]]> rtists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]> ]]> The Victorian Art World in Photographs (London: Barrie # Jenkins, 1984), fig. 498, p. 215.]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> T. O. Barlow, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883]]> Portrait of Henry Irving (Garrick Club, London)]]> Portrait of John Newman, 1881, oil on canvas, 47 3/4 in. x 37 1/2 in. (National Portrait Gallery, London),]]> William Ewart Gladstone, Prime Minister (1879), mezzotint with chine collé (59.10 cm x 43.50 cm), published 1881.]]> Sir Isaac Newton, etching and aquatint (19 3/4 in. x 15 1/2 in.), published January 1, 1867.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]> sic] Studios, Errylands [sic]Lane, Taverstock [sic] Hill, London. Seated sketching" (Public Records, National Archives, Kew, COPY 1/365/303).]]> ]]> The Victorian Art World iin Photographs (London: Barrie & Jenkins, 1984), fig. 64, p. 44.]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (New Haven: Royal Academy of Arts, Longon, in association with Yale University Press, 1999), p. 153. (Photo from RA Archives)]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> R. W. Macbeth, ARA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883

]]> Far from the Madding Crowd, ca. 1884 (exhibited at the Grosvenor Gallery in 1884).]]> ]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
]]> January 20, 2017, by LM
March 4, 2017, by LM]]> ]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), repr. p. 66, fig. 117.]]> Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), repr. p. 86, fig. 60 (erroneously attributed to the photographer's father, J. J. E. Mayall).]]> G. A. Storey, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883

]]> Pall Mall Gazette (London), no. 6700 (July 27, 1889): 26–30.

]]> The Morning Post (London, England), issue 34812 (January 19, 1884):3. "Mr. Gladstone has recently given Mr. J. P. Mayall a sitting at Hawarden Castle for a photograph which will be published by Sampson Low, Marston and Co. in a new work, 'Artist’s Homes,' the first number of which will appear on the 1^st of March. Mr. Gladstone, who occupies the position of 'Professor of Ancient History' to the Royal Academy, will be included in the series, which consists chiefly of Royal Academicians. The work is dedicated to Sir F. Leighton, P.R.A."

]]> Birmingham Daily Post, issue 7973 (January 21, 1884). "Mr. Gladstone has recently given Mr. J. P. Mayall a sitting at Hawarden Castle for a photograph which will be published by Sampson Low, Marston and Co. in a new work, “Artist’s Homes,” the first number of which will appear on the 1^st of March."]]> The Leeds Mercury, issue 1429 (January 28, 1884). "Mr. Gladstone recently gave Mr. J. P. Mayall, Park-lane Studio, a sitting for a photograph in the library at Hawarden Castle. The photograph was taken expressly for the new serial work, 'Artists’ Homes,' to be published by Messrs. Sampson Low, Marston, and Co. The first number will appear on the 1^st of March."

]]> The Pall Mall Gazette (London, England), issue 6009 (June 12, 1884). "The Prime Minister, during his recent visit to Hawarden, sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of Mr. Gladstone in his library is for publication in 'Artists at Home,' now being issued by Messrs. Sampson Low, Marston, and Co., and is dedicated to Sir F. Leighton."

]]> Daily News (London), issue 11908 (June 12, 1884). "THE PREMIER.—Mr. J. P. Mayall, Park-lane Studio, has recently been honoured with sittings form the Prime Minister during his recent visit to Hawarden. A photograph of Mr. Gladstone in his library at Hawarden Castle is intended for publication in 'Artists at Home,' a work dealing chiefly with the Royal Academy, now being issued by Messrs. Sampson, Low, Marston, and Co. Mr. Gladstone, as Professor of Ancient History, comes in the series. Mr. Mayall was likewise honoured with a sitting from Mr. Gladstone for a Rembrandt photograph as a companion to a life-size one of Mrs. Gladstone, taken by Mr. Mayall last January, of which Mr. Gladstone had been pleased to express his approval. Several members of the family gave sittings, including the Rector of Hawarden and Mr. and the Hon. Mrs. W. H. Gladstone."

