Etchings for the Art-Union of London

1/2 title, 27 plates, pale blue endpapers, brown leather boards with gold tooling.

1: Charles West Cope, The Stolen Kiss (a young man wearing historic costume enters a room from the right and leans over a sleeping woman who sleeps in a chair, preparing to kiss her cheek; her book lies on the floor and a table at left is covered with a carpet; a painting on the wall shows Cupid with a bow and arrow); etching on chine collé, chine: 9.5 x 7.2 cm.
2: Thomas Creswick, The Evening Walk, etching on chine collé (a landscape framed by trees with a man at center standing on a small rock an looking at sun which sets at right over low hils; originally published 1842; this state published in 1857), chine: 15.9 x 14.1 cm, signed in plate lower left, "T. Creswick, R.A."
3: Frederick Tayler, Pheasant Shooting, illustration to William Somerville's, "The Chase" (a boy wearing patched clothes kneels at right, holding the collar and chain of a Pointer; a Setter stands next to them looking at a pheasant in mid air and a man shooting in the left distance; dead game birds and hare lie in the left foreground), etching on chine collé, chine: 10.9 x 13.2 cm., signed in plate lower left: "Frederick Tayler."
4: Thomas Wester, The School Dame (head of old woman, facing front and looking towards the viewer, wearing a cap); etching, printed on chine collé, chine: 6.5 x 6 cm, signed in plate: "Thomas Webster, R.A."
5: John Calcott Horsley, "Auld Grannie & the wee Nan" (an old woman sits in a cottage and reads a book with a girl standing next to her, on hand on the older figure's shoulder, holding a slate (?) and small bag in her other hand; a hen lies in a straw-filled basket at left); etching on chine collé, chine: 15.9 x 12.6 cm, signed in the plate lower left: "J. C. Horsley A.R.A."
6: James Clarke Hook, "Colin thou ken'st the Southerne Shepherd's Boye" (a shepherd and his family in a hilly landscape with the shepherd at left lying on the ground looking towards his wife who sits with their child, his flock behind at left with a forest in the background), etching on chine collé, chine: 12.2 x 17 cm, signed in plate lower left: "J. C. Hook, A.R.A."
7: Richard Ansdell, The Sentinel (a stag stands in profile to the left, its heads turned slightly, on a hilltop among low shrubs and grass, a rock in the left foreground, two birds flying in the sky behind with hills in background), etching on chine collé, chine: 13.8 x 20.2 cm, signed in plate lower left: "R. Ansell"
8: Henry James Townsend, The Wood-Breakers (three men break up a dead tree, as a girl kneels at right with a younger child on her shoulder, sheep graze on a partly wooded hillside behind, and a herder is seen among trees in background), etching on chine collé, chine: 11.9 x 17.8 cm, signed in plate lower right: "H. J. Townsend 1856"
9: Charles West Cope, The Companions (a woman reads with a child at a table, a window with hexagonal panes in the right background; arched image), etching, printed on chine collé, chine: 8.3 x 12.2 cm, signed in plate lower left: "C.W. Cope"
10: Thomas Creswick, The Overshot Mill (view of a watermill on a river with steep drop, a building in the right background backed by trees), etching on chine collé, chine: 13.4 x 10.5 cm, signed in plate: "T. Creswick, R.A."
11: Thomas Creswick, Evening on the Common (landscape with three figures standing on a path at a road sign at left; a stretch of water in the right foreground, a windmill, houses and trees on a hill behind ), etching on chine collé, chine: 10.2 x 16 cm, signed in plate: "T. Creswick, R.A.
12: William Edward Frost, The Sea Nymph (a nude female sits on the sand of a seaside cave looking at the viewer, a shell resting near her right hand and a view of the sea through rocks at left; round image), etching on chine collé, chine: signed in plate lower left: "W. E. Frost, R.A."
13: James Clarke Hook, A Few Minutes Before Dinner Time (seated on sheaves of grain, a mother kisses the child on her lap; they sit next to a cloth prepared for a meal, with a jug, loaf and basket at its edge; male harvesters work at left and grain is piled in stacks at right), etching, printed on chine collé, chine: 11.4 x 14.8 cm, signed in plate lower left: "J. C. Hook, A.R.A."
