Ripe, 213 

Christ in the Garden of Gethsemane, 185 

Christ mourning over Jerusalem, 189 

Comedy, 230 

Connoisseurs, The, 99 

Dawn, The Early, 186 
Dawn till Sunset, From, 190 

Eggs, New Laid, 216 
First of May, 1851, 237 

Hawking, Return from, 203 

Health, Pifture of, 219 

House of Commons, Interior of, 181 

Imprisoned, 229 
Joueurs, Les, 182 

Louis XVI. and Family in the prison of the 
Temple, 235 

Maid and the Magpie, The, 200 
Mater Dolorosa, 192 
Mater Purissima, 193 
Message from the Sea, A, 197 
Midsummer Night's Dream, A, 201 
Minuet, The, 215 
Moretta a Venetian Girl, 207 
Muffit, Little Miss, 214 
Muscipula, 227 



Nature, 205 
Ninette, 196 
No! 223 

Order of Release, The, 217 
Orphan, The, 210 

Piper and a Pair of Nutcrackers, A, 202 

Pippin, A Golden, 195 

Playmates, 212 

Pomona, 220 

Pouter, The little, 194 

Princes in the Tower, The, 221 

Querelleurs, Les, 183 
Rabbit, The Pet, 184 

Samuel, The Infant, 232 
Saragossa, The Maid of, 236 
Saved ! 204 
Simplicity, 78 
Strawberry Girl, The, 228 
Sunshine of Love, The, 225 
Surprise, La, 188 
Sylvia, 60 

Timothy, The Infant, 233 
Tragedy, 231 

Victoria, Queen, receiving the Sacrament at 

her Coronation, 209 
Visionary, The, 211 

Whittington, Turn again, 234 
Winter, 113 

Yes! 224 

Yes or No? 222 

Zeyra, 208 




CHISWICK PRESS: CHARLES WHITTINGHAM AND co. 

TOOKS COURT, CHANCERY LANE, LONDON.