]]> The Leeds Mercury, issue 14411 (June 16, 1884). "The Prime Minister, during his recent visit to Hawarden, sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of Mr. Gladstone in his library is for publication in 'Artists at Home,' now being issued by Messrs. Sampson Low, Marston, and Co., and is dedicated to Sir F. Leighton."

]]> New York Times, July 7, 1884.

]]> The Morning Post (London), issue 35032 (October 2, 1884). "Artists at Home gives portraits and sketches of Mr. Poynter, Mr. Barlow, Mr. Macbeth, and Mr. Storey, and greatest artist of all in his own peculiar line, Mr. W. E. Gladstone, professor of ancient history to the Royal Academy."

]]> The Graphic (London), issue 788 (January 3, 1885). "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point. The Premier as an artist would be a novelty for which few would be prepared. Luckily, however, the notice appended to his portrait explains that besides being a considerable collector of bric-à-brac, Mr. Gladstone has for some nine years been Professor of Ancient History in the Royal Academy, and that it is as such that his portrait is here introduced. The office is one without duties and without salary, a condition to which Oliver Goldsmith, upon whom the honour was first conferred, humorously referred when he wrote to acquaint his brother of his new dignity. The notes in connection with the office from then to now are as interesting as anything in the volume."

]]> “Notes on Art and Archaeology.” The Academy, June 14, 1884, p. 429. "Mr. J. P. Mayall took a photograph of Mr. Gladstone during his recent stay at Hawarden for the series of Artists at Home (Sampson Low), in which the Prime Minister finds a place by reason of his being Professor of Ancient History at the Royal Academy. At the same time Mr. Mayall took a 'Rembrandt photograph' of Mr. Gladstone, and also photographs of several members of his family."

]]> “Personal Mention.” Daily American, June 26, 1884, p. 2. "During his recent visit to Hawarden Mr. Gladstone sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of him in his library is for publication in 'Artists at Home,' now being issued."

]]> Rt. Hon. W E. Gladstone, M.P, albumen print, approx. 6½ x 8½ in., by Joseph Park Mayall (1839-1922), June 1883

]]> W. E. Gladstone, medallion portrait, bronze]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]> November 21, 2016, by LM
January 20, 2017, by LM]]> ]]>
]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984) p. 208.]]> The Derby Mercury (Derby, England), issue 8828, March 26, 1884. "The four plates in the part (No. 1) now before us represent Sir Frederic Leighton, Mr. W. C. Marshall, Mr. T. Webster, and Mr. V. C. Prinsep, in their workrooms, and in their habits as they live there. The portraits of the artists are admirable as likenesses, and the details of the studios themselves are admirably brought out."]]> Benezit Dictionary of Artists, s.v. "Marshall, William Calder," in Oxford Art Online, reproduced.]]> W. C. Marshall, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883
]]> Tali Players]]> Psyche]]> Venerable Bede translating the Gospel of St John]]> Crompton]]> The Infant Satyr]]> Mother of Moses, Marshall's Diploma Work (e Royal Academy, London), exhibited at the Royal Academy in 1848 as The Last Drop - a young Satyr drinking.]]>
]]> Lawrence Alma-Tadema leans against the mantelpiece in his studio, his contrapposto suggesting movement and informality. In his left hand is a cigar, his right hand he has casually tucked into his trouser pocket. To his right is an empty chair with a tiger fur, to his left, on the mantelpiece, is a portrait bust. To the right of the mantelpiece hangs a luxurious fan. An African mask with peacock feathers is suspended above the artist. On the cornice are placed a sculpture and vases. In the space between the cornice and the mantelpiece hangs a golden cloth. In the background on the left, palm branches, an easel with a finished painting, and another painting behind it catch our eye, before our gaze wonders to the dark liminal space of the entrance into the studio.