14: Richard Redgrave, Ministering Angels (a woman supports a dying man at left and both look out through and open winow at a heavenly scene with angels), etching, printed on chine collé, chine: 11.6 x 9.8 cm, signed in plate lower left: "R. Redgrave, R.A."
15: Richard Ansdell, Fellow-Commoners (animals are shown on a common with two donkeys at center standing over a third that lies on the ground; two sheep stand behind a rise at left and other animals appear in the right distance), etching on chine collé, chine: 11 x 20.7 cm, signed in plate lower left: "R. Ansdell."
16: George Bernard O'Neill, The Welcome (at a cottage door an old man scrapes mud from his shoes as a smiling family gathers inside and beside the threshold, a boy at left holding a kite); etching, printed on chine collé, chine: 14.4 x 11.9 cm, signed in plate lower left:"G. B. O'Neill."
17: William Holman Hunt, The Abundance of Egypt (an Egyptian woman, shown half-length, carryies grain on her head and a jug in one hand; men harvest behind and camels appear in the left background); arched image, etching and drypoint, printed on chine collé, chine: 14.7 x 11.4 cm.
18: William Holman Hunt, The Desolation of Egypt (a moonlit view in Egypt with a figure in the right foreground looking towards a tent and figures near a shadowy the Sphinx at left background under the full moon); etching and drypoint, printed on chine collé, chine: 4.1 x 10.7 cm, signed in plate lower left: "W.H. Hunt"
19: Richard Redgrave, The Lover's Reveries (a man with folded arms sits on a terrace at left, looking up as a woman walks towards him); etching, printed on second sheet, chine: 11.4 x 10.7 cm, signed in plate lower left: "R. Redgrave, R.A."
20: Frederick Tayler, Troopers on the March—Fording (two mounted officers wearing helmets and armor wade through a river with their backs turned to the viewer; they are followed by a drummer and another rider and a troop of cavalry. In the right foreground, a woman and girl wash linen and there is a castle on hilltop in the background); iillustration to William Somerville's "The Chase"; etching on thick paper collé, sheet: 12 x 19.8 cm, signed in plate, lower left: "Frederick Tayler."
21: Charles West Cope, Milton's Dream of his deceased wife (Sonnet 18) (Milton sleeps in a canopied bed with a spirit at lft, a lamp and open book on low table in the right foreground, shoes scattered on the floor; a crescent moon is seen in the window behind the bed); etching and mezzotint on chine collé, chine: 11.5 x 18.7 cm, signed in plate lower left: "C.W. Cope, R.A."
22: James Clarke Hook, The Fisherman's "Good Night" (a scene near the sea with a father on a ladder touching the face of a child who sits on his mother's lap; another figure at left walks along the embankment with the sea on the right below and a cliff beyond); etching on chine collé, chine: 12.7 x 17.7 cm, signed in plate lower left: "C.W. Cope, A.R.A."
23: Henry James Townsend, The Shepherd (a shepherd surrounded by sheep sits on a hillside at left holding a crook and looking a singing bird in a tree; rabbits play under the tree); originally published 1850; etching on chine collé, chine: 11.2 x 9.3 cm, signed in plate lower left below image: "H. J. Townsend", signed in plate within image lower right: "H.J. Townsend 1850"
24: John Callcott Horsley, Say "Not at home" (a girl stands behind a half-open door door with another figure behind her; she talks to an old woman who stands at center and prepares to leave), etching on chine collé, chine: 10.7 x 8.4 cm, signed in plate lower left, "J. C. Horsley A.R.A."
25: John Callcott Horsley, Kept Waiting (a stout man stands outside a closed front door, holding his hat and a letter in his left hand, wiping his bald head with a handkerchief), etching on chine colléé, chine: 10 x 7.8 cm, signed in plate lower left, "J. C. Horsley A.R.A." 1856.
26: John Everett Millais, The Young Mother (a coastal scene with a young woman seated on a hillside on a rock, kissing the hand of the baby she cradles; two children play at left and there are thatched cottages below; the sea and hills in background); etching on chine collé, chine: 19.9 x 15.8 cm, signed in plate lower left with artist's monogram and "J. E. Millais, A.R.A."
27: George Bernard O'Neill, The Barber (a barber holding razors and wearing an apron, stands by an open window, his waiting customer leaning back in a chair in the dark interior; an arched image); etching, printed on chine collé, chine: 5.5 x 6.4 cm, signed in plate lower left: "G. B. O'Neill."