]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
]]> October 2, 2016
November 21, 2016, by LM
January 20, 2017, by LM
March 5, 2017, by LM]]>

]]> ]]> The Art Journal 46 (1884): 256. "The portraits of Mr. Millais and Mr. Marcus Stone are excellent likenesses, but those of Mr. Alma-Tadema and Mr. Pettie somehow miss the distinguishing characteristics of the two men."]]> “Art in September.” The Magazine of Art 7 (September 1884): xlviii. "Mr. Mayall’s photographs—or rather, the photo-engravings on copper plates reproduced therefrom—are singularly lifeless and dull. Everybody looks as though he were sitting for his portrait; the very furniture is posing; and over all is that terrible and tremendous presence, the photographer’s light, “the light that never was on sea or land.” Mr. Calderon affronts the camera with much sternness; Sir John Gilbert has the sun in his eyes, and comes out very white and vague; Mr. Boehm, sitting desultorily among busts and statues, seems to have been caught in the act of reading the paper; while Mr. Alma Tadema, as unlike himself as possible, leans boldly and airily on the chimney-piece, and Mr. Frank Dicksee, austere yet frightened, does even as Mr. Alma Tadema, and Mr. Val Prinsep turns from his picture with a frown, as if he felt inclined to wring the photographer’s neck."

]]> Jeremy Maas, The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 123, fig. 234, p. 123.

]]> Sir Lawrence Alma-Tadema, ed. by Edwin Becker, exhib. cat., Van Gogh Museum, Amsterdam, and Walker Art Gallery, Liverpool, 1996 (New York: Rizzoli, 1997), p. 47, fig. 28.]]> The Artist’s Studio, exhib. cat., Compton Verney (London: Hogarth Arts, 2009), p. 68, fig. 51.]]> Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), p. 84, fig. 57, erroneously attributed to the photographer's father, J. J. E. Mayall.]]> In the Temple of the Self: The Artist’s Residence as a Total Work of Art: Europe and America 1800–1948, ed. by Margot Th. Brandlhuber and Michael Buhrsed (Ostfildern: Hatje Cantz, 2013), p. 107, fig. 4.]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (London: Royal Academy of Arts, in association with Yale University Press, 1999), p. 143.]]> Oxford Art Online.]]> L. Alma Tadema, RA,albumen print, approx. 6½ x 8½ in., by Joseph Park Mayall (1839-1922), 1883
]]> The Meeting of Antony and Cleopatra, 1881-1883, oil on canvas (Private Collection)]]> An Old Story, 1883, watercolor, British Museum.]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]> sic] at Moreton House, Melbury [Road], Kensington, London. Seated at work, profile.”]]> January 20, 2017, by LM
March 7, 2017, by LM]]> ]]> The Illustrated London News 35 (July 12, 1884): 26. "The June number of “Artists at Home” contains portraits and views of the studios of G. F. Watts, R.A., W. H. Thornycroft, A.R.A., W. F. Yeames, R. A., and J. MacWhirter, A.R.A. Considering that this is a purely artistic work, it is surprising that the artists represented have not exercised a more beneficial control over the arrangement and production of the pictures. . . ."]]> The Graphic, issue 767, August 9, 1884. "Part IV of “Artists at Home” (S. Low and Co.), containing the portraits of Messrs. Watts, Thorneycroft [sic ], Yeames, and MacWhirter is now published. The illustrations are fully equal both in interest and quality to its three predecessors."]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 211, fig. 404.]]> The Holland Park Circle: Artists and Victorian Society (New Haven, CT: Yale University Press, 1999), p. 181, fig. 85.]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (London: Royal Academy of Arts in association with Yale University Press, 1999), p. 158.]]> W. H. Thornycroft, ARA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Parkin Mayall (1839-1922), 1883]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), fig. 246, p. 131]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> E. J. Poynter, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883]]> The Visit of the Queen of Sheba to King Solomon, 1890, Art Gallery of New South Wales.
http://www.artgallery.nsw.gov.au/collection/works/898/. In the studio-portrait, the painting is shown unfinished.]]> The Ides of March, 1883, Manchester Art Gallery, England.
http://artuk.org/discover/artworks/the-ides-of-march-205859]]> Decoration for the Dome: St. Paul's, The Upper Circular Panel. "Christ in Judgment," 1884. "Ink photo" of small copy of color cartoon for the mosaic decoration reproduced in The Builder (London)47 (July 5, 1884), n.p.]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 5-7]]> ]]>
]]> ]]> Artists at Home group and the "doyen" of several artistic practices. Webster spent the latter half of his life in Cranbrook, painting homely images of rural life and leading a group of peers referred to as the Cranbrook Colony.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 9-10

]]>
]]> Imperial India. Following his return to England, he also wrote the dramas Cousin Dick and M. Le Duc. He was elected an A.R.A. in January 1879, and was a faithful member of the Artist’s Volunteer Corps.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 11-13]]>
]]> An Essay on Indian Antiquities (London: J. Murray, 1858).]]> Benares Illustrated in a Series of Drawings (Calcutta: Baptist Mission Press, 1831-1833).]]> Imperial India: an Artist's Journals (London: Chapman and Hall, 1879).]]> The Young Men of the Tribe of Benjamin seizing their Brides. In 1848, Millais and a group of like-minded colleagues formed the Pre-Raphaelite Brotherhood. In 1854, Millais married Euphemia (Effie) Chalmers and was elected an A.R.A. After his marriage he painted a number of portraits of notable persons, including W. E. Gladstone and Lord Lytton, and designed several book illustrations. In December 1863, he was elected a Royal Academician, and in the following years became an Officer in the Legion of Honor (1878) and was elected a member of the Institute of France (1882).]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 15-18.]]> January 20, 2017, by LM]]>

]]> The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), p. 59]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 19-21.]]> January 20, 2017, by LM]]>
]]> ]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Memoir of Samuel Cousins, R.A., member of the Legion of honour. Exeter: Daily Gazette, 1887.]]> Notes on the Engraved Works of Mr. Samuel Cousins, etc. London: Fine Art Society: Catalogues of exhibitions, 1883.]]> Jeannie Deans was displayed at the Royal Academy. Stephens then recaps the highlights of Lawson’s career, providing a list of works and where they were shown, as well as their contributions to Lawson’s style. He begins by discussing the sculptor’s poetic and narrative works and then briefly describes some of his public portrait commissions. Stephens then lists the sculptures on view in Lawson’s studio at the time of the Mayall photograph.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 23-26]]> January 20, 2017, by LM]]>
]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> A Prior Attachment (Il y en a toujours un Autre) with the Chantrey Fund. ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 27-28.]]> January 20, 2017, by LM]]> he Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910 (Cambridge: Cambridge University Press, 2003), 58.]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Great Expectations, (London: Chapman & Hall, 1861).]]> Our Mutual Friend, (London: Chapman & Hall, 1865).]]> A Child's History of England, (London: Bradbury & Evans, 1852).]]> He Knew He Was Right, (London: Strahan and Co., 1869).]]>
]]> ]]> ]]> F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 29-33.

]]>
]]> ]]> Studies in the Literature of Northern Europe. London: C.K. Paul & Co., 1879.]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp.35-38]]> December 6, 2016, by LM]]>
]]> ]]> Art Journal 21 (1859): 205.]]> Art Journal 12 (1850): 49.]]> The Art Journal 5 (July 1, 1859): 205-7.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 39-42.]]> ]]> ]]>
]]> Artists at Home. His most famous work, Harmony, was purchased by the Royal Academy.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by phototengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 43-44.]]>
]]> Caractacus won him one of the First Premiums in the Westminster Hall Competition, funding his travel to Italy. Watts’s works in 1849 illustrated his desire to express his ideas of nature and progress of life by abstract embodiments of hope and ambition. In 1852, Watts was so preoccupied with public commissions that he did not exhibit any works at Trafalgar Square. In 1882, an exhibition of many of his works was held at Grosvenor Gallery.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 45-48.]]> The Nineteenth Century ]]> Life of Haydon]]>